#late eighteenth century

[weary-hearted-art]

Sir Joshua Reynolds, Sarah Campbell, 1777-78

[breakbeatsforbreakfast]

Self Portrait in a Straw Hat

Elisabeth Louise Vigée Le Brun (1755 - 1842)

1782

(Source: The National Gallery)

[chiropteracupola]

the doctor is in...

[flintlock fortress is a collaboration with @dxppercxdxver]

[sapphicdancer]

I just wanted to share some of my fav photos from fake stongehenge

[the-busy-ghost]

Warlocks and Witches in a Dance

Do you enjoy classic literature? Do you like reading seasonal stories? Do you want to learn some funky new words? Do you want an excuse to spend the evening in a comfy chair with a hot drink and maybe a plate of shortbread, listening to the fiddle tearing into some reels and strathspeys, and perusing some engaging reading material while the rain and wind howl around outside?

Allow me to introduce you to honest Tam O’ Shanter, who stayed out too late one black night in Ayrshire and got the fleg of his life.

Links to the full poem:

https://www.scottishpoetrylibrary.org.uk/poem/tam-o-shanter-tale/

https://www.poetryfoundation.org/poems/43815/tam-o-shanter

Language help:

https://dsl.ac.uk/ (this is a searchable dictionary of the Scots language both before and after 1700)

https://www.litscape.com/author/Robert_Burns/Robert_Burns_Glossary_S.html

Some Analysis and Textual History to start you off:

“The First Publication of Burns’ Tam o’ Shanter”, B.Dawson

“Burns’s Use of Parody in ‘Tam O’ Shanter”, Allan H. MacLaine

“The Narrator of Tam o’ Shanter”, John C. Weston

“Robert Burns, Tam O’ Shanter”, Murray Pittock

Wikipedia Entry for the old Kirk of Alloway

[werewolfetone]

They needed more than you could ever imagine

Before the cost of living crisis gets any worse someone needs to just snap & restart the Whiteboys

[afterthefeast]

terra ignota is like a series made specifically for me personally (<- guy whose specialisation was eighteenth century intellectual & cultural history and who misses it every day)

[sneakystorms]

Marya dimitrievna looking all old fashioned!!!!!

[dlyarchitecture]

[leroibobo]

kruszyniany mosque in kruszyniany, poland. this is the oldest lipka tatar mosque in poland.

the town of kruszyniany was assigned to tatars who participated on the side of the polish-lithuanian commonwealth in their war against the ottoman empire. after lipka tatars settled in the city, they built this mosque, most likely in the late eighteenth century; though there are documents which mention it going back to 1717. the village was settled by repatriates and belarusian muslims following world war ii.

[anghraine]

It's always been intriguing to me that, even when Elizabeth hates Darcy and thinks he's genuinely a monstrous, predatory human being, she does not ever perceive him as sexually predatory. In fact, literally no one in the novel suggests or believes he is sexually dangerous at any point. There's not the slightest hint of that as a factor in the rumors surrounding him, even though eighteenth-century fiction writers very often linked masculine villainy to a possibility of sexual predation in the subtext or just text*. Austen herself does this over and over when it comes to the true villains of her novels.

Even as a supposed villain, though, Darcy is broadly understood to be predatory and callous towards men who are weaker than him in status, power, and personality—with no real hint of sexual threat about it at all (certainly none towards women). Darcy's "villainy" is overwhelmingly about abusing his socioeconomic power over other men, like Wickham and Bingley. This can have secondhand effects on women's lives, but as collateral damage. Nobody thinks he's targeting women.

In addition, Elizabeth's interpretations of Darcy in the first half of the book tend to involve associating him with relatively prestigious women by contrast to the men in his life (he's seen as extremely dissimilar from his male friends and, as a villain, from his father). So Elizabeth understands Darcy-as-villain not in terms of the popular, often very sexualized images of masculine villainy at the time, but in terms of rich women she personally despises like Caroline Bingley and Lady Catherine de Bourgh (and even Georgiana Darcy; Elizabeth assumes a lot about Georgiana in service of her hatred of Darcy before ever meeting her).

The only people in Elizabeth's own community who side with Darcy at this time are, interestingly, both women, and likely the highest-status unmarried women in her community: Charlotte Lucas and Jane Bennet. Both have some temperamental affinities with Darcy, and while it's not clear if he recognizes this, he quietly approves of them without even knowing they've been sticking up for him behind the scenes.

