[MUSIC] Welcome to the other world. I'm your host, Jack Wagner. This episode is the first part of a series that we've been working on over the last year. It's about a young filmmaker named Clara, who lives in Quebec, and how a very brief interaction she had at a French film festival led to a bizarre series of events that completely upended her life and left her with a lot of unanswered questions. When I first spoke to Clara on the phone, it was very obvious how traumatized and frightened she still was by all of this. You could literally hear it in her voice. In fact, initially, she wasn't even able to say the name of the person who caused all of this out loud. She would just refer to him as the stalker. As she told me her story, I was not only captivated by it. I was also hoping that I might be able to help Clara find some answers and finally get some closure to this dark chapter in her life. This series, especially the beginning of it, is not as paranormal as our typical episodes, but it's very frightening and I think a good way to describe it is that it takes place within the world of spirituality and the esoteric. You'll understand what I mean by the end of the series. This episode is called The Stalker Part One and you're listening to other world. [Music] Hello? Is this Bobby? What are you? Is this Bobby? That's not it's core of the science you can't argue with. It's almost frustrating not to talk to you. I'm gonna die of budget. It's whimmed for just like the wrong. Everybody knows that I can do the right even if it takes time. [Music] Well, my name is Clara and I'm a filmmaker from Montreal. I've moved around in the world quite a bit so I lived in Europe. I lived a long time in Toronto, but essentially I'm from Quebec and this is where the French accent is from. Right now I work as a screenwriter and a filmmaker. I make films, I'm still in the early phase of my career so I'm mostly in short films right now, but I do tend to make films that are overseas so I've made so far like a film in Iceland, one in Manitoba, one in Corsica, and I do deal with, it's gonna make sense later, but I do deal a lot with the mystical in my film. I do love putting nature as a character in my pieces so my first film was about a volcano and the second was about the sun and so on. My first film, Asuka, got me to travel a lot in Europe and through one of these festivals in Normandy, my life took a really weird turn. I wasn't that curious about spirituality before making that film and even in the making of that film, I mean it was a weird context where I filmed it during COVID and I was supposed to make a music video out of this film and when I arrived there I discovered this beautiful island that was empty of people, of tourists because it was like deep, deep COVID. We had two Icelandic actresses and was just me and a DOP so we kind of traveled for this very mystical lands and we kind of got into this weird creative trans and so the film kind of wrote itself and it turned out to be mystical a little bit by mistake, a little bit because the environment is just so jaw dropping and so mystical that it just, the film soaked it up. I didn't know what direction the film would take and it did take that direction and every film that I've made afterwards did have this huge connection between human and nature and between human and transparency as a whole. Like I think there is a lot of things happening in what we can't perceive and I do like to talk about it through arts but I don't think I have any answers as to what the hell this soul is. I'm just curious and I am a visitor of different perspective or different environments and how they can impact our spirituality. But the film was kind of a big surprise from beginning to ends because, first of all I didn't really know that I was going to be making a film by going there. The film kind of happened to us and it did, it was kind of like this trans that got created as we went from location to location, we were kind of in a car and we would turn right or left and we would always end up at the right place. And then I added to this film alone at home, not speaking Icelandic, I wrote kind of the film after the fact based on the images. I did it really for myself, I did it to prove that I could do something that was proud of. And so I didn't really submit it to, or like I didn't find the distributor at first, I kind of started submitting it on my own, thinking that I would be really lucky if one festival took it. And one festival did take it and after that kind of everything unraveled, the distributor contacted us, said like I'm going to take this film and I'm going to take over the distribution aspects. And I realized that people are a lot more open than I thought about very, very underground black and white films in Icelandic. And so I got a lot of appreciation and that's when it started traveling. The film got into a festival where the Nivvivnav gave me an award. And so it kind of opened up all of the doors for me, like from the beat of an eyelash and I didn't know what I was