🕯️ The House with the Spade A Mythveil Chronicle, drawn from the private archives of the Ordo Specter, North Sea District
Some houses do not stand empty—they stand silent. This one never spoke in words, yet it knew how to tell stories. Its windows were dull, as if someone had exhaled against them from the inside. The masonry was old, but not broken—just tired from bearing too much. It stood at the edge of a village you’d barely find on the oldest maps and which modern maps omit entirely, perhaps out of mercy. Wind and salt gnawed at it, but it held. Some said it was out of spite. Others said it was guilt.
The first to speak of it were children. They threw pebbles at the windows and ran off laughing—until the laughter stopped. Only the crunch of gravel remained under feet that didn’t return. A cat went missing. Then a dog. Then, one night, a girl. They said she ran away. Her mother said she went out the window—from the second floor. No tracks. No trail. Just gone.
Ten years, three tenants. One died. Heart attack, they said. The others moved away, quietly, like people ashamed to admit they’d seen what they’d seen.
But one stayed. A young man—historian, they called him. A recluse with notebooks full of spirals and arrows. He did not believe in ghosts. Until he spoke with one.
He wrote of cold air that crept through the walls at night. Dreams of soil and iron, of a voice—slow, deep—that whispered: “Do you see what I buried?” He drew floorplans, measured temperature shifts, noted that the mirrors never reflected what they should. In time, he began to write only by candlelight. Electric light, he said, was a liar. It silenced the things that wanted to whisper.
He found something in the basement. Or rather, he heard something. A voice that only came when his eyes were shut. It didn’t plead. It didn’t threaten. It told. About a man who hit a woman, then kissed her, then hit her again. Who called it love. About a night she didn’t get up. About a spade. About soil. About water. About silence. And about a house that stayed quiet so it wouldn’t scream.
The voice had no name, but the man gave her one: “The Returning One.” She came in dreams, in flickering reflections, in shadows just outside the frame. She asked not for justice—only memory. And the house remembered. The floorboards didn’t creak from weight. They creaked from guilt. The windows didn’t fog from weather. They fogged from things that breathed but had no lungs.
She was a Wraith, the Ordo Specter later concluded. A classic lingering echo, bound to location, object, and unresolved passion. The anomalies matched perfectly: auditory recursion, thermic fluctuations, object manifestation. (The spade was found—rusted through, but in a place no one had searched before.) The historian’s notes ended abruptly, with a sentence burned into the parchment:
“I forgave her. She did not forgive me.”
Today, the house stands empty. It is not for sale. It is not maintained. And when the sea fog rolls in at night, the house sometimes seems to weep—not with sound, but with presence. A pressure in the chest. A chill down the back. A sentence, uninvited, whispering in your thoughts:
“I am not the first to bury something here.”
This tale—slightly altered—was indeed reported in local media. An old house. A body in a well. A former tenant found dead. The rest was left out, or forgotten. But if you read it closely, it no longer feels like local folklore or tabloid ghost story. It reads like a chapter from the World of Darkness. But do not forget— this time, it is real.