This concept of Darcy-as-villain is not just Elizabeth's, either. Darcy is never seen by anyone as a sexual threat no matter how "bad" he's supposed to be. No one is concerned about any danger he might pose to their daughters or sisters. Kitty is afraid of him, but because she's easily intimidated rather than any sense of actual peril. Even another man, Mr Bennet, seems genuinely surprised to discover late in the novel that Darcy experiences attraction to anything other than his own ego.

I was thinking about this because of how often the concept of Darcy as an anti-hero before Elizabeth "fixes him" seems caught up in a hypermasculine, sexually dangerous, bad boy image of him that even people who actively hate him in the novel never subscribe to or remotely imply. Wickham doesn't suggest anything of the kind, Elizabeth doesn't, the various gossips of Meryton don't, Mr Bennet and the Gardiners don't, nobody does. If anything, he's perceived as cold and sexless.

Wickham in particular defines Darcy's villainy in opposition to the patriarchal ideal his father represented. Wickham's version of their history works to link Darcy to Lady Anne, Lady Catherine (primarily), and Georgiana rather than any kind of masculine sexuality. This version of Darcy is a villain who colludes with unsympathetic high-status women to harm men of less power than themselves, but villain!Darcy poses no direct threat to women of any kind.

It's always seemed to me that there's a very strong tendency among fans and academics to frame Darcy as this ultra-gendered figure with some kind of sexual menace going on, textually or subtextually. He's so often understood entirely in terms of masculinity and sexual desire, with his flaws closely tied to both (whether those flaws are his real ones, exaggerated, or entirely manufactured). Yet that doesn't seem to be his vibe to other characters in the story. There's a level at which he does not register to other characters as highly masculine in his affiliations, highly sexual, or in general as at all unsafe** to be around, even when they think he's a monster. And I kind of feel like this makes the revelations of his actual decency all along and his full-on heroism later easier to accept in the end.

------------

*The incompetently awful villain(?) in Sanditon, for instance, imagines himself another Lovelace (a reference to the famous rapist-villain of Samuel Richardson's Clarissa). Evelina's sheltered education and lack of protectors makes her vulnerable to sexual exploitation in Frances Burney's Evelina, though she ultimately manages to avoid it. There's frequently an element of sexual predation in Gothic novels even of very different kinds (e.g. Ann Radcliffe's The Mysteries of Udolpho and Matthew Lewis's The Monk both lean into this, in their wildly dissimilar styles). William Godwin's novel Caleb Williams, a book mostly about the destructive evils of class hierarchies and landowning classes specifically, depicts the mutual obsession of the genteel villain Falkland and working class hero Caleb in notoriously homoerotic terms (Godwin himself added a preface in 1832 saying, "Falkland was my Bluebeard, who had perpetrated atrocious crimes ... Caleb Williams was the wife"). This list could go on for a very long time.

**Darcy is also not usually perceived by other characters as a particularly sexual, highly masculine person in a safe way, either, even once his true character is known. Elizabeth emphasizes the resilience of Darcy's love for her more than the passionate intensity they both evidently feel; in the later book, she does sometimes makes assumptions about his true feelings or intentions based on his gender, but these assumptions are pretty much invariably shown to be wrong. In general the cast is completely oblivious to the attraction he does feel; even Charlotte, who wonders about something in that quarter, ends up doubting her own suspicions and wonders if he's just very absent-minded.

The novel emphasizes that he is physically attractive, but it goes to pains to distinguish this from Wickham's sex appeal or the charisma of a Bingley or Fitzwilliam. Mr Bennet (as mentioned above) seems to have assumed Darcy is functionally asexual, insofar as he has a concept of that. Most of the fandom-beloved moments in which Darcy is framed as highly sexual, or where he himself is sexualized for the audience, are very significantly changed in adaptation or just invented altogether for the adaptations they appear in. Darcy watching Elizabeth after his bath in the 1995 is invented for that version, him snapping at Elizabeth in their debates out of UST is a persistent change from his smiling banter with her in the book, the fencing to purge his feelings is invented, the pond swim/wet shirt is invented. In the 2005 P&P, the instant reaction to Elizabeth is invented, the hand flex of repressed passion is invented, the Netherfield Ball dance as anything but an exercise in mutual frustration is invented, the near-kiss after the proposal in invented, etc. And in those as well, he's never presented as sexually predatory, not even as a "villain."

[weary-hearted-art]

John Hoppner, Portrait of the Frankland Sisters, c.1795

[aralisj]

Don't mind me, just thinking about how Queen Charlotte is still dressing like it's the late eighteenth century forty years later, how it's portrayed as a deliberate choice with her entourage also echoing the same exaggerated rococo style, how Lady Danbury is shown to have moved on by adopting the regency silhouette, how Brimsley said the Queen's daughters wouldn't leave her because she was trapped in time, frozen...

