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25 Spooky Books to Read This Halloween Season

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Looking for a real scream this October? Tap into your deepest fears with these books about paranormal activity, haunted houses, kidnappings, and even psychological mind games. Warning: You may want to keep the lights on.

1. DON'T YOU CRY, BY MARY KUBICA

After Quinn wakes to find her roommate Esther missing from their Chicago apartment, she ransacks her room for clues. But what she discovers is that she never knew who her best friend actually was. Elsewhere, in a small Michigan town, a mysterious woman catches the eye of 18-year-old Alex. Though he's swept up in her beauty, he quickly learns she's far more sinister than meets the eye.

2. THE WOMAN IN CABIN 10, BY RUTH WARE

In this novel, travel writer Lo lands her dream job covering a ship's first cruise. It starts off as smooth sailing: The champagne is flowing, the small number of guests are welcoming, and the cabins are luxurious. Then, she sees someone being thrown overboard. The twist: All passengers are accounted for. Or, so they say.

3. UNRAVELING OLIVER, BY LIZ NUGENT

When the titular character's wife Alice confronts him about his past, the charismatic children's writer loses his cool—and sends her straight into a coma. Alternating among several perspectives, from Oliver's classmates and neighbors to ex-lovers, author Nugent pieces together what really drove him over the edge.

4. EVERYTHING YOU WANT ME TO BE, BY MINDY MEIJIA

Desperate to break free from her small town, high school senior Hattie strikes up a fatal online romance. Nearly a year later, she's brutally stabbed to death and her dark secrets start to come to light. Now, as they try to unearth who killed the golden girl, the three narrators ask, who was Hattie?

5. THE AMATEURS, BY SARA SHEPARD

Five years after high school senior Helena disappeared from her backyard, four wannabe sleuths try to unravel the mystery. But someone is watching—and is desperate to stop their manhunt. The Pretty Little Liars author's killer new series takes unpredictable twists until the very last chapter.

6. THE GIRL BEFORE, BY J.P. DELANEY

Following a traumatic robbery, Emma is on the hunt for a new place to call home. Enter: One Folgate Street. Sure, the house’s architect still retains control over decor and doesn’t allow for books, personal pictures, or clutter whatsoever, but she’s desperate. Then, three years later, Jane moves in, looking for her new beginning. Instead, she uncovers the mysterious death of Emma, who also happens to look just like her. Soon, she begins to experience the same terrors as, well, the girl before. 

7. THE CHILD, BY FIONA BARTON

Journalist Kate Waters jumps at the chance to investigate the skeletal remains of a baby found at a demolished London house. But as she digs through the neighborhood’s history, she stumbles across three women, each with a gripping fascination with (and connection to) the murdered infant.

8. ALL THE MISSING GIRLS, BY MEGAN MIRANDA

With her father ailing, Nic is yanked home to the rural, small town she thought she escaped. But her arrival opens up a decade-old cold case: the disappearance of her best friend Corinne. And within days of her homecoming, another girl mysteriously vanishes. Told in reverse over two weeks, the harrowing story seeks to tell how the two events are ominously linked.

9. WITH MALICE, BY EILEEN COOK

Jill remembers nothing. Not her school's trip to Italy, that fatal car crash or…possibly killing her best friend Simone in a jealous rage. Instead, she wakes up in the hospital with a cast on her leg, stitches in her face, and a lawyer team on her case. Now, with evidence mounting against her and the media painting her as a sociopath, Jill questions just what she's capable of.

10. HAUNTED, BY DORAH WILLIAMS

The Williams lived in constant fear. On a whim, they moved into an alluring Victorian home that just always seemed to be vacant. It doesn't take long to find out why: It's haunted. The true story is told through the perspective of matriarch Dorah, as she recalls the chilling paranormal events the family experienced and how they uncovered the backstory of their ghosts.

11. SILENCE OF THE LAMBS, BY THOMAS HARRIS

There's a new killer on the loose: Buffalo Bill, who starves his victims before killing—and skinning—them. To catch him, an amateur FBI agent must rely on cannibalistic serial killer Hannibal Lecter, currently locked away at a hospital for the criminally insane. The 1991 film adaption scored five Academy Awards.