getting into. I didn't know what I had on my hands and it's crazy. But it's really, it's like, you know, that story about the cavalry coming, like this is the story of the cavalry coming. So it's kind of my life really got flipped upside down by this film. And it brought me to go to Normandy to a festival called Truvil, which is kind of like a really small festival. It's like between French films and Quebec films. Kind of this little meeting of filmmakers. So I screened my film in like this gymnasium. The screen was pretty rough. Like you could see the line of the projector. The screen was kind of split in half. And we were sitting on like cafeteria chairs. So it wasn't like the most glamorous setting. But after that, we kind of all gathered in outside in this small venue where we all drank soda and calvados. I think it was kind of the festival's drink of honor. And that's kind of for, you know, for the seven, eight days of the festival, that's what we were doing every day. We would just kind of like gather and talk about films and talk about what had inspired us. And about our next projects, you know, like this, like typical film, small talk where not much is said, but you're kind of just happy to be surrounded by other artists and other filmmakers who have made it to a festival. Yay. And so I was maybe in a group of, you know, six, seven, not-or-film-makers. Some of them had their screening at the same time as me. So we were kind of just talking about the things that we appreciated about the other person's film. And then this really meek guy, he had like this boyish energy despite the fact that he was probably 30 or 40 years old, kind of Asia's actually. I remember him being smaller than everyone else or taking less space. And I know he didn't have a film there, but he didn't introduce himself as a filmmaker. And he congratulated me on my film and he, we started talking, but we were again in this circle of people. So it wasn't an intimate conversation at all. He asked me a few questions, I guess, about how I had attained the state of trans because the actresses in the film there are some scenes where they're venerating in volcano. So there is something translike about the acting. So I was telling him about, you know, canonizing this trans all together. And then I didn't really know what I was talking about. I still don't. I don't know what happened, but I was trying to improvise and I think he got really impressed by it. But the night took me somewhere else. So we probably talked for maybe five minutes, ten minutes at most. And I didn't know really what he was doing there because he didn't have a film there. And it wasn't, you know, it wasn't a film.
one of those festivals where you have people traveling from all over the world to watch films. It was really a local thing. I didn't exchange information. I don't even think I knew his name. I don't think we exchanged names. It's I even wouldn't even remember him. It was kind of, it was a really one of those 100 meetings that she would have in the day. And it kind of went into the background. And I didn't think about this person ever again until maybe eight months later. I think my film was pre-enewable on one of the last days. So after that, I hung out with the friends I had made there. We hung out at the beach a lot and each she's in tranquiline, just like what you do on a French beach. And then I went home. And I just carried on with my life. And that was in September of 2023. And I carried on with my life. And I think in April 2024, so about eight months later, I received a strange email from someone I don't know who's called Michael. And he basically says, hey, we met in a festival a while ago. And I know that you're shooting your next film in France pretty soon. And so if you need any help with connections or if you want advice with which producers to work with, let me know, because I'm also in cinema. And I think he finishes email with, by the way, I talk to trees a lot. And they have a message for you. So if you want to hop on a call, I'd love to transfer you this message that I have on behalf of the trees. Obviously, I'm a filmmaker. I love nature. Obviously, I was curious. And I said, OK, let's hop on a call. And I looked him up. And I looked up his name from his email and saw a face that was vaguely familiar. But he did have all the right information. We met at Twil. And we talked about your film. And I know that you're filming your next movie in France. And I'd love to help you or recommend producers or any help that you need making that film. I'm there for it, basically. Yeah, he finishes his email saying, by the way, I talk to trees and they have a message for you. So I was curious. We scheduled a call. I helped on a call. I'm like, what do you mean? The trees have a message for me. And I mean, I wish-- I could remember precisely what we said. But I remember. It was a pretty soothing call. It was kind of him saying, he said, yeah, I live in the forest. And I do hear messages in the leaves. And the leaves want to tell me-- or they