[chiropteracupola]

castlevania, or, the Wrath of a Wife Guy Thwarted.

[marvelfilth]

The Witches Trap

Part 2

Pairing: dark!Wanda Maximoff x f!reader

Warnings: ghosts, description of death, paranormal activity, gore, blood, a bit of horror ig, typical ghost hunting stuff, nothing too scary tho

Words: 5.5k

Summary: you go ghost hunting with Peter, Yelena and Kate. What could go wrong?

A/n: first time trying out some spooky stuff, so bear with me. Heavily inspired by Sam and Coby on YT.

Masterlist

The way Yelena drives is far from smooth and sound, but she vehemently refuses to let Peter behind the wheel, so here you are, yelping and griping the sides of the driver's seat headrest like your life depends on it. You hiss when your head meets the roof, and Kate sends you another toothy smile from the front seat, her eyes flickering to look at Yelena every few minutes. You look to your right to check on Peter, but he is busy fumbling with equipment, his camera carefully stored away in a bag as he keeps checking the microphone.

You sigh and relax against the seat when the road finally smoothes out, and think about why you even agreed to this. Peter asked you to tag along for a new video for his YouTube channel, and by asked you mean begged you with his best puppy eyes and a bag of goodies in his hands. Apparently, if you agreed to go, Kate will go too. And if Kate goes, he won't even have to ask Yelena.

He was right.

So now the four of you are on the way to one of the most haunted places of America - Westview hotel.

"Are you sure this is the right way?" Yelena asks, turning her head left and right.

"Yes," Peter answers, glancing up for a second.

"Honestly, this is too creepy already," Kate mumbles, her eyes locked on the numerous dolls pinned to the trees surrounding the road.

"The owner probably made someone do that. No way they had this type of dolls back in the eighteenth century." You try to reassure Kate as much as yourself.

"Actually, the first doll like that was made-" Peter finally looks up with an excited glint in his eyes, and you immediately press your palm against his mouth, "No. I don't need to know that."

"Ha! Little Y/n is scared," Yelena laughs, but her laughter is cut short when a twig hits the side window, making her shriek like a maniac.

"This never happened," she grumbles when the laughter finally dies out.

Relaxing against the seat you try to remember everything Peter told you about this hotel.

It got notoriously famous in the late eighties, when a high schooler got possessed by a demon and later died in a psych ward. The room the girl stayed in was closed off for twenty years after that. You wonder if Peter managed to book it.

Another thing you remember is numerous sightings of a dark, cloaked figure appearing in most random places, whether it's a supply closet or a presidential suite. It always managed to scare the shit out of anyone who was unfortunate enough to catch its interest. You shudder at the mere thought of encountering that particular entity.

"We're here," Yelena cuts off the ignition, and leans against the wheel to take a look at the building.

Your breath catches in your throat the second your eyes land on the magnificent hotel. At seven stories high it stands proudly on a hill, overlooking the vast grounds. The facade is noticeably worn, but no less majestic - a blend of dark wood and stone, a balcony stretching along its entire length. A dark figure on the corner of the rooftop makes you squint, and you gasp when you realize it's a gargoyle, albeit a very rickety one. You make a note to yourself not to walk under it.

Yelena ushers you along, shuddering as she notices the stone figures. “The air here is kinda thick,” she mutters.

You nod, feeling your chest tighten. She's right - the air grows heavier with each step you take. You hope the hotel itself is ventilated enough.

When you finally step inside you take a deep breath, looking around the foyer and spotting who you presume is the owner.

"Welcome to Westview Hotel! My name's Agatha, I'm the owner of this happy little place and your guide for today. Hope you have the worst time of your life here!" Her voice is too cheerful for the late hours, and you cringe at the full on villainous laugh she lets out.

Peter goes to speak with the woman while the rest of you look around. Yelena plops on the loveseat, her backpack thrown on the carpeted floor near her feet, and Kate just stands beside you with her mouth hanging open - you're sure you're wearing a similar expression.

While the outside of the hotel looked somewhat old and weathered, the inside completely blows you away with its beauty. It's elegant, if a bit eerie, with a grand chandelier and high arches that make the space feel even bigger.

You frown, sensing someone's eyes on you, and notice Peter glancing in your direction every so often. You send him a questioning look, but he only shakes his head, his lips pressed together and his cheeks puffed.

"Do you think he's going to sacrifice one of us to that witch? Scarlet Witch, right?" Yelena muses.

"Yeah, but I don't think you're her type." Kate winks at the blonde.

