December 9, 2025 • 35 mins
The Dybbuk Box is one of the most infamous haunted objects in modern paranormal history.
But behind the viral stories, the museum footage, and the online legends, there was something real: a chain of people who claimed that nightmares, shadows, sickness, and fear followed the small wooden cabinet wherever it went.
In this episode, join Robert Barber as he breaks down the original estate sale in Portland, Oregon, the early owners who tried to live with it, the curator who believed it carried a presence, and the moment the story exploded into the public imagination.
Some of it is verified.
Some of it is personal testimony.
Some of it is exaggerated.
But all of it adds up to one of the strangest modern hauntings ever recorded.
Is the Dybbuk Box a genuine haunting, the power of suggestion, or something in between?
Let’s look at what really happened.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_00 (00:01):
What would you do if you brought home something that
seemed completely harmless?
And within a few days, everyperson who touched it started
getting sick.
You're hearing slow footsteps inthe hallway when nobody's there.
You're smelling something sourand animal-like that doesn't
belong in your house.
(00:23):
You're waking up from the samenightmare over and over, heart
pounding, certain that someonewas standing right next to your
bed a second ago.
And every time you try to givethe item away, the person who
takes it ends up bringing itback and saying the same thing.
I don't want this.
(00:44):
Something's wrong with it.
That's what happened to a manwho bought a small wooden wine
cabinet at an estate sale inPortland, Oregon.
He thought it was just anotherantique he could clean up and
resell.
But once he opened it, lightbulbs started bursting.
Shadows began moving in emptyrooms.
(01:06):
People around him got sick.
And when the box finally lefthis hands, the nightmares didn't
stop.
They simply followed it to thenext person.
This is the story of thatcabinet.
The people who tried to livewith it, and the thing some of
them believed was attached toit.
(01:32):
Most haunted objects earn theirreputation slowly.
One person has something strangehappen.
Someone else adds theirexperience.
Details are passed around,retold, twisted, and years later
you end up with folklore.
The Dybbock box didn't needyears.
(01:53):
The first man who opened itreported strange activity almost
immediately.
So did the next owner and thenext.
Different houses, differentstates, different people, all
describing nearly the samepattern.
Nightmares that felt likeattacks.
Illness that seemed to flare uparound the cabinet.
(02:15):
Shadows where there shouldn't beshadows.
A thick, hostile feeling in theair when the box was in the
room.
Over time, parts of the storywere clearly exaggerated.
Some of it was turned into ahorror legend.
But underneath all of that,there's still a chain of events
that's hard to ignore.
(02:37):
And every link in the chainstarts at the same moment.
The moment someone lifted thelatch and opened that box.
I'm your host, Robert Barber,and tonight we're looking at a
(02:59):
small wooden cabinet that somepeople believe is one of the
most dangerous haunted objectsin America.
This is the story of the DybbockBox.
When you think of hauntedobjects, you probably picture a
creepy setting, a dark attic, alocked basement, an abandoned
(03:24):
building.
This story starts in a bright,ordinary house on a regular day.
In the late 1990s, an antiquedealer named Kevin Manis walked
into an estate sale in Portland.
This was just routine for him.
He ran a small shop, and mostweeks he was picking through
furniture, glassware, and oldartwork, trying to find pieces
(03:46):
he could fix up and sell.
The home belonged to a womannamed Havila.
She had survived the Holocaust,immigrated to the United States,
and built a life and familyhere.
By the time Kevin arrived, herchildren and grandchildren were
sorting through what she leftbehind.
There were piles of clothes, oldphotographs, dishes, and the
(04:10):
kind of furniture you see in alot of older homes.
Nothing about the house itselffelt threatening.
If anything, it felt tired.
A place where someone had liveda long, hard life, and that life
had simply come to an end.
On one of the pieces offurniture, almost tucked away in
(04:31):
plain sight, Kevin noticed asmall wooden cabinet.
It looked like a little wine boxwith a door and a set of
drawers.
The wood was worn but solid, thekind of piece that could be
cleaned up and sold to someonewho liked vintage things.
He picked it up, turned it inhis hands, and thought, this
will be easy to move.
(04:53):
When he asked about it, though,the mood in the room changed.
One of the family members tensedup and pulled him aside.
They told him quietly but firmlythat they did not want anyone
opening that cabinet.
Ever.
They didn't launch into a ghoststory, they didn't say it was
(05:13):
cursed.
They just looked at him and saidthey did not want it opened.
Kevin assumed it was asentimental issue.
Maybe it held something privateonce.
Maybe it reminded them ofsomething painful.
He offered to buy it.
They agreed.
But as they handed it over, theyrepeated the warning.
(05:35):
Please do not open it.
He heard the words.
He just didn't think they meantanything beyond emotion.
He put the cabinet in his car,brought it back to his shop, and
set it on his workbench.
And like most of us would, oncehe was alone, he gave in to
curiosity.
(05:56):
He unlatched the door and openedit.
Inside were small personalobjects, a lock of hair tied off
in a little bundle, a stone withHebrew letters carved into it,
two old pennies that haddarkened with age.
A dried rose brittle to thetouch, a tiny goblet, and
(06:18):
finally a candle holder thatlooked like it had been used and
carefully cleaned.
None of it looked dangerous.
There were no bones, no sigilsburned into the wood, just
things that felt like a privateritual, sealed inside a box and
hidden on a shelf.
He pulled the items out,examined them briefly, and set
(06:38):
them aside.
Then he locked up the shop forthe night and went home.
That should have been the end ofit.
Instead, that night, he woke upchoking.
In his dream, he was walkingthrough a place that felt
underground.
The air was heavy, the wallswere close.
He could hear his own footstepsand another set just behind him,
(07:02):
slightly out of sync with hisown.
Whoever was behind him neverspoke, never touched him, but he
could feel the presence closingthe distance.
Close enough that he could sensebreath on the back of his neck.
Every time he turned around tosee who it was, something rushed
him.
Not a clear face, not a body hecould describe, just the violent
(07:25):
impact of something lunging athim in the dark.
He woke up gasping, heartracing, with that leftover panic
you get after a bad dream, whereyour brain knows you are safe,
but your body is still suresomething is wrong.
In a horror movie, that would bethe moment where ominous music
kicks in and he instantlyconnects it to the box.
(07:47):
But in real life, he shook itoff, blames stress, and went to
work.
The next day at the shop, smallthings started going wrong.