12. SHUTTER ISLAND, BY DENNIS LEHANE

In the midst of the Cold War, U.S. Marshal Teddy and his partner Chuck head to Shutter Island, the home to a hospital for the criminally insane. There, the duo intend to investigate the disappearance of patient Rachel Solando, who allegedly escaped the facility. But in the gripping thriller of mind games where nothing is what it seems, Teddy is forced confront his own fatal wrongdoings.

13. GOOSEBUMPS: THE HAUNTED MASK, BY R. L. STINE

Desperate to get revenge on school bully Steve, Carly Beth buys a monstrous mask for Halloween. But as fright night goes on, she starts acting aggressively, even choking her best friend Sabrina. When she goes to remove the costume, she realizes it's become permanently attached to her face and she is now possessed.

14. CARRIE, BY STEPHEN KING

Hell hath no fury like Carrie scorned. When a bucket of pig's blood is dumped on her at senior prom, the titular character decides to use her newly discovered telekinetic powers to kill everyone in school. King's 1974 debut has been adapted into two films and a Broadway musical.

15. FRANKENSTEIN, BY MARY SHELLEY

Obsessed with the notion of giving life to lifeless matter, scientist Victor Frankenstein creates his own human using stolen body parts. However, his masterpiece is hardly a work of art. Tormented by exile, Frankenstein's hideous monster goes a murderous tear to exact revenge on his creator.

16. THE EXORCIST, BY WILLIAM PETER BLATTY

While living in Washington, D.C. with her famous mother, 12-year-old Regan begins to display some odd behavior. She stops eating, refuses to sleep, and starts an increasingly aggressive streak. Though her mom initially chalks her behavior up to teen angst, the movie star soon realizes her daughter is disturbed. She enlists two priests to help purge the girl of the demonic presence. Blatty's cult-classic spent 57 weeks on the New York Times bestseller list.

17. COME CLOSER, BY SARA GRAN

Amanda has the perfect life. Until she doesn't. Suddenly, she's burning her husband with a cigarette, shoplifting, cheating, and cursing at her boss. And there's a woman, reminiscent of her imaginary childhood friend Naamah, controlling her dreams. Has she lost her mind?

18. THE AMITYVILLE HORROR, BY JAY ANSON

They lasted 28 days. In December 1975, the Lutz family moved into their new, beautiful home … that turned out to be terrorized by the paranormal. Before fleeing the harrowing mansion, they were plagued by swarms of flies, received random welts, and heard mysterious sounds. Plus, their tot Missy gained an imaginary friend Jodie, a demonic pig with glowing red eyes. The true story has launched a multi-million dollar franchise with 15 films.

19. THE COUPLE NEXT DOOR, BY SHARI LAPENA

Anne and Marco are going to their neighbors' for dinner. They're told they can't bring their 6-month-old daughter, but that's ok. They have the baby monitor and every 30 minutes or so, one of them will check in on their sleeping infant. After all, they're just next door. But when they return home, they find their door ajar—and their daughter gone from her crib.

20. PRETTY GIRLS, BY KARIN SLAUGHTER

Sisters Claire and Lydia do not speak. In the decades since their sister Julia disappeared, Claire has gone on to be a millionaire's trophy wife while Lydia is a single mom dating a con man. But when Claire's husband is murdered, the devastating old wounds are ripped open. How could a vanishing teenager and a dead middle-aged man be connected 20 years apart?

21. THE SECRET OF CRICKLEY HALL, BY JAMES HERBERT

When one of their three children tragically disappears, Gabe and Eve Caleigh leave London for the coast. There's a beautiful river, a garden, and the promise of an idyllic future. That is, until their dog is perpetually spooked, the kids claim to be stalked by a man with a cane, and Eve insists her missing son is communicating with her. Soon, the quintet uncover the house's dark secrets carried over from World War II. 

22. BROKEN MONSTERS, BY LAUREN BEUKES

She thought she had seen everything. Then, Detective Gabriella Versado discovers a unique body in a Detroit tunnel: It's the head and torso of a young boy fused with a deer. As more of these horrifying creatures begin to pop up, she becomes obsessed with tracking down the killer. Meanwhile, her teenage daughter Layla starts an online flirtation with a predator. Both their lives are thrust into a dangerous web.