You snicker at her annoyed expression, and stumble back, accidentally bumping into someone. You turn around, an apology on your tongue, only to choke on your words when you are met with an empty lobby.

Your friends stare at you quizzically, but Agatha seems to be lost in thought, her eyes trained on the space right above your shoulder, then she slightly shakes her head, her lips pressed in a tight line.

"Sorry. I thought I bumped into someone…" You trail off, your back burning, an eerie feeling settling in your stomach.

"Sure thing, buttercup." Agatha winks at you, her mood changed back to normal in an instant.

You shudder, looking back at your friends. Yelena whispers something in Kate's ear that causes the younger one to chuckle, and Peter has his camera pointed at you.

"We already got some paranoid activity ten minutes into the night," he blabbers behind the camera, motioning for you to explain what happened.

"Um... It felt like I bumped into someone?" Talking to a camera is weird, but you manage to explain what you felt. "... I think it was nothing though, just my nerves acting up." You force a chuckle, your eyes moving to meet Agatha's stare.

She moves closer to be in the frame, and tells everyone about how much the Scarlet Witch loves to mess with younger women, her favorite pastime in this hotel seems to be entertaining the ladies. However, her idea of entertainment slightly differs from yours, and you gulp when Agatha mentions her choking sleeping guests and locking them in elevators.

"This is going to be incredible, guys," Peter says to the camera, his excitement too contagious for you to worry about your safety.

×××

The next two hours are spent walking behind Agatha and listening to her stories about various tragic deaths that occured in this hotel over the past hundreds of years. She stops every ten minutes or so in front of different rooms, each story worse than the previous one, and you shudder when she tells you a story of a woman buried alive in one of the walls, Agatha's hand casually resting on said wall.

She is telling you another story about a guy that danced on a ledge to impress a girl and fell on one of the spikes in the lobby, when you suddenly feel a tug in your chest. You stop, checking to see if anyone else felt that. Kate is staring at the ledge with her mouth wide open, Peter's busy filming Agatha and butting in with commentary (much to Agatha's displeasure), and Yelena grips Kate's hand so hard, you are sure she couldn't possibly see anything other than the wall in front of her.

You exhale and look around, trying to spot anything interesting, even though you've been looking at the same set of stairs for the past ten minutes. Strangely enough, you notice a door that surely wasn't there before, because you would've noticed it right away if it was.

While every part of this hotel was renovated, this door looks like it belongs in the past, with heavy iron hinges and a weird looking handle. There are no signs on the door, nor any numbers or words, and when something tugs on your hand, you follow the feeling.

You walk almost in haze, your friends' voices blurred in the background, unfamiliar warmth surrounding you, your chest lighter than it ever was and your mind in a euphoric state. You turn the knob and it gives in, the door rattling loudly as you tug it open, but before you could even glimpse inside, a hand slaps harshly on the wood, the door closing with a loud creak.

You blink owlishly, warmth gone and your head suddenly clear, as you take in Agatha's furious expression.

"It says 'Employees only'," she hisses through gritted teeth, and you step away from the woman.

"No, it doesn't, there's noth-" you choke on your words when you look back at the door, because now it looks like every other door in the room, 'Employees only' written in bold.

You look back at Agatha and apologize, but it seems like she doesn't hear you, her brows furrowed and her eyes flickering between you and the door.

"Okay that's hella creepy," Kate breaks the silence, her unoccupied hand digging in a pocket of her jeans to present a cross. "God will protect us." She puts it around her neck, and nods to herself.

"You don't even believe in God." Yelena jams her in the ribs, not letting go of the brunette's hand.

"You really should," Agatha casually advises, tugging at your elbow to move you further away from the door, "follow me, I'm going to tell you the story of the Scarlet Witch."

You cast one last look at the door and follow her down the hall to the very last room, something warm pressing at the low of your back to lead you. Shuddering at the feeling, you wonder why it is only you who feels something weird. Kate keeps sending you worried looks, but, other than that, she seems okay with Yelena's hand pressed firmly into her side. Peter isn't fazed at all, excitingly recording everything in sight.

Exhaling, you try to relax. If something here wants to harm you it wouldn't use such a gentle approach.

Or maybe it's just luring you in.

When you finally stop in front of room number 208 you feel a poke in your ribs, Yelena nods her head for you to look at Agatha, and you confusedly look up. Apparently, she wants you to open the door. Gulping, you move forward, your hand reaching on its own accord. You turn the doorknob with some hesitation, your hand trembling slightly. When you're met with a sight of a regular hotel room, you let out a quiet breath.