He turned on the lights,starting to move around, and
within a short time, one of theoverhead bulbs made a sharp
popping sound and blew out.
A little annoying, but nothingmore.
(08:10):
He replaced it.
Later that day, another bulbwent.
Then another.
At first he thought it was justold wiring or cheap bulbs, but
the timing felt off.
They were not failing weeksapart, they were failing one
after another after that cabinethad arrived.
(08:30):
He started noticing movement inthe corners of the shop.
Not full figures, just darkshapes sliding along the walls
as if someone was walking justout of his line of sight.
Every time he turned to look,there was nothing there.
Then came the smell.
It started as a faint whiff atthe back of the shop, a sour
(08:54):
animal smell like cat urine thatseemed too strong and too
specific to ignore.
He assumed an animal had gottenin overnight.
He searched, he checked behindshelves, he looked for leaks,
mold, anything that mightexplain it.
There was nothing.
Oh, and the smell moved.
(09:16):
One day it would hit him when hewalked in the front of the shop.
Later, he could be in the officeand smell it there instead.
Always strong, always temporary,never traceable.
Even with all of that, he stilldidn't jump straight to the
haunted box.
He was an antique dealer.
(09:37):
Old stuff does weird things.
Old buildings do weird things.
It was unnerving, but not enoughto make him pack up his life and
run.
The moment that changed thingswas not about him at all.
It was about his mother.
He thought the cabinet mightmake a nice gift for her.
(09:57):
He cleaned it, polished thewood, and brought it to her for
her birthday.
She opened it.
She put her hands on it, andwithin minutes she collapsed.
She had suffered a stroke.
One moment she was standingthere, touching this little wine
cabinet.
The next, her body went slackand she dropped, her face
(10:20):
beginning to sag on one side asher speech blurred.
The family called an ambulance.
Doctors treated her and shelived.
But Kevin didn't forget what hehad just watched.
And in the back of his mind, itwas hard not to replay the
timing.
Later, when he visited her inthe hospital and brought up the
(10:41):
cabinet, she didn't gently sayno.
She became agitated.
With the limited movement andspeech she had, she made it very
clear she did not ever want thatbox near her again.
To Kevin, that was the firsttime the cabinet stopped being
an odd little antique andstarted to feel like a threat.
(11:02):
And when he tried to pass it onagain, that feeling only got
stronger.
After his mother refused to keepit, Kevin took the cabinet back
to his shop.
At this point, it was startingto feel like a problem he needed
to get rid of.
He gave it to a friend.
(11:22):
She brought it home, put it inher house, and within a couple
days called him back and said, Ineed you to come pick this up.
When he asked why, she didn'tlaunch into a big story.
She just said her house feltdifferent.
The air felt heavier.
The rooms felt tense.
She said it felt like her homewas mad.
(11:45):
Not haunted, mad.
Another friend agreed to takeit.
He kept it for about a week.
During that week, his hair beganfalling out in clumps in the
shower.
He felt exhausted and sick forno clear reason.
He didn't keep it long enough tosee if it would get worse.
(12:05):
He brought the box back to.
Someone else tried keeping it intheir bedroom.
They told Kevin that one nightthey woke up for no obvious
reason.
The room was quiet, the clockwas glowing on the nightstand.
When they looked towards thedoorway, they saw a woman
standing there, just inside theframe.
(12:26):
She looked older with sunkeneyes and a hollow expression,
like all of her energy had beenscraped out.
The figure didn't speak, didn'tmove, just stood there,
watching.
They quickly turned on the lightand the doorway was empty.
They didn't sleep in that roomagain while the cabinet was in
(12:48):
the house.
They pushed it out into anotherspace and told Kevin to come get
it.
By now it was not one bad eventtied to emotion.
It was a string of people indifferent homes describing
similar things.
A feeling of pressure in theair.
Nightmares that started onlyafter the cabinet arrived.
(13:10):
Shadows in doorways, illnessthat seemed to flare up and fade
away with the box.
Kevin knew the folklore aroundthe word that would eventually
stick to the story.
In Jewish tradition, a Dybak isnot a demon.
It's not some non-humancreature.
(13:31):
It's the spirit of a person whohas died and not moved on.
A soul that clings to a personor an object because of an
unresolved pain, guilt, ortrauma.
Not necessarily evil in theHollywood sense, but not
peaceful either.
He didn't claim he suddenlybelieved all of that, but he
(13:52):
couldn't ignore how closely theidea of something that clings
lined up with what he wasseeing.
Every time the cabinet left hishands, the same kind of problems
followed it.
Every time someone reached abreaking point, the box came
right back.
Eventually he decided he wasdone trying to place it with
(14:13):
people he knew.
He listed it for sale online.
He wrote a detailed description.
He didn't just say old winecabinet, good condition.
He wrote about the estate sale,the warnings not to open it, his
mother's stroke, the nightmares,the smell, the shadows, and the
(14:33):
reactions of the people who hadtaken it.
He didn't claim to havescientific proof.
He didn't label it a cursedobject.
He simply wrote down what hadhappened and said, in effect, if
you buy this, you are buying itwith all of that attached.
Someone still bought it.
A college student took it,brought it to the apartment he
(14:55):
shared with roommates, and setit up like a strange
conversation piece.
For a little while, it was ajoke.
Then it wasn't.
Within days, bruises startedappearing on their bodies.
Not from fights or accidents,just marks they couldn't
explain.
Electronics in the apartmentbegan to fail.
(15:15):
Devices that had worked finebefore started shorting out or
refusing to turn on at all.
Cold spots showed up in certaincorners of the apartment, where
you could walk through a doorwayand feel like you'd stepped into
a refrigerator, then walk twosteps further and feel normal
again.
The roommates reported waking upin the middle of the night with
(15:37):
the feeling that someone wasstanding next to their bed, even
when the room was dark and quietand no one else was awake.
After a short time, the noveltywore off.
They packed the cabinet back upand returned it, telling Kevin
they wanted it out of theirlives.
Different people, differentlocations, the same pattern.
(15:59):
Nightmares, shadows, sickness,and a final line that kept
repeating.
I do not want this.
(16:53):
The cabinet eventually landed inthe hands of a man named Jason
Haxton.
Jason worked as a museumcurator.
He had a background in historyand artifacts, and he was used
to handling objects that carriedstories with them.
When he learned about theDybbock box, he wasn't coming at
it as a paranormal investigator.