give me the mission to tell you that they're looking out for you. And that nature has a hole in the trees or they love you, they're your garden angels. And they're there to protect you. And that's why you have a really good life right now. And that's why you feel taken care of because of the trees. And he said at the end of the call, he's like, you should go in a park and listen to them. You do have the capacity to hear them, too. So go to a park and talk to them. I thought it was funky. But it felt so good to hear as a message. And I did remember I left. I ended the call. I went to a park. And I did hug a tree. Like it was just like, oh, it feels good to feel taken care of. And it is a message that you want to hear. And that was it. That was like a beautiful little moment. I went back home. I forgot about the conversation again. I mean, it was just one of those strange things. But I, as a filmmaker, and I do make documentaries as well. I mean, I do encounter a lot of weird people. So I don't ask more questions than I need to. Or I tend to trust people even though they're a little bit strange. And I knew that this boy was a little bit strange. You can't relate to that. Yeah. I mean, strange people don't deserve to be discredited. Maybe they're just the expressors themselves differently or they have weird passions. But I mean, there's so much wisdom in weird passions and in weird observations. So I can't say that I didn't encourage that initial contact where I was curious. And I did thank him. And shortly after he contacted me again and he said, oh, I have a lot more to tell you, actually. But for me to tell you, I really need to come to Montreal and rent a cottage so that we can spend a few days in the forest. And I can teach you. Oh, boy. Yeah. Oh, boy. First friend flag. Yeah, I feel like this was Michael's idea. And other trees. Yeah. And that one I wasn't really down with. It wasn't using. I didn't feel like he was overly flirty about it. It was kind of like the first red flag. But I kind of just said no. I wasn't scared at that point at all. I said no, thank you. I'm preparing to shoot a film very soon. And I'm not in the mood. And he said, this is OK. OK, don't worry about it. But are you able to read my scripts and give me feedback on it? And as a screenwriter, I think it's really important when someone has a story to tell to help them tell the story. Because as a storyteller myself, I've required that help several times. Like, it's really, really important for other people to read your stories and give you their advice. And so I was kind of in a position where I'm like, yeah, I would never say no to something like that. And I accepted to read his scripts. And so he sent them to me. And I'm like, OK, I'll just contact you when I've read the scripts. And that's that. Like, thank you for the invites into a cottage in the middle of the forest. But no, thank you. But I think maybe like four days later, five days later, he calls me. And he says, Clara, I'm in Montreal. I'm like, what? What do you mean? He's like, yeah, I'm in Montreal. I'm like really looking forward to the comments you have on my scripts. Can we meet? I'm ready now. What are you doing today? I was like, OK. This is really intense. He flew to Montreal? Like, within days of our conversation about trees and about me accepting to read his script and give him feedback. I don't give freaked out really easily. And I was a lot more naive back then where I didn't-- I thought everyone was a protagonist, and everyone was nice. So I wasn't more-- I should have been a lot more freaked out than what I was. I was kind of shocked. I'm like, OK, this guy really wanted to find out about Montreal. This guy really wanted to take a leap and go in a foreign country and play the tourist. I didn't think it was necessarily related to me entirely. I think he was really excited about the meaning. But I wasn't necessarily freaked out. Did you even read the script yet? Yeah. Yeah, I did read the scripts. I'm a woman of my words. So I read his scripts. He had two or three scripts. And I think he said to me, I mean, he hadn't gone all the way from friends to Canada to-- I was hoping not just to meet me for this script meeting. But I felt really bad. I'm like, well, of course, he's gone all this way. I'm going to meet him and give him feedback. And hopefully, he's just really fascinated with Montreal. And he took advantage of this opportunity to visit the foreign country. And so I told him to make me a few days later in the park so that it was going to be as neutral as possible, not in a restaurant, not in a cafe in a park. And we did. We met in the park. We sat on the ground by a tree. And I gave him feedback for his scripts, which were very, very strange. I think one of his scripts-- it was a short film where the birds were talking to flowers. And I'm like, one of my first questions, like, is this supposed to be animated? Or is this supposed to be live motion? and he's like, yeah, it's live motion. Like, you know, I'm gonna have shots of the brain.