The walls are painted an unassuming beige, with green and brown accents, the earth tones bringing a feeling of calm. The four poster bed is pushed against the farthest wall, with nightstands on either side, and you could already imagine how soft it would feel to sleep in it. But the only thing that truly gets your attention is a floor to ceiling window and a french door, which hopefully leads to a balcony you spotted from the outside.

Agatha walks past you into the room, resting her weight against the foot of the bed. "It was locked," her eyes seem to be glued to yours as she speaks, "second locked door you opened today. I find that… interesting."

You are aware of Peter's camera being shoved right in your face, you're aware of Kate's hand reassuringly clasping your own, aware of Yelena's calming presence, but you are focused on something else entirely. There is this feeling again, now familiar warmth taking root in your chest, almost singing to you. You briefly close your eyes, savoring the sensation, wishing you could feel more.

"This is our most active room," Agatha says, "last year some teenagers decided to use a Ouija board in here and it got even worse. So you're in for a wild ride."

"This is nuts," Kate says from the other side of the room, trailing her hand over the painting of a burning witch.

"Oh, this actually happened here," Agatha drawls, taking note of your surprised faces, "almost a hundred young alleged witches were burnt at the stake here, on these grounds…" Agatha continues on with the story, but your eyes are stuck on Kate, on the other side of the room, your body frozen in shock. You can still feel what you thought was Kate's hand on your own, but with her standing on the other side of the room, and Yelena looking at you like you've grown two heads, you decide it's enough.

"Can you tell them to stop?" you shriek, stepping further into the room.

The warm feeling in your chest intensifies, the ghost of a hand sliding up your arm to settle on your cheek, turning your head to look at the painting. It's so gentle, so soft, it makes you lean your head in search of more.

"Them?" Agatha's voice grounds you. "I believe there's only one witch who is interested in you."

"What's going on?" Kate asks, moving away from the painting. Panic starts to rise in your chest, making you struggle to breathe. "Y/n, are you okay?" Kate's by your side in an instant, hands rubbing your sides, and you lay your head on her shoulder, silently reminding yourself that no ghost can hurt you.

"I thought you were standing beside me, I felt you take my hand, but you were on the other side of the room," you whisper against her shoulder.

"No. We're going back home." Yelena pales and tugs at your elbow, smacking the back of Peter's head with her other arm. "Your idiotic idea is going to give her a heart attack," she hisses and leads you to the door, hurriedly turning the knob.

It doesn't turn.

"What the fuck." She tries to open it again, and again, and again, until Agatha gets pissed and yells at her for trying to break the door.

"If she wants you to stay, you'll stay." She places her palm on the wooden door, and gives everyone a stern look.

"Say the word and I'll break that door open." Peter reappears by your side, looking guilty as ever, his camera now hidden away.

You take a deep breath and look around, now feeling much safer with all of your friends (and Agatha) by your side. The room looks like no one has touched it in years, and the warm, calming feeling in your chest only intensified after your little break down.

Maybe the witch just wants some company.

You meet Peter's eyes and manage a smile. "I survived Yelena's driving, I'm sure I'll be fine after this."

"Are you sure?" Yelena and Peter ask you at the same time.

"Yes, guys, I'm fine. I'm just not used to it like you are," you smile at Peter, and he nods in understanding.

He spent his college years filming in haunted places, a little hobby turned into a full time job as his channel grew bigger and bigger. Usually he invites his friend Wade to film together, but this time he really wanted you to come.

"Glad we settled that. Now sit," Agatha commands.

You take a seat on the bed, Yelena and Kate immediately placing their arms around you. Peter settles in a comfortable looking chair by the window, and Agatha stays standing, clearing her throat before venturing into the story of the Scarlet Witch.

"I'm sure you know that being a redhead, green-eyed, and exceptionally smart young woman in the 17th century meant one thing."

"Barbecue," Yelena mumbles, earning a scathing glare from the older woman.

"Yes. But here's the thing - the Scarlet Witch was never burned at the stake, and not because she was so good at staying hidden, but because she has never had a physical presence in this world, at least one that we know of. There's no proof of her existence, no paintings and no pictures, no sightings either."

Yelena shifts beside you. "Then how do you even know-"

Agatha cuts her off with another scathing glare, before continuing on. "We know because every single one of these poor women cried out her name before their inevitable death. They begged her to save them, but she never did."