(17:14):
He wasn't trying to make a TVshow.
He was interested in why so manypeople seemed to have intense
experiences around the sameobject.
He decided to acquire the boxand see what happened if he
lived with it for a while.
He didn't have to wait long.
Almost as soon as it entered hislife, he began to notice
(17:36):
changes.
He developed strange welts andrashes on his skin.
They would flare up, then fade,then flare again with no clear
trigger.
He went to doctors.
They looked for allergies, skinconditions, anything obvious,
and they couldn't give him asolid answer.
He started waking up at night,gasping for air, feeling like
(18:00):
someone had been pressing downon his chest while he slept.
There's a medical term for thatkind of sensation, sleep
paralysis.
But for him, it didn't feel likea random one-time episode.
It kept happening.
Around the house, he began tohear sounds that didn't match
the environment.
(18:21):
Soft voices, like someone havinga low conversation in the next
room, just quiet enough that hecouldn't make out the words.
He would step into that room andthe sound would stop.
He saw shapes pass behinddoorways the same way Kevin had.
Quick, shadowy movement, nottied to any person he could
find.
(18:41):
And then the dream started.
When he later heard Kevindescribe his own nightmares, the
similarity was unsettling.
The dark place, the footstepsbehind him, the sense that
something was slowly closing in,the rush of impact when he
turned to face it.
As a museum professional, Jasonalso had colleagues and visitors
(19:05):
around him to observe.
He kept noticing that people whospent time near the cabinet
would sometimes complain ofdizziness or nausea.
Some felt pressure in theirheads, like a sudden headache
hitting only when they were inthat space.
Visitors who didn't know muchabout the story still walked
away saying there's somethingwrong with that thing.
(19:28):
At a certain point, Jasondecided it wasn't safe to keep
the cabinet sitting out in hishome, the way that you might
display a normal artifact.
He commissioned a larger woodenchest and lined it with gold,
hoping that the combination ofphysical layers and symbolic
protection would act as abarrier.
He placed the cabinet inside,closed it up, and left it there.
(19:52):
And after that, he said, hishouse began to feel like a
normal house again.
The nightmares eased.
The physical symptoms calmeddown.
The atmosphere lightened.
For years the Dybbock box fadedfrom public view.
It was not gone, but it was noton display for crowds either.
(20:14):
Jason didn't give out the exactlocation where it was kept.
He simply told people hebelieved there was something
attached to that cabinet thatfit the idea of a Dybbock.
Not a demon in the popularsense, but a restless presence
that clung to the object.
And for a while, that is wherethe story rested.
(20:35):
Until the box came out again.
Years later, the cabinet wasincluded in a private museum
collection focused on strangeand haunted objects.
By that time, the Dybbock boxalready had a reputation online.
(20:57):
There were articles, messageboard threads, and dramatic
retellings.
Some people thought it was oneof the scariest objects ever
documented.
Others thought it was just astory that got out of control.
But most of the people walkinginto the museum had not gone
down those rabbit holes.
They were there to see somethingunusual, maybe feel a bit
(21:20):
unsettled, then go home and geton with their lives.
The room where the cabinet wasdisplayed held other odd items,
but the Dybbuck box stood out.
Not because it glowed or hummedor did anything obvious, but
because it did almost nothing atall.
It sat in a case, small, closed,and still.
(21:44):
People would walk up to it, leanin to read the placard, and
that's when some of them startedto feel off.
Some visitors said that as theyapproached the case, they felt a
weight settle on their chest.
Not a heart attack, not fullpanic, just the feeling that
breathing had suddenly gotharder for no good reason.
(22:08):
Others reported feeling likesomeone had stepped in close
behind them in that intimate,uncomfortable way where another
person is just a little too farinside your personal space.
They would turn, expecting tosee another guest inches from
their shoulder.
No one was there.
A museum worker began to dreadwalking past the case.
(22:30):
They reported that when theystepped near it, the air
temperature seemed to dropsharply in that one spot.
There was climate control in thebuilding.
The room wasn't drafty, yetthere was this cold bubble
around the cabinet that didn'tdrift the way normal air does.
On its own, any of thoseexperiences could be chalked up
(22:50):
to nerves.
People go into haunted museumsexpecting to feel something.
The mind fills in the gaps.
But then the dream startedagain.
After visiting, a number ofguests reported having almost
the same nightmare.
They described walking through adark space where the walls felt
too close and the air felt toothick.
(23:13):
They could hear someone walkingbehind them, matching their
pace, getting closer with everystep.
They couldn't see a face.
They couldn't get a clear lookat whoever or whatever it was.
They only knew that when theytried to turn around, something
slammed into them, and that'swhen they woke up.
(23:34):
When those descriptions werecompared to Kevin's early
accounts and to what Jason hadwritten about his experience,
the shape of the nightmare wasnearly identical.
Different people, differenttimes, different places, the
same dream.
The cabinet was now lockedbehind glass and layered with
(23:55):
security.
No one was opening it, touchingit, or moving it freely through
their homes.
But if the stories are to bebelieved, the pattern hadn't
stopped.
It had simply moved from privatehouses into a public room.
But the story wasn't doneshifting because once the
Dybbock box went public,something unusual happened.
(24:19):
The experiences around it didn'tfade away with distance and
security.
They spread.
For years, the Dibbick box livedin a quiet corner of a private
collection.
It was behind glass.
It was locked.
It wasn't being passed fromperson to person anymore.
But that doesn't mean the storystayed contained.
(24:42):
At a certain point, the Dybbockbox stopped being a strange
object that a handful of peoplehad talked about, and it started
to move into something else.
It became a public legend, aviral story, a symbol.
And when that happened, theexperiences around it didn't get
weaker.
They got louder.
(25:04):
One of the moments that pushedthe Dybbock Box into mainstream
attention happened when awell-known musician visited the
exhibit.
Just Google Dibbock Box Musicianand you'll see for yourself.
He walked through the room,looked at the case, and spent
time close to the cabinet.
Nothing dramatic happened on thespot.
There was no shaking glass orsudden explosion of activity.
(25:28):
But soon after that visit, hewent through a stretch of events
that caught people's attention.
A near-miss plane emergency.
A robbery.
An accident that left himinjured.
And a series of frightening,chaotic moments all packed
together in a short window oftime.
None of those events proveanything.
(25:49):
Accidents happen.
Bad luck clusters sometimes.