23. REBECCA, BY DAPHNE DU MAURIER

The gothic's unnamed heroine cannot believe her luck when she meets—and falls for—rich and charming widower Maxim de Winter in Monte Carlo. After a quick romance and wedding, he sweeps her away to his Manderley estate. There, she encounters their sinister housekeeper Mrs. Danvers. Still loyal to the titular character, who died mysteriously in a boating accident the year before, Danvers begins to manipulate the new Mrs. de Winter, pushing her so far she begins to contemplate suicide. Alfred Hitchcock's adaption of the thriller won two Academy Awards.

24. THE WITCHES, BY ROALD DAHL

Forget what you thought: Real witches don't ride on broomsticks, wear black hats, or have warts. In reality, they're conniving creatures who disguise themselves as regular, ordinary, mundane women. And in the twisted fairy tale, they especially love to taunt children and turn them into mice. Be warned: You'll never know you've met a witch until it's too late.

25. HORNS, BY JOE HILL

Written by Stephen King's son, the horror begins with Ig waking up to find he's … different. After a drunken night, he has knobby horns growing from his head. And suddenly, when he talks to people, they tell him their darkest secrets. ("I don't want you to be my kid anymore," his mother quips.) It could easily be a mental breakdown. He's still reeling from his girlfriend's murder, in which he was the only suspect. Though he was never charged, he's still guilty in the court of public opinion. Or, is this just his new reality? After all, he has horns. So is he the devil?

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Warner Bros.
19 Shadowy Facts About Tim Burton's Batman
Warner Bros.
Warner Bros.

Superhero movies are bigger than they’ve ever been before, but we arguably wouldn’t be here at all without 1989’s Batman. Produced at a time before comic book movies were considered big business, Tim Burton’s dark look at a superhero then best known for a goofy TV show is a pop culture landmark, and the story of how it was made is almost as interesting as the film itself. So, to celebrate Batman—which was released on this day in 1989—here are 19 facts about how it came to the screen.

1. AN EARLY MOVIE IDEA RELIED ON THE CAMPINESS OF THE CHARACTER.

As development of a Batman movie began, studio executives were still very tied to the campiness embodied by the Batman television series of the 1960s. According to executive producer Michael Uslan, when he first began attempting to get the rights to make a film, he was told that the only studio who’d expressed interest was CBS, and only if they could do a Batman In Outer Space film.

2. IT TOOK 10 YEARS TO MAKE.

Uslan lobbied hard for the rights to Batman, and finally landed them in 1979. At that point, the fight to convince a studio to make the film ensued, and everyone from Columbia Pictures to Universal Pictures turned it down. When Warner Bros. finally agreed to back the film, the issue of developing the right script had to be settled, and that took even more time. In 1989, after years of battling, Batman was finally released, and Uslan has been involved in some form in every Batman film since.

3. AN EARLY SCRIPT FEATURED BOTH THE PENGUIN AND ROBIN.

When Uslan finally got the chance to develop the film, he drafted legendary screenwriter Tom Mankiewicz, who had been a consultant on Superman, to write the script. The Mankiewicz script included The Joker, corrupt politician Rupert Thorne, a much greater focus on Bruce Wayne’s origin story, The Penguin, and the arrival of Robin late in the film. The script was ultimately scrapped, but you can see certain elements of it in Batman Returns.

4. TIM BURTON WASN’T THE FIRST POTENTIAL DIRECTOR.

Though Warner Bros. ultimately chose Tim Burton to helm Batman, over the course of the film’s development a number of other choices emerged. At various points on the road to Batman, everyone from Gremlins director Joe Dante to Ghostbusters director Ivan Reitman was in line for the gig.

5. MANY STARS OF THE TIME WERE CONSIDERED FOR BATMAN.

The casting process for Batman was a long one, and involved a number of major stars of the day. Among the contenders for the title role were Mel Gibson, Bill Murray (yes, really), Kevin Costner, Willem Dafoe, Tom Selleck, Harrison Ford, Charlie Sheen, Ray Liotta, and Pierce Brosnan, who later regretted turning down the role.

6. TIM BURTON HAD TO FIGHT TO CAST MICHAEL KEATON.

At the time, Michael Keaton was best known for his comedic roles in films like Mr. Mom and Night Shift, so the thought of casting him as a vigilante of the night seemed odd to many. Michael Uslan remembers thinking a prank was being played on him when he heard Keaton’s name pop up. Burton, who’d already worked with Keaton on Beetlejuice, was convinced that Keaton was right for the role, not just because he could portray the obsessive nature of the character, but because he also felt that Keaton was the kind of actor who would need to dress up as a bat in order to scare criminals, while a typical action star would just garner “unintentional laughs” in the suit. Burton ultimately won the argument, and Keaton got an iconic role for two films.