"That still doesn't-"

"For the love of god, just shut up and let me finish!" The older woman shrieks, throwing her hands in the air. Momentarily closing her eyes, she clenches her jaw. "She never saved any of these poor girls, feeding on their fear, anger and desperation. She enjoyed what was happening. Hell, she spurged it on, manipulating minds, changing people until they became unrecognizable, and after this hotel was built she took charge, driving owners and residents away, leading people to their inevitable death, and lately possessing unsuspecting women. All of those poor people had one thing to say - 'it was the Scarlet Witch'." She shifts on her feet, turning to look out the window. "Hundreds of years of terror, but there was one good thing she's done. There was a particularly nasty witch trial, the poor girl was accused of seducing a priest's daughter. Imagine the horrors she was bound to be faced with if they got their hands on her. They never did, she escaped their clutches, and every single man involved in the hunt on the girl was brutally murdered. The girl died of old age in the safety of her own home, forever protected by the magic of the Scarlet Witch." Suddenly, her eyes lock on yours. "There's no trace of the Scarlet Witch, but there's a painting of the woman she saved. I'd show it to you, but for you it'll be the same as looking in a mirror, so I'll save myself the trouble."

Peter suddenly sits up straighter, nodding along to Agatha's words.

Kate slides her hand away from your shoulders. "Don't want to make her jealous or anything," she whispers, looking around.

"Do you say this to everyone or..?" You hesitantly speak up.

Her eyes turn serious, causing a chill to run down your spine. "Oh no, buttercup, you're a spitting image of the only woman she deemed worthy enough to save."

"She's not lying," Peter says, "that's actually the reason why I asked you to come." He sends you a sheepish smile, and shows you a picture on his phone. It's an old painting, weathered by time, but undoubtedly beautiful.

The woman looks just like you.

You gulp, your heart hammering in your chest. "Well, I'm not her."

"Maybe not. It's not like it matters." Agatha mumbles, standing up, a faraway look in her eyes. "She must've had her reasons to save the poor girl, and I suspect they were far from noble. Be careful." She looks at you one last time before turning to Peter. "Well, it's been fun entertaining you, but it's nearing midnight, so I'll leave you to your ghost hunting, or whatever it is that you're doing." Her lips purse at the numerous cameras Peter's unloaded from his bag.

"Wait!" You jump up, stalling Agatha. "How do you even know about what happened at the trials? Is there some kind of document?" You're aware of the absurdity of your questions, after all you are the one who experienced all of the activity so far, and while some of it could be blamed on your nerves or your brain playing tricks on you, the door accident still burns at the back of your mind.

"You don't believe me?" Agatha smirks, making you shift uncomfortably. "Don't worry, you'll see, you have a long night ahead." She sends you one last look, and easily opens the door before disappearing behind it.

You fall back on the duvet, pressing your palms against your face. The past hour puts an uncomfortable weight on your chest, and you struggle to wrap your mind around the fact that you're probably going to be targeted even more as the night goes on, either by your terrified, overly anxious mind, or the Scarlet Witch.

The warm feeling you felt when you first stepped into the room slowly disappeared, leaving you to wonder if it's done its job in luring you in.

"Okay, it's time to-"

"We're not using a Ouija board."

"- light up some candles." Peter says, looking quizzically at Yelena. "I'm not stupid, you know." He huffs, rolling his eyes.

You snort, shaking your head at your friends' antics. "Why do we need candles?"

Peter rolls his eyes. "To communicate with ghosts."

"Don't you have some fancy tech for that?"

"I prefer to keep it simple," he shrugs.

You share a look with Yelena. "And we'll be left talking to the AC," you mumble loud enough for Peter to hear and send you a middle finger.

"There's no AC in this room. Some people use flashlights, but I prefer candles. We'll also use a spirit box."

"We're not catching any spirits in a box, right?" You sit up, eyes darting between your friends.

Peter sighs and goes on a rant about his tools, explaining how everything works. To your great relief, you won't have to catch anyone, just put on a blindfold, some noise canceling headphones, and let some spirit talk though one of you.

"Sounds fun," Kate gulps.

"I'm not doing that." You shake your head, crossing your arms.

Peter looks up from the floor, where he adjusts the rem pod, the piece of equipment going off when he touches it with a tip of his finger, calibrating the sensitivity. "Yelena will do that."

It's almost comical how far Yelena's jaw falls. "And why is that, Parker? Why don't you let some spirit use you as a radio?"

"Um… my tarot reader told me you'll do best out of all of us."

Kate starts cackling like a maniac, clutching her stomach and bending over. You can't help laughing either, burrowing your face into the pillow to keep quiet.

Yelena continues arguing with Peter, and you decide to leave them to it and satisfy your curiosity. You smile at the questioning smile Kate sends you, and gesture to the balcony door.