People put patterns on thingsthat may not have any real
connection.
What made it stand out was theway people reacted.
The more the story circulated,the more people looked back at
that visit and said the samething.
It started after he saw the box.
(26:10):
At the same time, something elsewas happening on the other end
of the spectrum.
Skeptics and researchers begandigging into the history of the
cabinet, trying to sort out whatwas real and what wasn't.
People started asking pointedquestions.
They wanted documentation.
They wanted dates and names andreceipts.
(26:31):
And that's when another twistsurfaced.
Kevin Manis, the man who wrotethe original listing and told
the first full version of thestory, publicly admitted that he
had exaggerated and shaped partsof it.
He didn't say the counter washarmless.
He didn't deny every strangeevent.
But he did say that pieces ofthe narrative were crafted the
(26:54):
way that a writer shapes ahorror story.
In one moment, you had acelebrity streak of bad fortune
fueling belief.
In the next, you had the creatorof the original account saying
he'd added dramatic touches foreffect.
Both things happened at the sametime.
Both pushed the Dybbuk box intoa stranger space where fear,
(27:19):
folklore, personal experience,and doubt all collided.
And that's where the story sitswhen we look at it today.
Not simply in private homes, notsimply in a museum, but out in
the world, moving through popculture, skepticism, and belief
all at once.
(27:40):
And once you're standing in thatmiddle ground, the only way
forward is to pull back andseparate what we can confirm
from what we cannot.
Once you step back from the fearand look at the Dybbock box as a
case, you run into a wall thatshows up in a lot of paranormal
stories.
(28:01):
Some things are documented, somethings are personal testimony,
and some things are clearlystretched or dramatized.
And all of that is true at thesame time.
Here is what we can say withconfidence.
There really was a woman namedHavila whose belongings were
sold in Portland.
(28:22):
There really was a small woodencabinet that Kevin bought.
There really were objects insidethat multiple people saw.
Kevin really did write anextremely detailed listing about
the box and what he believed hadhappened around it.
A college student really did buyit and later reported disturbing
events in his apartment.
(28:44):
Jason Haxton really did acquireit and write a book about his
experiences.
His accounts have stayed mostlyconsistent.
Multiple people who spent timewith the cabinet describe
nightmares, physical symptoms,and strange activity.
Those accounts are written down,they're not anonymous internet
comments.
(29:04):
They came from people who puttheir names on the line.
Now the harder part.
We don't have medical recordsthat tie any one health event
directly to the box.
People get rashes, breathingproblems, strokes, and fatigue
for many reasons.
The timing, in some cases, isunsettling.
(29:26):
The connection from a scientificstandpoint is not proven.
Electrical problems canabsolutely be random.
Old wiring and cheap equipmentcan cause all kinds of strange
malfunctions.
The smell of cat urine could bemold, dead animals in the walls,
or any number of unpleasantthings.
(29:49):
There is no historical documentfrom Europe that mentions a
ritual to trap a dybic insidethis specific cabinet.
The idea that it was created forthat purpose seems to be more
interpretation and laterstorytelling than a traceable
fact.
And then there's the biggestcomplication.
Years after the story gainedfame, Kevin Manis admitted that
(30:12):
he had embellished parts of hisoriginal account.
He didn't claim he invented thewhole thing.
He did say that some of what hewrote was shaped for effect.
That doesn't automatically eraseeverything.
It does mean we have to put somedistance between the narrative
and reality.
(30:33):
Even so, Jason and others whohad the box in their possession
have not retreated from theirtestimonies.
They still insist that, whateverthe exact origin, something felt
off around that cabinet.
So the Dybbock box ends up in afamiliar, uncomfortable spot.
Half in the world of fact, halfin the world of story.
(30:57):
A real object with a real chainof owners, surrounded by layers
of experience, belief, folklore,and exaggeration.
For me, the scariest part of theDybbuk box is not the label.
It's not the word Dybbuk or theidea of a cursed wine cabinet.
(31:19):
It's the way the same kinds ofexperiences keep showing up in
different people's lives, indifferent places, years apart.
Nightmares with the same basicshape.
The feeling of someone behindyou getting closer.
The sudden pressure on yourchest.
The sense that the mood in ahouse is turned against you.
(31:40):
Humans are good at scaringthemselves.
When you expect to be afraid,your brain will gladly help you
out.
But not everyone in this storystarted with that expectation.
A lot of them were just tryingto live their lives.
They wanted a piece offurniture.
They wanted a curiosity.
They wanted something for theircollections.
(32:01):
They didn't go searching for ahaunting.
The haunting, if you take themat their word, found them.
I don't know if there is truly aspirit clinging to this cabinet.
I don't know how much of whathas been written about it is
literal and how much is a storythat just spiraled.
I do think objects can carryweight.
(32:23):
When something has been presentin the worst chapters of a
person's life, when it issilently sat in rooms where
people suffered, grieved, orhid, it's not hard to believe
that later owners might feelsomething heavy in its presence,
even if there's no ghost in thetraditional sense.
The idea of a Dybak is not abouta Hollywood demon.
(32:46):
It's about a person who diedwith something unresolved and
can't let go.
Put that idea on top of anobject that has passed through
real trauma, and you get a storylike this.
Maybe the box is haunted in theway people think, with a spirit
that reacts and pushes back.
Maybe it's haunted by memory, bysuggestion, by our own fear of
(33:08):
what we can't see but feelpressing in from the dark.
Whatever the answer is, theDibbo box has done something
very real.
It's left a trail of people whowalked away changed.
Some of them got rid of it andstill felt like it wasn't
entirely gone.
Some of them still won't talkabout it casually.
(33:31):
And even now, with the cabinetbehind glass and layers of
protection, people stand infront of it and say their chest
feels tight, their breathingfeels wrong, and they cannot
shake the feeling that someoneis right behind them.
Maybe that's imagination.
Maybe it's something else.
(33:51):
Either way, the story of theDybbuck box isn't finished.
It keeps being reopened.
Not by lifting the lid, but bytelling its story.
This has been State of theUnknown.
If you're listening on ApplePodcasts, leaving a rating or
review is one of the best waysyou can help the show grow.
(34:13):
It takes just a few seconds andit really does make a difference
in how the show is found.
If you're on Spotify, all youhave to do is tap the stars.
There's also a poll under thisepisode.
Tap in and tell me what youthink the Dybit Box really is.