and we were gonna hear their voices as they talk to each other. And I was as kindly as possible, explaining to him that it's not quite my type of story, that I couldn't, I had a lot of trouble imagining it. And as we were talking about his crypt and I was trying to give him feedback, I remember, we were sitting on the ground in the grass and I remember his eyes kept going towards the ground. And I felt weird and at one point he just had this big smile on his face. Even though I was kind of bashing his story, he had this big smile on his face. I'm like, "What's going on?" And he's like, "Do you see this caterpillar?" And I saw this caterpillar that was starting to climb up my leg. And I'm like, "Oh, it's beautiful." And he said, "Yeah, this caterpillar just made his way from me to you." That's all, it's a small detail I remember, but I remember it like he was just so happy and he's like, "See, we're connected." This big furry caterpillar just told us something. It has to mean something. And I kind of laughed it off. And I finished giving him feedback and I'm like, "Oh, I gotta go. Bye." And I left. That was the first time I met him. And then, probably the day after, he sent me another email saying, "Oh, I had forgotten about one last crypt I need you to read and give me feedback on." And I was like, "Oh, God, damn it." But again, I think out of pity, out of knowing that he was a stranger in a strange country alone and that he was probably just looking to make some friends and that I was probably in anchor points in all of this. I accepted, again, and I told him, "Yeah, let's meet in a different park." And again, let's talk about your scripts. I don't know, it must have been a week later. [Music] All right, we'll be right back after this quick break. [Music] I want to jump in here real quick because I imagine there may be some people wondering, "Why would you meet up with this guy?" And I know Clara looks back and asks that herself, but I perfectly understand. I went to film school myself and I spent most of my 20s doing anything and everything I could to break into the film industry. So much of that involves trying to meet as many people as you can and being very open-minded because you really don't know who or what might lead to a career-making opportunity. And many great artists do have extremely eccentric personalities. So I've been in Clara's shoes many times myself, trying as hard as I can to be patient and kind to somebody like this because it's just smart not to burn any bridges and I'm certain all of this must be much more difficult and complicated when you're a woman. But I totally understand what it's like to be in her position. Yeah, well for me as a filmmaker, as a screenwriter, you know, scripts, it's so important to have good stories out there. It's so important to collaborate as well. I mean, a film is made with 50 people and there's a lot of strange people in the film. I mean, there are artists of all kinds and it's really important not to judge people on first appearance or to perceive everyone as a character. And so when he suggested me a second time, like, "Oh, I forgot, I have another script I really need you to read." First of all, I did it because I'm like, you know, if this person is to spend a lot of time on making a film, I just, I hope it's going to be good. And if I can do anything in order to help him make a good story, I will. And second of all, I'm like such a strange person. And like, he seems to be so on the lookout, on the watch for the things that are crawling in the grass as we talk and so on. And I was kind of, I wanted to understand what his deal was. And so we met and I mean, it was as unadventful as the first time. I'm just like, I wanted to keep it really distanced. There was absolutely no flirting going on at all. I just gave him the feedback for the script. And I knew that he wanted to keep going. I knew that he wanted to keep the conversation going for as long as possible. At one point, he looked at me in the eyes and he's like, "Do you think this story is going to end up on the screen?" And I told him, I don't think so. And I remember feeling really guilty about that, because it's an awful thing to say to someone. But I don't think his script had the potential or the quality of being funded or having like an entire group of people supporting it. Let alone on him, I thought that he was just so strange and so weird and so disconnected in a sense that I told him, "Maybe you'll write another script that's inspired on this one and maybe that one is going to get produced." And maybe it's not a story that I would want to go see in theaters. As me and none of this sounds, I just honestly is important in this field. And so that's what I said. And I left. And I said, "Goodbye. I have other things to do when I left." And it was pretty painful because I didn't have great news for him. I didn't like his stories very much. And so at the end of the second meeting, I said, "Goodbye. My house is right beside here. I'm leaving and good luck in Montreal. Let me know if you need recommendations for places to go." I did tell him to go walk on the Mojoyal, which is a. We call it the mountain, but it's more like a hill in the middle of the city. It's kind of like this forested area in the middle of the city, which like a little cross on the top. And I love to go there because it's kind of like getting away from the city, but it's only 15 minutes away from home. And so I said, "Oh, yeah, you should go walk there and you should go to this restaurant." It's amazing. And best of luck. And I left. And I remember him saying that he needed to go pee. And he asked me if he could come to my place to pee. And I wasn't comfortable at all. So I told him that there's a cafe that's probably closer than my house, and that he should go there. And I kind of. And the things I told him goodbye. And I walked away. My house is maybe not even a block away from the park. So I don't know if how long he looked at me walk away. But I did kind of leave him behind and kind of fled back home. I wasn't weirded out by back then because I felt in control. I mean, this was my city. This was on my terms. He wasn't necessarily pushy. He was very strange. But I knew how to put my limits. And I did. And I was very clear from the beginning. I said, "Look, this meeting is entirely on an artistic standpoint." I think at one point he did ask me about my personal life. About my. if I was dating. And I wasn't. But I did tell him, like, I'm not looking today right now. I'm kind of just really passionate about my projects. And I am a very independent person. And I don't feel the need to be in a relationship right now. It wasn't. I didn't tell him about him. He didn't make a move on me. But I do remember he did say that he had met his soulmate. And that his soulmate was in India. And he had, like, little stars in his eyes when he was talking about this person. He said, "Yeah, like, I've met the love of my life."