You were right, it is the balcony you saw from the outside, stretching all the way to the other side of the hotel. You sigh and lean against the railing, taking in the view. If you thought it looked terrifying on the way here, it looks even worse from high up. Moonlight shines on crooked trees surrounding the land around the hotel, dark and menacing, broken branches hanging on the last threads. There is a well within walking distance, not too far away from where you parked the car. You swear to yourself you won't let Peter drag you over there, it looks way too creepy.

You finally relax, letting your eyes fall shut for a second, but a blurry movement to your left forced them open. You grip the railing, squinting.

Nothing.

"What the fuck." Kate's voice sounds from the inside, and you rush back just in time to see her exit the adjoined bathroom, snapping the door shut with a terrified look on her face. "No. Oh fuck no. Oh no, no, no."

Peter sits up, alarmed. "What is it?"

"There's blood on the mirror," she whispers, her hands shaking violently, "and in the tub, and on the floor."

Peter immediately gets up, taking the only camera that's been filming the whole time with him. You follow your friend, not paying attention to your shaking hands and your hammering heart.

When the door opens you see a pristine bathroom, so clean it's almost mocking. He inspects every corner from every possible angle, only to come up short.

"Guys?" Kate calls out from behind the door. "Are you good?"

"There's nothing he-" you freeze mid sentence when your eyes land on the mirror.

It's fogged up, one word clearly written.

Your name.

You reach out - not of your own violation, your hand guided by some unseen force - and touch the reflective glass right where your name is. You're hit with a vision, bits and pieces of what feels like distant memory escaping the prison your mind put them in.

You see a wrinkled face of an old man, his expression pure disgust as he spews something right in your face. The scene changes abruptly, and now you're in a dark cell, with only the moon to keep you company. Your heart clenches at the pure anguish you're hit with, the desperation drowning you, leaving you no room to breathe. There's a sudden blur, and everything turns blinding white, and then… you feel that warmth again. A woman stands in front of you, reaching out, her eyes glinting red. She looks ethereal, her skin pale, almost sheer, her unruly hair pushed back by a red tiara. You gulp, feeling the power radiating from her, chest aching with the need to submit to it.

You stumble away from the mirror. There's no warmth in your chest now, only pure, unconcealed dread. You lean against the door, palms pressed to your face. Peter doesn't dare breathe, his hands only shaking slightly as he makes sure to get it in the frame.

"Where did you just go?" He whispers, not daring to speak any louder.

You shake your head, blinking back tears. "Tell me you did this. Tell me it's a prank."

He looks at you, eyes full of fear. He bites on his lower lip, eyes wide. "I did this. I totally did this." He nods rapidly, ushering you out of the room.

Kate and Yelena wait on the other side, each holding a candelabra. You don't even bother to ask where they found them, heading straight to the balcony for a breath of fresh air while Peter explains what happened.

You look at the full moon, rubbing your chest in tight circles.

Breathe in. Breathe out.

Again, and again.

The floorboards of the balcony creak, along with the railing, and you wonder if it's all gonna fall to the ground, and bury you in a mess of wood and cement. Maybe that's what the witch wants - for you to stay here forever.

You feel the remains of that need, that hunger for the witch. You long to see her again, even if it's just a glimpse, a whiff of her presence.

When you come back, the lights are off, and Peter is already asking questions, Yelena's terrified expression telling you everything you need to know about the answers they've been provided with.

The candle on the nightstand goes out, and Peter blinks, looking at you. "Weird."

"What?" You ask, looking around, hair on the nape of your neck standing up.

"He asked the ghosts if they wanted us to leave." Kate answers.

"That means they do." Yelena points at the candle.

You shiver, a breeze from the balcony making you curl in on yourself, eyes flickering to every dark corner of the room, flinching whenever you see shadows from the moonlight that look a little too ominous.

Someone is watching you, you're sure. A part of you hopes it's her.

"And why is that weird?" You ask Peter, watching as he collects the candles. You sigh in relief, glad to have missed the conversation.

"I thought they liked us - you - at least," he mumbles.

"Maybe they want us gone so the witch can have some alone time with Y/n." Yelena's brows jump up and down suggestively, and you can't help, but laugh, some of the tension finally seeping away.

That is, until the last candle on the nightstand lights up again, completely on its own.

Peter staggers back, dropping the stack in his hands. "No fucking way," he whispers, "that never happened before."

He pulls back to check the camera, making sure it's still recording.

"That's a yes, right?" Kate gulps, looking at you with wide eyes. "She wants you wants you. It's not a coincidence."