A genuine haunting, the power ofsuggestion, or something in
(34:34):
between.
Thank you so much for spendingtime exploring the unknown with
me.
If you have an idea for a futureepisode or a story from your own
life that you think fits what wedo here, you can reach me
anytime at state of theunknown.comslash contact.
You can send me an email messagethere or even a voice message.
(34:58):
Until next time, stay curious,stay unsettled, and remember
some objects are not meant to beopened.
What would you do if you brought home something that
seemed completely harmless?
And within a few days, everyperson who touched it started
getting sick.
You're hearing slow footsteps inthe hallway when nobody's there.
You're smelling something sourand animal-like that doesn't
belong in your house.
(00:23):
You're waking up from the samenightmare over and over, heart
pounding, certain that someonewas standing right next to your
bed a second ago.
And every time you try to givethe item away, the person who
takes it ends up bringing itback and saying the same thing.
I don't want this.
(00:44):
Something's wrong with it.
That's what happened to a manwho bought a small wooden wine
cabinet at an estate sale inPortland, Oregon.
He thought it was just anotherantique he could clean up and
resell.
But once he opened it, lightbulbs started bursting.
Shadows began moving in emptyrooms.
(01:06):
People around him got sick.
And when the box finally lefthis hands, the nightmares didn't
stop.
They simply followed it to thenext person.
This is the story of thatcabinet.
The people who tried to livewith it, and the thing some of
them believed was attached toit.
(01:32):
Most haunted objects earn theirreputation slowly.
One person has something strangehappen.
Someone else adds theirexperience.
Details are passed around,retold, twisted, and years later
you end up with folklore.
The Dybbock box didn't needyears.
(01:53):
The first man who opened itreported strange activity almost
immediately.
So did the next owner and thenext.
Different houses, differentstates, different people, all
describing nearly the samepattern.
Nightmares that felt likeattacks.
Illness that seemed to flare uparound the cabinet.
(02:15):
Shadows where there shouldn't beshadows.
A thick, hostile feeling in theair when the box was in the
room.
Over time, parts of the storywere clearly exaggerated.
Some of it was turned into ahorror legend.
But underneath all of that,there's still a chain of events
that's hard to ignore.
(02:37):
And every link in the chainstarts at the same moment.
The moment someone lifted thelatch and opened that box.
I'm your host, Robert Barber,and tonight we're looking at a
(02:59):
small wooden cabinet that somepeople believe is one of the
most dangerous haunted objectsin America.
This is the story of the DybbockBox.
When you think of hauntedobjects, you probably picture a
creepy setting, a dark attic, alocked basement, an abandoned
(03:24):
building.
This story starts in a bright,ordinary house on a regular day.
In the late 1990s, an antiquedealer named Kevin Manis walked
into an estate sale in Portland.
This was just routine for him.
He ran a small shop, and mostweeks he was picking through
furniture, glassware, and oldartwork, trying to find pieces
(03:46):
he could fix up and sell.
The home belonged to a womannamed Havila.
She had survived the Holocaust,immigrated to the United States,
and built a life and familyhere.
By the time Kevin arrived, herchildren and grandchildren were
sorting through what she leftbehind.
There were piles of clothes, oldphotographs, dishes, and the
(04:10):
kind of furniture you see in alot of older homes.
Nothing about the house itselffelt threatening.
If anything, it felt tired.
A place where someone had liveda long, hard life, and that life
had simply come to an end.
On one of the pieces offurniture, almost tucked away in
(04:31):
plain sight, Kevin noticed asmall wooden cabinet.
It looked like a little wine boxwith a door and a set of
drawers.
The wood was worn but solid, thekind of piece that could be
cleaned up and sold to someonewho liked vintage things.
He picked it up, turned it inhis hands, and thought, this
will be easy to move.
(04:53):
When he asked about it, though,the mood in the room changed.
One of the family members tensedup and pulled him aside.
They told him quietly but firmlythat they did not want anyone
opening that cabinet.
Ever.
They didn't launch into a ghoststory, they didn't say it was
(05:13):
cursed.
They just looked at him and saidthey did not want it opened.
Kevin assumed it was asentimental issue.
Maybe it held something privateonce.
Maybe it reminded them ofsomething painful.
He offered to buy it.
They agreed.
But as they handed it over, theyrepeated the warning.
(05:35):
Please do not open it.
He heard the words.
He just didn't think they meantanything beyond emotion.
He put the cabinet in his car,brought it back to his shop, and
set it on his workbench.
And like most of us would, oncehe was alone, he gave in to
curiosity.
(05:56):
He unlatched the door and openedit.
Inside were small personalobjects, a lock of hair tied off
in a little bundle, a stone withHebrew letters carved into it,
two old pennies that haddarkened with age.
A dried rose brittle to thetouch, a tiny goblet, and
(06:18):
finally a candle holder thatlooked like it had been used and
carefully cleaned.
None of it looked dangerous.
There were no bones, no sigilsburned into the wood, just
things that felt like a privateritual, sealed inside a box and
hidden on a shelf.
He pulled the items out,examined them briefly, and set
(06:38):
them aside.
Then he locked up the shop forthe night and went home.
That should have been the end ofit.
Instead, that night, he woke upchoking.
In his dream, he was walkingthrough a place that felt
underground.
The air was heavy, the wallswere close.
He could hear his own footstepsand another set just behind him,
(07:02):
slightly out of sync with hisown.
Whoever was behind him neverspoke, never touched him, but he
could feel the presence closingthe distance.
Close enough that he could sensebreath on the back of his neck.
Every time he turned around tosee who it was, something rushed
him.
Not a clear face, not a body hecould describe, just the violent
(07:25):
impact of something lunging athim in the dark.
He woke up gasping, heartracing, with that leftover panic
you get after a bad dream, whereyour brain knows you are safe,
but your body is still suresomething is wrong.
In a horror movie, that would bethe moment where ominous music
kicks in and he instantlyconnects it to the box.
(07:47):
But in real life, he shook itoff, blames stress, and went to
work.
The next day at the shop, smallthings started going wrong.
He turned on the lights,starting to move around, and
within a short time, one of theoverhead bulbs made a sharp
popping sound and blew out.
A little annoying, but nothingmore.
(08:10):
He replaced it.
Later that day, another bulbwent.
Then another.
At first he thought it was justold wiring or cheap bulbs, but
the timing felt off.
They were not failing weeksapart, they were failing one
after another after that cabinethad arrived.