of my life. And so I think he said that at the beginning of the second meeting in the park. And so I felt like, I wasn't to love interests. Not our meetings were purely professional. Yeah, so after the second meeting in the park and at that point, I had kind of made it clear that that was gonna be it and good luck, injury Montreal. But I'm too busy to meet again. And he started sending texts or poems, I'd say, about how kind and beautiful I was. And also just, I don't know, mumble stuff, but words put together, but the very precise word that had a lot of flowers, the divine, the sublime, everything all together, all of those combi-awards that people use a lot in esotericism. I didn't really respond to any of them. Sometimes I would just say, "Oh, thank you." Or, "Oh, that's beautiful." But I didn't wanna feed it anymore. I had other things to do. And I was getting really creeped out at that point. I'm just like, "Okay, this guy has way too much time "on his hand." And I hope I didn't give him any bad signals. But that moment, I was hesitant. I'm like, "Oh, maybe he understood something "that, like, signs that I gave "or the caterpillar that went from him to me, "opened up kind of worms, not to be too funny." He would call me. I would never answer. He texted me, "Puns." And I got a little bit annoyed. It must have been, maybe a week or two weeks later that he said, "We really need to meet." Like, one last time, just, I swear, just let's meet wherever you want, whenever you want, but I just have one really important thing to tell you. And I, again, this was the third meeting, and I said, "Okay, I'll meet you." But for me, it was really just, I need to tell this guy very straight away, like, very forwardly, I'm not interested, leave me alone, and it wasn't really working the way that I was doing it. And so I said, "Yes, let's meet again." And he gave me the place. He's like, "Oh, I have a balcony on my Airbnb "that's, like, gives to the main street, "so let's meet on that balcony." 'Cause I didn't really want to, you know, get into a room with him. And so I'm like, "Okay, like, I'm in that neighborhood, "I'm around, like, let's, let's meet one last time." And so I went, first of all, it was really strange. Just like, he had left all of the doors open. So I'm just like, "Let's meet on your balcony, "but I had to kind of go into the Airbnb "to get it to the balcony." And I arrived at the address and all the doors were open. And I entered and, you know, like, it was really staged for a romantic declaration. All the windows were open, it was kind of windy, so I remember there was like a billowing curtain. And he was kind of there and he was just right by the balcony, but he was kind of like sitting down on his bed and he was kind of, he didn't move. Like, he let me come in and kind of look around to see where he was and he was just kind of like, in the bed and kind of like in a, you know, cross-legged and like waiting for some reason, yes. (laughing) Oh God, that's exactly what I said in my head. I'm like, "Oh, shit, it's like as soon as I got in, "I'm like, "Oh, I should have not done that." Like, you know, like you're pushing the limits, you're pushing the line and what were you expecting? Like, this guy's been sending you poems for, you know, like the past week, why are you here? I, yeah, I was kind of cursing in my head, being like, "God, David, Clara, get away." There was definitely a few kennels in there, but it was the middle of the day, it was like 2 p.m. I had like, I was kind of passing by in between two meetings and I had told him so, so it wasn't, you know, of her romantic dinner by any means. But I entered the door that was, that I entered the apartment, which was wide open and saw him like cross-legged on his bed and he's just like, "Sit, sit." And he like showed me a place to sit and he had like this board. I don't know what it's called. I'm not the most cultured in that side of life, but it was kind of like, it was like a half circle where you can measure the energy of things. And he had, you know, his little crystal, oh, that's something I forgot. He had given me gifts in the first two meetings in the park. He had given me a crystal. He had given me like a few bookmarks, I think, that were like strangely religious and I don't, he had given me also like, you know, the kind of bracelet that you buy that like a market in India. And I hadn't worn them. I had probably just tore them away and not thought about them. But there I was in the apartment. He's sitting on his bed with this like, map of energy in front of him with his little crystal and he's just like, "Sit, sit." And I go, "Okay." And I sat on his chair, not in the bed. I'd like, kept my distance. I sat and he's like, I just, I just want to show you something. So he took his pendulum and he put it in the middle of the map and then he just like, look at it. And then he started making it rock from left to right. And it kind of, you know, started pointing higher and higher on the half