7. JACK NICHOLSON WAS THE FIRST CHOICE FOR THE JOKER, BUT HE WASN’T THE ONLY CHOICE.

From the beginning, Uslan concluded that Jack Nicholson was the perfect choice to play The Joker, and was “walking on air” when the production finally cast him. He certainly wasn’t the only actor considered, though. Among Burton’s considerations were Willem Dafoe, James Woods, Brad Dourif, David Bowie, and Robin Williams (who really wanted the part).

8. TIM BURTON WON JACK NICHOLSON OVER WITH HORSEBACK RIDING.

When Nicholson was asked to discuss playing The Joker, he invited Burton and producer Peter Guber to visit him in Aspen for some horseback riding. When Burton learned that was what they’d be doing, he told Guber “I don’t ride,” to which Guber replied “You do today!” So, a “terrified” Burton got on a horse and rode alongside Nicholson, and the star ultimately agreed to play the Clown Prince of Crime.

9. EDDIE MURPHY WAS ONCE CONSIDERED TO PLAY ROBIN.

Though the character of Robin was ultimately scrapped because it simply didn’t feel like there was room for him in the film, he did appear in early drafts of the script, and at one point producers considered casting Eddie Murphy—who, you must remember, was one of the biggest movie stars of the 1980s—for the role. 

10. SEAN YOUNG WAS THE ORIGINAL VICKI VALE.

Burton initially cast Blade Runner star Sean Young as acclaimed photographer Vicki Vale, who would become Bruce Wayne’s love interest. Young was part of the pre-production process on Batman for several weeks until, while practicing horseback riding for a scene that was ultimately cut, she fell from her horse and was seriously injured. With just a week to go until shooting, producers had to act fast to find a replacement, and decided on Kim Basinger, who essentially joined the production overnight.

11. TIM BURTON WASN’T OFFICIALLY HIRED UNTIL BEETLEJUICE BECAME A HIT.

Though he was basically already a part of the production, Burton wasn’t officially the director of Batman right away. Warner Bros. showed interest in him working on the film after the success of Pee-wee’s Big Adventure, but according to Burton they only officially hired him after the first weekend grosses for Beetlejuice came in.

“They were just waiting to see how Beetlejuice did,” Burton said. “They didn’t want to give me that movie unless Beetlejuice was going to be okay. They wouldn’t say that, but that was really the way it was.”

12. DANNY ELFMAN THOUGHT HE WAS GOING TO BE FIRED UNTIL HE PLAYED THE MAIN THEME.

Danny Elfman is now considered one of our great movie composers, but at the time Batman was released he didn’t have any blockbuster credits to his name. He recalls meeting with Burton (with whom he had worked on Pee-wee’s Big Adventure) and producer Jon Peters to go over some of the music he’d already written for the film, and feeling “a lot of skepticism” over whether he should be the composer for Batman. It wasn’t until Burton said “Play the march,” and Elfman went into what would become the opening credits theme for the film, that he won Peters over.

“Jon jumped out of his chair, really just almost started dancing around the room,” Elfman said.

13. THE JOKER WASN’T ALWAYS GOING TO KILL BATMAN’S PARENTS.

In the final film, The Joker (then named Jack Napier) is revealed to be the gangster who guns down Bruce Wayne’s parents in the streets of Gotham City. It’s a twist that some comic book fans still dislike, and according to screenwriter Sam Hamm, it definitely wasn’t his fault.

“That was something that Tim had wanted from early on, and I had a bunch of arguments with him and wound up talking him out of it for as long as I was on the script. But, once the script went into production, there was a writer’s strike underway, and so I wasn’t able to be with the production as it was shooting over in London, and they brought in other people.”

Hamm also emphasizes that it was also not his idea to show Alfred letting Vicki Vale into the Batcave.

14. THE CLIMACTIC SCENE WAS WRITTEN MIDWAY THROUGH SHOOTING.

Though much of the film is still derived from Hamm’s script, rewrites continued to happen during shooting, and one of them involved the final confrontation between Batman and The Joker in a Gotham City clock tower. According to co-star Robert Wuhl, the climax was inspired by Jack Nicholson and Jon Peters, who went to see a production of The Phantom of the Opera midway through filming and watched as the Phantom made his final stand in a tower. Together, they somehow determined that a final fight in the tower was what Batman needed.

