Where the mansion stands in silent decay, it is more than timber and stone. It is a being, a living archive of despair and forgotten sins. Its windows gape like hollow eyes, unblinking and watchful, while the wind curls through its broken eaves with the murmurs of those who once lived within its walls. The garden is a jungle of tangled thorns, choking the ground, hiding secrets long buried. Every brick, every floorboard, every peeling wallpaper whispers in a language older than the earth, telling of betrayals, murders, and lives extinguished before their time. Inside, the air is heavy with a lingering chill. Dust motes drift through pale shafts of light like lost spirits, dancing to a rhythm only the dead can hear. And they do hear it. The dead stir within the mansion, clawing at ceilings, scratching at walls, crawling from floorboards with faces twisted in agony. Their fingers tear through paint and plaster, and their voices — a thousand voices, layered into one dreadful harmony — murmur the secrets that bind them here. They do not scream in terror; they whisper in accusation, their words laced with malice and sorrow, with the ache of unfinished lives. For some, the mansion’s decay is a promise of release. For others, it is a prison of eternal torment. Yet all know the same truth: their salvation lies not in flight, not in prayer, but in confession. Every sin, every betrayal, every act of cruelty, must be recounted, laid bare, spilled into the empty halls as if the walls themselves were hungry for truth. Only then — only when their stories are given voice — can they hope to taste the faintest hint of peace. The mansion remembers. Every life that passed through its doors, every whispered secret and shouted lie, is etched into its very foundations. The living who dare to enter do not simply walk into a house; they step into a living record of human folly. The mansion unfolds in impossible ways, corridors stretching into infinity, staircases looping back upon themselves, rooms appearing where no doors exist. Shadows cling to walls like dripping ink, sometimes solidifying into forms that watch and follow. Sometimes they are hands, sometimes faces, sometimes creatures too malformed to name. And always, always, the dead wait. The first arrival trembles on the doorstep, a scholar drawn by stories of the mansion’s cursed history. The air presses against her chest, thick and suffocating, yet the curiosity that brought her here outweighs her fear. She does not see them at first — only the faint shift of dust in the moonlight, the subtle creak of floorboards that should have remained still. And then they move: a face at the window, pale and silent, eyes wide and knowing; a hand emerging from a c***k in the wall, beckoning; a whisper curling through the halls, speaking of a sin she has not yet committed. She steps inside. The door groans shut behind her, the sound echoing through endless corridors as though the mansion itself is closing in, preparing for the telling of secrets. Somewhere above, a floorboard snaps, the sound sharp as a scream. Somewhere below, a shadow rises, coiling toward her, eager to witness the confessions she will soon deliver. The dead are many. They are mothers, fathers, children, servants, victims of circumstance, victims of violence, and even perpetrators themselves. Their faces are familiar, uncanny, reflected in mirrors that show not the living but the dead, staring back with hollow eyes that seem to pierce the very soul. Some murmur in soft, pleading tones, begging for release. Others shriek, angry and insistent, demanding acknowledgment, demanding to be remembered, demanding the stories that will free them from the mansion’s endless memory. One man is dragged into a room of mirrors, each reflection a replay of the life he lived. There, he sees the betrayal that he committed against his brother, the whispered lies to his lover, the crimes against strangers that never went punished in life. And every reflection moves independently, mocking him, stretching his guilt into a thousand twisted variations. He screams, but the mansion swallows it, folding his despair into the walls, feeding the air with the heavy pulse of remorse. Across the mansion, another victim — a woman whose heart betrayed her loyalty — finds herself in a nursery frozen in time. Toys litter the floor, dolls staring with lifeless eyes, rocking chairs moving as though unseen children occupy them. The whispers are louder here, voices of the children she ignored, scorned, or abandoned. Their small hands reach for her, but cannot touch; instead, they claw at the air, and the room seems to stretch, folding endlessly, keeping her trapped in a loop of maternal terror she cannot escape. The mansion does not discriminate. Its hunger is universal. The dead do not forgive.