circle showing that, you know, it was getting higher in energy and then it stopped at one point a little bit further than halfway of the circle. And he's like, "Look, this is your energy." I'm like, "Okay, cool, amazing." And he's like, "Did you realize what that means?" Like, "What does it mean?" He's like, "I've never seen anyone with such a high frequency." He's like, "Yeah, like the only thing made by a human that has this high frequency is the movie Avatar." (laughing) - It's a great movie. It's a great movie. - I can't make my movie. - Great movie. I didn't know. I didn't realize that I had such a high frequency. He was convinced I was like, I don't even know if he said there's the best movie in the world. He just said that it's like the movie with the highest frequency. And then he's just like, "Oh yeah, and you know, like you're in next project, like you're in next scripts." They're even further than that. Like, and then he shows like his pendulum and he shows that my next films are going to be, you know, on a frequency never yet met by any other work of art. I wasn't taking it seriously by then. I wasn't, you know, like, I wasn't finding it funny anymore. I was just, I'm just like, okay, this guy is clearly way too far into his spirituality. And it doesn't make sense. And he started like measuring the energy of my brother and my mom and telling me that they have really low energy. And I was like, kind of, I was kind of offended. I'm like, "How dare you talking about my family." - Cutting strays for no reason. - Yeah, he didn't have to do that. I mean, I didn't ask him anything. Like, I was just there to, you know, tell him very, very directly that I wasn't interested. And there I was like being measured and having my family being measured and my projects. And I'm like, look, like, this is, this is not, I'm not comfortable. I just, I had to tell you, but good luck in Montreal, but can you please stop texting me? 'Cause I, it's not working out. And he's like, oh, Clara, you don't know. Like, what? He's like, "Wow, we're so mates." What do you mean? And he's like, "Yeah, we're so mates." And like, I'd be really open to being in a relationship with you and we don't even have to be exclusive. Like, he can, you know, date other people too, but we're so mates and we have to be together. I don't even remember my reaction, but I was not impressed. I was not impressed. I was like, there he is. Like, this really meek, boyish man with his pendulum, telling me that we're so mates. And I just, I couldn't take him seriously. I'm like, I'm sorry. Like, I'm, no, I don't think we're so mates. I'm gonna go. Can you please stop contacting me? Like, I don't, I'm not okay with this. And I'm, I'm gonna go. And I, I did leave. I didn't really give him the opportunity to keep me there longer than I needed to. I think I was probably there for about 20 minutes stops.
I just couldn't do it anymore. I was getting really creeped out and I wanted all of this to be over. - Okay, so. Oh, is it him? - No, I only mentioned. I'll be right back. (door opens) (door opens) (door closes) (woman mumbles) (woman mumbles) (woman mumbles) (door closes) (door closes) (door closes) - Oh my God, you wouldn't, that was strange. That was the police. - What was it? - That was the police. They told me there's a report of a strange person on the street corner who had an altercation and entered a place around here. - What? - I don't know, that's so sh-- And they're like, "I have, we don't know who made the call, but we're just making sure that there's not a stranger that entered anyone's house." - That is really weird. I mean, it's not weird where we are in the story, but it'll get really weird in five minutes. That's really weird. Wow, yeah. - Okay, well. - It's kind of a foreshadowing thing. - That's really weird. (soft music) That brings us to the end of this episode. We will be back very shortly with the next part. This has been the "Stalker Part One" and you've been listening to "The Other World." (soft music) "The Other World" is executive produced and hosted by myself, Jack Wagner. Our producers are Theoshafer, Theocrants, Haley Parison, and Nikki Kate Delgado. Our theme song is by Cobra Man. The soundtrack of this episode is by North Americans and Juice Jackel. Our artwork is by Koldisak Studios. Please show us your support by subscribing, leaving a five-star review, and telling your friends about the show. If you wanna hear bonus episodes of "The Other World," you could become a patron at patreon.com/otherworld. Our social media is @otherworldpod. Thank you to the team at Odyssey, Leah Riestennis, Laura Curran, Josephina Frances, Eric Donnelly, Kate Rose, Colin Gainer, and Hillary Schuff. Follow and listen to "The Other World" now for free on the Odyssey app or wherever you get your podcasts. And finally, if you or somebody you know has experienced something paranormal, supernatural, or unexplained, you can send us your stories at
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