You take a seat on the rocking chair in the corner and close your eyes, reminding yourself that nothing here could ever hurt you. It doesn't really work when you still feel eyes on you. Your hands tremble, and your legs feel too heavy to stand on. Every sound is amplified, your senses going into overdrive, so when a clock stops ticking, you immediately notice.

The clock reads 12:08, the hands still for a moment, before resuming their course.

You're slowly starting to wish you never agreed to come to this place.

Agatha's words ring in your head. What if the witch thinks you're that poor girl? That'll explain the witches' interest in you. Maybe she made you see those visions to help you remember.

But… What if it's not even her that's been following you? What if it's one of the dark entities Agatha told you about? The thought makes you even more uncomfortable - you'd prefer the Scarlet Witch to haunt you instead of some dark, trapped soul, no matter how absurd it sounds.

"Hey," Kate approaches you.

You blink, and offer her a hesitant smile. "Yeah?"

"Are you okay?" She bites on her lip, her hands on your knees.

You nod, and take her hands in yours. "I'm fine. Just a bit shaken up."

She sighs heavily, head falling to rest on your lap. "Same," she mumbles, "I feel like a prey."

You rub her shoulders, hoping to ease some of her tension. "We'll be out of here in the morning."

She looks up, smiling. "Actually, we're not sleeping here. Peter said we'll try to talk to them one last time and then go."

You hum, wondering why the information makes you feel worse. Shouldn't you be relieved to leave earlier?

"Okay, come here," Peter calls, putting noise canceling headphones on Yelena's head.

Kate jumps up, her eyes lightening up at the sight of Yelena sitting rigidly on the chair, a blindfold and headphones in place. "Oh, this is gonna be good," she smiles, settling in front of the blonde.

Peter looks at you. "I think you should ask the questions."

You nod, biting on the inside of your cheek. You think of something appropriate to ask - something that would reveal information without offending any of the spirits here.

"Are we here alone?" You ask, and everyone turns to look at Yelena, awaiting an answer.

Yelena's head bobs up and down, like she's listening to her favorite song, but you know for sure it's just white noise.

"Hello," Yelena says, smiling slightly.

Not alone, then.

You nod, and Peter gestures for you to continue.

"My name is Y/n, what is your name?"

It's quiet for a little while, occasional squeaks from the balcony making you jump up and look around.

When Yelena doesn't answer, Peter decides to speak up. "Did you follow us here from the lobby? Was it you-"

"Shut up," Yelena barks.

Kate stumbles back on the floor, and settles against the foot of the bed. "Oh fuck."

Peter takes a step back, raising his hands in surrender. "Okay, okay. Sorry." He nods at you, urging you to continue.

"Do you not like him?" You ask.

"In… in the way…" her voice is unsure as she trails off.

"Peter's in the way? In the way of what?" Kate speaks up, looking at you.

"Deal," the blonde whispers, "owe."

Peter frowns. "You made a deal and you owe someone?"

Yelena purses her lips, tilting her head to the side like she can't quite figure out what is being said.

The bathroom door slowly creaks open.

"Are you in the bathroom?" Kate's voice shakes, and you take her hand, shuffling closer to the girl.

"Blood."

You exhale, looking at the open doorway with wide eyes.

Kate nods rapidly, her hand trembling. "There was a lot of blood. You scared the shit out of me."

Yelena chuckles, "Feed."

So whatever is here has been feeding on your fear.

"Who are you?" You ask again.

"You know," Yelena replies. "You all do."

"What's behind that door?" You have the strongest urge to go back there.

Yelena chuckles, shaking her head. “Go see for yourself.”

Light starts flickering, tears spring to your eyes, and you fight the urge to curl into a ball and cry. Yelena turns her head and sits up, leanings towards you.

"You forgot."

"Forgot about what?" You shudder, eyes darting between the door and Yelena.

"Our deal."

Peter darts to the other side of the room and snaps the door to the bathroom shut, his mouth set in a flat line. "We're leaving."

"She can't," Yelena singsongs.

"There's no deal. You're mistaken," Peter snaps, collecting the equipment.

"What deal?" You hesitantly ask.

Lightning strikes outside, a loud boom of thunder following. The painting of the burning witch falls.

"I own y-"

Peter tugs off the headphones, Yelena's mouth snaps shut. She tugs off the blindfold and blinks, brows set in confusion. "Are we gonna start any time soon?"

Kate groans, falling face first to the floor. "Fuck my life."

_______________________

Before you yell at me - yes, there will be a part two

[the-busy-ghost]

Oh I have just realised another petty grievance lies ahead of me- I want to put all my ‘modern’ literature in the lefthand bookcase, but it’s going to bug me that, reading left to right, the first book will not be the earliest book in terms of time period