(08:30):
He started noticing movement inthe corners of the shop.
Not full figures, just darkshapes sliding along the walls
as if someone was walking justout of his line of sight.
Every time he turned to look,there was nothing there.
Then came the smell.
It started as a faint whiff atthe back of the shop, a sour
(08:54):
animal smell like cat urine thatseemed too strong and too
specific to ignore.
He assumed an animal had gottenin overnight.
He searched, he checked behindshelves, he looked for leaks,
mold, anything that mightexplain it.
There was nothing.
Oh, and the smell moved.
(09:16):
One day it would hit him when hewalked in the front of the shop.
Later, he could be in the officeand smell it there instead.
Always strong, always temporary,never traceable.
Even with all of that, he stilldidn't jump straight to the
haunted box.
He was an antique dealer.
(09:37):
Old stuff does weird things.
Old buildings do weird things.
It was unnerving, but not enoughto make him pack up his life and
run.
The moment that changed thingswas not about him at all.
It was about his mother.
He thought the cabinet mightmake a nice gift for her.
(09:57):
He cleaned it, polished thewood, and brought it to her for
her birthday.
She opened it.
She put her hands on it, andwithin minutes she collapsed.
She had suffered a stroke.
One moment she was standingthere, touching this little wine
cabinet.
The next, her body went slackand she dropped, her face
(10:20):
beginning to sag on one side asher speech blurred.
The family called an ambulance.
Doctors treated her and shelived.
But Kevin didn't forget what hehad just watched.
And in the back of his mind, itwas hard not to replay the
timing.
Later, when he visited her inthe hospital and brought up the
(10:41):
cabinet, she didn't gently sayno.
She became agitated.
With the limited movement andspeech she had, she made it very
clear she did not ever want thatbox near her again.
To Kevin, that was the firsttime the cabinet stopped being
an odd little antique andstarted to feel like a threat.
(11:02):
And when he tried to pass it onagain, that feeling only got
stronger.
After his mother refused to keepit, Kevin took the cabinet back
to his shop.
At this point, it was startingto feel like a problem he needed
to get rid of.
He gave it to a friend.
(11:22):
She brought it home, put it inher house, and within a couple
days called him back and said, Ineed you to come pick this up.
When he asked why, she didn'tlaunch into a big story.
She just said her house feltdifferent.
The air felt heavier.
The rooms felt tense.
She said it felt like her homewas mad.
(11:45):
Not haunted, mad.
Another friend agreed to takeit.
He kept it for about a week.
During that week, his hair beganfalling out in clumps in the
shower.
He felt exhausted and sick forno clear reason.
He didn't keep it long enough tosee if it would get worse.
(12:05):
He brought the box back to.
Someone else tried keeping it intheir bedroom.
They told Kevin that one nightthey woke up for no obvious
reason.
The room was quiet, the clockwas glowing on the nightstand.
When they looked towards thedoorway, they saw a woman
standing there, just inside theframe.
(12:26):
She looked older with sunkeneyes and a hollow expression,
like all of her energy had beenscraped out.
The figure didn't speak, didn'tmove, just stood there,
watching.
They quickly turned on the lightand the doorway was empty.
They didn't sleep in that roomagain while the cabinet was in
(12:48):
the house.
They pushed it out into anotherspace and told Kevin to come get
it.
By now it was not one bad eventtied to emotion.
It was a string of people indifferent homes describing
similar things.
A feeling of pressure in theair.
Nightmares that started onlyafter the cabinet arrived.
(13:10):
Shadows in doorways, illnessthat seemed to flare up and fade
away with the box.
Kevin knew the folklore aroundthe word that would eventually
stick to the story.
In Jewish tradition, a Dybak isnot a demon.
It's not some non-humancreature.
(13:31):
It's the spirit of a person whohas died and not moved on.
A soul that clings to a personor an object because of an
unresolved pain, guilt, ortrauma.
Not necessarily evil in theHollywood sense, but not
peaceful either.
He didn't claim he suddenlybelieved all of that, but he
(13:52):
couldn't ignore how closely theidea of something that clings
lined up with what he wasseeing.
Every time the cabinet left hishands, the same kind of problems
followed it.
Every time someone reached abreaking point, the box came
right back.
Eventually he decided he wasdone trying to place it with
(14:13):
people he knew.
He listed it for sale online.
He wrote a detailed description.
He didn't just say old winecabinet, good condition.
He wrote about the estate sale,the warnings not to open it, his
mother's stroke, the nightmares,the smell, the shadows, and the
(14:33):
reactions of the people who hadtaken it.
He didn't claim to havescientific proof.
He didn't label it a cursedobject.
He simply wrote down what hadhappened and said, in effect, if
you buy this, you are buying itwith all of that attached.
Someone still bought it.
A college student took it,brought it to the apartment he
(14:55):
shared with roommates, and setit up like a strange
conversation piece.
For a little while, it was ajoke.
Then it wasn't.
Within days, bruises startedappearing on their bodies.
Not from fights or accidents,just marks they couldn't
explain.
Electronics in the apartmentbegan to fail.
(15:15):
Devices that had worked finebefore started shorting out or
refusing to turn on at all.
Cold spots showed up in certaincorners of the apartment, where
you could walk through a doorwayand feel like you'd stepped into
a refrigerator, then walk twosteps further and feel normal
again.
The roommates reported waking upin the middle of the night with
(15:37):
the feeling that someone wasstanding next to their bed, even
when the room was dark and quietand no one else was awake.
After a short time, the noveltywore off.
They packed the cabinet back upand returned it, telling Kevin
they wanted it out of theirlives.
Different people, differentlocations, the same pattern.
(15:59):
Nightmares, shadows, sickness,and a final line that kept
repeating.
I do not want this.
(16:53):
The cabinet eventually landed inthe hands of a man named Jason
Haxton.
Jason worked as a museumcurator.
He had a background in historyand artifacts, and he was used
to handling objects that carriedstories with them.
When he learned about theDybbock box, he wasn't coming at
it as a paranormal investigator.
(17:14):
He wasn't trying to make a TVshow.
He was interested in why so manypeople seemed to have intense
experiences around the sameobject.
He decided to acquire the boxand see what happened if he
lived with it for a while.
He didn't have to wait long.
Almost as soon as it entered hislife, he began to notice
(17:36):
changes.
He developed strange welts andrashes on his skin.
They would flare up, then fade,then flare again with no clear
trigger.