“The next day, they started writing that scene … the whole ending in the tower,” Wuhl said.

15. MICHAEL KEATON’S BATMAN MOVEMENTS WERE INSPIRED BY THE RESTRICTIONS OF THE COSTUME.

Batman fans still love to make jokes about the original costume, and Michael Keaton’s inability to turn his head (there’s even a dig at that in Christopher Nolan’s The Dark Knight), but the restrictions of the costume actually inspired how Keaton performed as the Dark Knight. In 2014, Keaton revealed that his performance as Batman was heavily influenced by a moment when, while trying to actually turn his head in the suit, he ended up ripping it.

“It really came out of the first time I had to react to something, and this thing was stuck to my face and somebody says something to Batman and I go like this [turning his head] and the whole thing goes, [rriipp]! There was a big f***ing hole over here,” he said. “So I go, well, I've got to get around that, because we've got to shoot this son of a bitch, so I go, 'You know what, Tim [Burton]? He moves like this [like a statue]!’”

“I'm feeling really scared, and then it hit me—I thought, 'Oh, this is perfect! This is perfect.' I mean, this is, like, designed for this kind of really unusual dude, the Bruce Wayne guy, the guy who has this other personality that's really dark and really alone, and really kind of depressed. This is it.”

16. GOTHAM CITY WAS REAL, AND IT WAS EXPENSIVE.

Production designer Anton Furst put a lot of work into the incredibly influential designs for the film’s version of Gotham City, and the production was committed to making them pay off. The production ultimately spent more than $5 million to transform the backlot of London’s Pinewood Studios into Gotham City, and you can see the dedication to practical effects work in the final film.

17. PRINCE WAS PART OF THE PRODUCTION EVEN BEFORE HE JOINED IT.

Batman famously features original songs by Prince, who wrote so much new material for the production that he basically produced a full album. Even before the Purple One was drafted to write for the film, though, he was influencing it. Burton played Prince songs on set during the parade sequence and the Joker’s rampage through the museum.

18. THE FILM’S MARKETING WAS SO EFFECTIVE THAT IT INSPIRED CRIMES.

By the time Batman was actually on its way to release, it was becoming a phenomenon, and the marketing for the film was inspiring a frenzy among fans. People were buying tickets to other films just to see the first trailer, and selling bootleg copies of the early footage. The poster, featuring the iconic logo, was so popular that, according to Uslan, people were breaking into bus stations just to steal it.

19. IT WAS A BOX OFFICE LANDMARK.

Though studio executives resisted the idea of a “dark” Batman movie for years, the film ultimately set a new standard for box office success. It was the first film to ever hit $100 million in 10 days, the biggest film in Warner Bros.’ history at the time, and the box office’s biggest earner of 1989—and that’s not even counting the massive toy and merchandising sales it generated.

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Karl Walter, Getty Images
When the FBI Investigated the 'Murder' of Nine Inch Nails's Trent Reznor
Karl Walter, Getty Images
Karl Walter, Getty Images

The two people standing over the body, Michigan State Police detective Paul Wood told the Hard Copy cameras, “had a distinctive-type uniform on. As I recall: black pants, some type of leather jacket with a design on it, and one was wearing combat boots. The other was wearing what looked like patent leather shoes. So if it was a homicide, I was thinking it was possibly a gang-type homicide.”

Wood was describing a puzzling case local police, state police, and eventually the FBI had worked hard to solve for over a year. The mystery began in 1989, when farmer Robert Reed spotted a circular group of objects floating over his farm just outside of rural Burr Oak, Michigan; it turned out to be a cluster of weather balloons attached to a Super 8 camera.

When the camera landed on his property, the surprised farmer didn't develop the footage—he turned it over to the police. Some local farmers had recently gotten into trouble for letting wild marijuana grow on the edges of their properties, and Reed thought the balloons and camera were a possible surveillance technique. But no state or local jurisdictions used such rudimentary methods, so the state police in East Lansing decided to develop the film. What they saw shocked them.