He went to doctors.
They looked for allergies, skinconditions, anything obvious,
and they couldn't give him asolid answer.
He started waking up at night,gasping for air, feeling like
(18:00):
someone had been pressing downon his chest while he slept.
There's a medical term for thatkind of sensation, sleep
paralysis.
But for him, it didn't feel likea random one-time episode.
It kept happening.
Around the house, he began tohear sounds that didn't match
the environment.
(18:21):
Soft voices, like someone havinga low conversation in the next
room, just quiet enough that hecouldn't make out the words.
He would step into that room andthe sound would stop.
He saw shapes pass behinddoorways the same way Kevin had.
Quick, shadowy movement, nottied to any person he could
find.
(18:41):
And then the dream started.
When he later heard Kevindescribe his own nightmares, the
similarity was unsettling.
The dark place, the footstepsbehind him, the sense that
something was slowly closing in,the rush of impact when he
turned to face it.
As a museum professional, Jasonalso had colleagues and visitors
(19:05):
around him to observe.
He kept noticing that people whospent time near the cabinet
would sometimes complain ofdizziness or nausea.
Some felt pressure in theirheads, like a sudden headache
hitting only when they were inthat space.
Visitors who didn't know muchabout the story still walked
away saying there's somethingwrong with that thing.
(19:28):
At a certain point, Jasondecided it wasn't safe to keep
the cabinet sitting out in hishome, the way that you might
display a normal artifact.
He commissioned a larger woodenchest and lined it with gold,
hoping that the combination ofphysical layers and symbolic
protection would act as abarrier.
He placed the cabinet inside,closed it up, and left it there.
(19:52):
And after that, he said, hishouse began to feel like a
normal house again.
The nightmares eased.
The physical symptoms calmeddown.
The atmosphere lightened.
For years the Dybbock box fadedfrom public view.
It was not gone, but it was noton display for crowds either.
(20:14):
Jason didn't give out the exactlocation where it was kept.
He simply told people hebelieved there was something
attached to that cabinet thatfit the idea of a Dybbock.
Not a demon in the popularsense, but a restless presence
that clung to the object.
And for a while, that is wherethe story rested.
(20:35):
Until the box came out again.
Years later, the cabinet wasincluded in a private museum
collection focused on strangeand haunted objects.
By that time, the Dybbock boxalready had a reputation online.
(20:57):
There were articles, messageboard threads, and dramatic
retellings.
Some people thought it was oneof the scariest objects ever
documented.
Others thought it was just astory that got out of control.
But most of the people walkinginto the museum had not gone
down those rabbit holes.
They were there to see somethingunusual, maybe feel a bit
(21:20):
unsettled, then go home and geton with their lives.
The room where the cabinet wasdisplayed held other odd items,
but the Dybbuck box stood out.
Not because it glowed or hummedor did anything obvious, but
because it did almost nothing atall.
It sat in a case, small, closed,and still.
(21:44):
People would walk up to it, leanin to read the placard, and
that's when some of them startedto feel off.
Some visitors said that as theyapproached the case, they felt a
weight settle on their chest.
Not a heart attack, not fullpanic, just the feeling that
breathing had suddenly gotharder for no good reason.
(22:08):
Others reported feeling likesomeone had stepped in close
behind them in that intimate,uncomfortable way where another
person is just a little too farinside your personal space.
They would turn, expecting tosee another guest inches from
their shoulder.
No one was there.
A museum worker began to dreadwalking past the case.
(22:30):
They reported that when theystepped near it, the air
temperature seemed to dropsharply in that one spot.
There was climate control in thebuilding.
The room wasn't drafty, yetthere was this cold bubble
around the cabinet that didn'tdrift the way normal air does.
On its own, any of thoseexperiences could be chalked up
(22:50):
to nerves.
People go into haunted museumsexpecting to feel something.
The mind fills in the gaps.
But then the dream startedagain.
After visiting, a number ofguests reported having almost
the same nightmare.
They described walking through adark space where the walls felt
too close and the air felt toothick.
(23:13):
They could hear someone walkingbehind them, matching their
pace, getting closer with everystep.
They couldn't see a face.
They couldn't get a clear lookat whoever or whatever it was.
They only knew that when theytried to turn around, something
slammed into them, and that'swhen they woke up.
(23:34):
When those descriptions werecompared to Kevin's early
accounts and to what Jason hadwritten about his experience,
the shape of the nightmare wasnearly identical.
Different people, differenttimes, different places, the
same dream.
The cabinet was now lockedbehind glass and layered with
(23:55):
security.
No one was opening it, touchingit, or moving it freely through
their homes.
But if the stories are to bebelieved, the pattern hadn't
stopped.
It had simply moved from privatehouses into a public room.
But the story wasn't doneshifting because once the
Dybbock box went public,something unusual happened.
(24:19):
The experiences around it didn'tfade away with distance and
security.
They spread.
For years, the Dibbick box livedin a quiet corner of a private
collection.
It was behind glass.
It was locked.
It wasn't being passed fromperson to person anymore.
But that doesn't mean the storystayed contained.
(24:42):
At a certain point, the Dybbockbox stopped being a strange
object that a handful of peoplehad talked about, and it started
to move into something else.
It became a public legend, aviral story, a symbol.
And when that happened, theexperiences around it didn't get
weaker.
They got louder.
(25:04):
One of the moments that pushedthe Dybbock Box into mainstream
attention happened when awell-known musician visited the
exhibit.
Just Google Dibbock Box Musicianand you'll see for yourself.
He walked through the room,looked at the case, and spent
time close to the cabinet.
Nothing dramatic happened on thespot.
There was no shaking glass orsudden explosion of activity.
(25:28):
But soon after that visit, hewent through a stretch of events
that caught people's attention.
A near-miss plane emergency.
A robbery.
An accident that left himinjured.
And a series of frightening,chaotic moments all packed
together in a short window oftime.
None of those events proveanything.
(25:49):
Accidents happen.
Bad luck clusters sometimes.
People put patterns on thingsthat may not have any real
connection.
What made it stand out was theway people reacted.
The more the story circulated,the more people looked back at
that visit and said the samething.
It started after he saw the box.
(26:10):
At the same time, something elsewas happening on the other end
of the spectrum.
Skeptics and researchers begandigging into the history of the
cabinet, trying to sort out whatwas real and what wasn't.
People started asking pointedquestions.
They wanted documentation.
They wanted dates and names andreceipts.
(26:31):
And that's when another twistsurfaced.
Kevin Manis, the man who wrotethe original listing and told
the first full version of thestory, publicly admitted that he
had exaggerated and shaped partsof it.
He didn't say the counter washarmless.
He didn't deny every strangeevent.
But he did say that pieces ofthe narrative were crafted the
(26:54):
way that a writer shapes ahorror story.
In one moment, you had acelebrity streak of bad fortune
fueling belief.
In the next, you had the creatorof the original account saying
he'd added dramatic touches foreffect.
Both things happened at the sametime.
Both pushed the Dybbuk box intoa stranger space where fear,
(27:19):
folklore, personal experience,and doubt all collided.
And that's where the story sitswhen we look at it today.
Not simply in private homes, notsimply in a museum, but out in
the world, moving through popculture, skepticism, and belief
all at once.
(27:40):
And once you're standing in thatmiddle ground, the only way
forward is to pull back andseparate what we can confirm
from what we cannot.
Once you step back from the fearand look at the Dybbock box as a
case, you run into a wall thatshows up in a lot of paranormal
stories.
(28:01):
Some things are documented, somethings are personal testimony,
and some things are clearlystretched or dramatized.
And all of that is true at thesame time.
Here is what we can say withconfidence.
There really was a woman namedHavila whose belongings were
sold in Portland.
(28:22):
There really was a small woodencabinet that Kevin bought.
There really were objects insidethat multiple people saw.
Kevin really did write anextremely detailed listing about
the box and what he believed hadhappened around it.
A college student really did buyit and later reported disturbing
events in his apartment.
(28:44):
Jason Haxton really did acquireit and write a book about his
experiences.
His accounts have stayed mostlyconsistent.
Multiple people who spent timewith the cabinet describe
nightmares, physical symptoms,and strange activity.
Those accounts are written down,they're not anonymous internet
comments.
(29:04):
They came from people who puttheir names on the line.
Now the harder part.
We don't have medical recordsthat tie any one health event
directly to the box.
People get rashes, breathingproblems, strokes, and fatigue
for many reasons.
The timing, in some cases, isunsettling.
(29:26):
The connection from a scientificstandpoint is not proven.
Electrical problems canabsolutely be random.
Old wiring and cheap equipmentcan cause all kinds of strange
malfunctions.
The smell of cat urine could bemold, dead animals in the walls,
or any number of unpleasantthings.
(29:49):
There is no historical documentfrom Europe that mentions a
ritual to trap a dybic insidethis specific cabinet.
The idea that it was created forthat purpose seems to be more
interpretation and laterstorytelling than a traceable
fact.
And then there's the biggestcomplication.
Years after the story gainedfame, Kevin Manis admitted that
(30:12):
he had embellished parts of hisoriginal account.
He didn't claim he invented thewhole thing.
He did say that some of what hewrote was shaped for effect.
That doesn't automatically eraseeverything.
It does mean we have to put somedistance between the narrative
and reality.
(30:33):
Even so, Jason and others whohad the box in their possession
have not retreated from theirtestimonies.
They still insist that, whateverthe exact origin, something felt
off around that cabinet.
So the Dybbock box ends up in afamiliar, uncomfortable spot.
Half in the world of fact, halfin the world of story.
(30:57):
A real object with a real chainof owners, surrounded by layers
of experience, belief, folklore,and exaggeration.
For me, the scariest part of theDybbuk box is not the label.
It's not the word Dybbuk or theidea of a cursed wine cabinet.
(31:19):
It's the way the same kinds ofexperiences keep showing up in
different people's lives, indifferent places, years apart.
Nightmares with the same basicshape.
The feeling of someone behindyou getting closer.
The sudden pressure on yourchest.
The sense that the mood in ahouse is turned against you.
(31:40):
Humans are good at scaringthemselves.
When you expect to be afraid,your brain will gladly help you
out.
But not everyone in this storystarted with that expectation.
A lot of them were just tryingto live their lives.
They wanted a piece offurniture.
They wanted a curiosity.
They wanted something for theircollections.
(32:01):
They didn't go searching for ahaunting.
The haunting, if you take themat their word, found them.
I don't know if there is truly aspirit clinging to this cabinet.
I don't know how much of whathas been written about it is
literal and how much is a storythat just spiraled.
I do think objects can carryweight.
(32:23):
When something has been presentin the worst chapters of a
person's life, when it issilently sat in rooms where
people suffered, grieved, orhid, it's not hard to believe
that later owners might feelsomething heavy in its presence,
even if there's no ghost in thetraditional sense.
The idea of a Dybak is not abouta Hollywood demon.
(32:46):
It's about a person who diedwith something unresolved and
can't let go.
Put that idea on top of anobject that has passed through
real trauma, and you get a storylike this.
Maybe the box is haunted in theway people think, with a spirit
that reacts and pushes back.
Maybe it's haunted by memory, bysuggestion, by our own fear of
(33:08):
what we can't see but feelpressing in from the dark.
Whatever the answer is, theDibbo box has done something
very real.
It's left a trail of people whowalked away changed.
Some of them got rid of it andstill felt like it wasn't
entirely gone.
Some of them still won't talkabout it casually.
(33:31):
And even now, with the cabinetbehind glass and layers of
protection, people stand infront of it and say their chest
feels tight, their breathingfeels wrong, and they cannot
shake the feeling that someoneis right behind them.
Maybe that's imagination.
Maybe it's something else.
(33:51):
Either way, the story of theDybbuck box isn't finished.
It keeps being reopened.
Not by lifting the lid, but bytelling its story.
This has been State of theUnknown.
If you're listening on ApplePodcasts, leaving a rating or
review is one of the best waysyou can help the show grow.
(34:13):
It takes just a few seconds andit really does make a difference
in how the show is found.
If you're on Spotify, all youhave to do is tap the stars.
There's also a poll under thisepisode.
Tap in and tell me what youthink the Dybit Box really is.
A genuine haunting, the power ofsuggestion, or something in
(34:34):
between.
Thank you so much for spendingtime exploring the unknown with
me.
If you have an idea for a futureepisode or a story from your own
life that you think fits what wedo here, you can reach me
anytime at state of theunknown.comslash contact.
You can send me an email messagethere or even a voice message.
(34:58):
Until next time, stay curious,stay unsettled, and remember
some objects are not meant to beopened.
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