A city street at night; a lifeless male body with a mysterious substance strewn across his face; two black-clad men standing over the body as the camera swirled away up into the sky, with a third individual seen at the edge of the frame running away, seemingly as fast as possible. Michigan police immediately began analyzing the footage for clues, and noticed the lights of Chicago’s elevated train system, which was over 100 miles away.

It was the first clue in what would become a year-long investigation into what they believed was either a cult killing or gang murder. When they solved the “crime” of what they believed was a real-life snuff film, they were more shocked than when the investigation began: The footage was from the music video for “Down In It,” the debut single from industrial rock band Nine Inch Nails, and the supposed dead body was the group's very-much-alive lead singer, Trent Reznor.

 
 

In 1989, Nine Inch Nails was about to release their debut album, Pretty Hate Machine, which would go on to be certified triple platinum in the United States. The record would define the emerging industrial rock sound that Reznor and his rotating cast of bandmates would experiment with throughout the 1990s and even today on albums like The Downward Spiral and The Slip.

The band chose the song “Down In It”—a track with piercing vocals, pulsing electronic drums, sampled sound effects, and twisted nursery rhyme-inspired lyrics—as Pretty Hate Machine's first single. They began working with H-Gun, a Chicago-based multimedia team led by filmmakers Eric Zimmerman and Benjamin Stokes (who had created videos for such bands as Ministry and Revolting Cocks), and sketched out a rough idea for the music video.

Filmed on location among warehouses and parking garages in Chicago, the video was supposed to culminate in a shot with a leather-jacketed Reznor running to the top of a building, while two then-members of the band followed him wearing studded jumpsuits; the video would fade out with an epic floating zoom shot to imply that Reznor's cornstarch-for-blood-covered character had fallen off the building and died in the street. Because the cash-strapped upstarts didn’t have enough money for a fancy crane to achieve the shot for their video, they opted to tie weather balloons to the camera and let it float up from Reznor, who was lying in the street surrounded by his bandmates. They eventually hoped to play the footage backward to get the shot in the final video.

Instead, the Windy City lived up to its name and quickly whisked the balloons and camera away. With Reznor playing dead and his bandmates looking down at him, only one of the filmmakers noticed. He tried to chase down the runaway camera—which captured his pursuit—but it was lost, forcing them to finish shooting the rest of the video and release it without the planned shot from the missing footage in September of 1989.

Meanwhile, unbeknownst to the band, a drama involving their lost camera was unfolding in southwest Michigan. Police there eventually involved the Chicago police, whose detectives determined that the footage had been filmed in an alley in the city's Fulton River District. After Chicago authorities found no homicide reports matching the footage for the neighborhood and that particular time frame, they handed the video over to the FBI, whose pathologists reportedly said that, based on the substance on the individual, the body in the video was rotting.

 
 

The "substance" in question was actually the result of the low-quality film and the color of the cornstarch on the singer’s face, which had also been incorporated into the press photos for Pretty Hate Machine. It was a nod to the band's early live shows, in which Reznor would spew cornstarch and chocolate syrup on his band members and the audience. “It looks really great under the lights, grungey, a sort of anti-Bon Jovi and the whole glamour thing,” Reznor said in a 1991 interview.

With no other easy options, and in order to generate any leads that might help them identify the victim seen in the video, the authorities distributed flyers to Chicago schools asking if anyone knew any details behind the strange “killing.”

The tactic worked. A local art student was watching MTV in 1991 and saw the distinctive video for “Down In It,” which reminded him of one of the flyers he had seen at school. He contacted the Chicago police to tip them off to who their supposed "murder victim" really was. Nine Inch Nails’s manager was notified, and he told Reznor and the filmmakers what had really happened to their lost footage.

“It’s interesting that our top federal agency, the Federal Bureau of [Investigation], couldn’t crack the Super 8 code,” co-director Zimmerman said in an interview. As for Wood and any embarrassment law enforcement had after the investigation: “I thought it was our duty, one way or the other, to determine what was on that film,” he said.

“My initial reaction was that it was really funny that something could be that blown out of proportion with this many people worked up about it,” Reznor said, and later told an interviewer, “There was talk that I would have to appear and talk to prove that I was alive.” Even though—in the eyes of state, local, and federal authorities—he was reportedly dead for over a year, Reznor didn’t seem to be bothered by it: “Somebody at the FBI had been watching too much Hitchcock or David Lynch or something,” he reasoned.

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