I made a documentary about Scary Stories to Tell in the Dark. (Now available to watch.) The three books consisted of over 80 stories of folklore and urban legends. It was impossible to appropriately address each and every story in a single documentary. This website, in part, is a chance to look at individual stories that I researched, tales in which I learned about their origins and social contexts. It’s a chance to examine stories that I ultimately found to be fascinating in some way or another.
This is The Dream.
While the story is titled “The Dream,” it is the illustration and the character known as The Pale Lady that has become huge in the pop culture vernacular.
Looking closer at the story and its origin, you will find that there is a lot going on with it, even beyond the ghostly Stephen Gammell art.
Table of Contents
The Pale Lady Story in Scary Stories to Tell in the Dark
Here is the full version of the story “The Dream” that introduced many people to the Pale Lady. It was included in the third Scary Stories to Tell in the Dark book, Scary Stories 3: More Tales to Chill Your Bones. “The Dream” features this lady who is described as pale but doesn’t actually refer to her as “The Pale Lady” even once.
Lucy Morgan was an artist. She had spent a week painting in a small country town and decided that the next day she could move on. She would go to a village called Kingston. But that night Lucy Morgan had a strange dream.
She dreamed that she was walking up a dark, carved staircase and entered a bedroom. It was an ordinary room except for two things. The carpet was made up of large squares that looked like trapdoors. And each of the windows was fastened shut with big nails that stuck up out of the wood. In her dream, Lucy Morgan went to sleep in that bedroom.
During the night a woman with a pale face and black eyes and long black hair came into the room. She leaned over the bed and whispered, “This is an evil place. Flee while you can.” When the woman touched her arm to hurry her along, Lucy Morgan awakened from her dream with a shriek.
She lay awake the rest of the night trembling. In the morning she told her landlady that she had decided not to go to Kingston after all. “I can’t tell you why,” she said, “but I just can’t bring myself to go there.” “Then why don’t you go to Dorset?” the landlady said. “It’s a pretty town, and it isn’t too far.”
So Lucy Morgan went to Dorset. Someone told her he could find a room in a house at the top of the hill. It was a pleasant-looking house, and the landlady there, a plump, motherly woman, was as nice as could be.
“Let’s look at the room,” she said. “I think you will like it.”
They walked up a dark, carved staircase, like the one in Lucy Morgan’s dream.
“In these old houses, the staircases are all the same,” Lucy Morgan thought. But when the landlady opened the door to the bedroom, it was the room in his dream, with the same carpet that looked like trapdoors and the same windows fastened with big nails.
“This is just a coincidence,” Lucy Morgan told herself. “How do you like it?” the landlady asked. “I’m not sure,” she said. “Well, take your time,” the landlady said. “I’ll bring up some tea while you think about it.”
Lucy Morgan sat on the bed staring at the trapdoors and the big nails. Soon there was a knock on the door. “It’s the landlady with the tea,” she thought.
But it wasn’t the landlady. It was the woman with the pale face and the black eyes and the long black hair. Lucy Morgan grabbed her things and fled.
In 2019’s adaptation of Scary Stories to Tell in the Dark, the character of the Pale Lady appears because the stories from the book are coming alive. And it is the figure that the character Chuck has been dreaming about, fearful of. So it was only a matter of time. Here is the scene.
It isn’t surprising that this is quite different than the story “The Dream” that is featured in the book. In order to fit many stories into one narrative, a lot of liberties are needed to tie it all together. The look of The Pale Lady is spot on. But of course, some of the meaning of the story is lost in the translation.
Origin of The Pale Lady Story
As Alvin Schwartz reports, the origin of the pale lady story comes from the autobiography of Augustus Hare, a 19th Century author and humorist. The story is a bit longer, but also in some ways even more haunting than the one included in the Scary Stories to Tell in the Dark book.
What you’ll notice is that it is the woman who is seeing the figure that is described as pale. And it is a man’s face she sees. As I get into further below, the notable parts of the story helps us find interesting meanings behind The Pale Lady story.
Here is the version that Augustus Hare recounted in his autobiography Story of My Life, which he claimed to be a true story.
“When Mrs. Alcock went to her new home in Leicestershire, it was a great comfort to the Misses T. and others who cared for her that some old friends of the family would be her nearest neighbours, and could keep them cognisant of how she was going on. For some time the letters of these friends described Mrs. Alcock as radiantly, perfectly happy. Mrs. Alcock’s own letters also gave glowing descriptions of her home, of the kindness of her husband, of her own perfect felicity. But after a time a change came over the letters on both sides. The neighbours described Mrs. Alcock as sad and pale, and constantly silent and preoccupied, and in the letters of Mrs. Alcock herself there was a reserve and want of all her former cheerfulness, which aroused great uneasiness.
“The Misses T. went to see Mrs. Alcock, and found her terribly, awfully changed—haggard, worn, preoccupied, with an expression of fixed melancholy in her eyes. Both to them and to the doctors who were called in to her she said that the cause of her suffering was that, waking or sleeping, she seemed to see before her a face, the face of a man whom she exactly described, and that she was sure that some dreadful misfortune was about to befall her from the owner of that face. Waking, she seemed to see it, or, if she fell asleep, she dreamt of it. The doctors said that it was a case of what is known as phantasmagoria; that the fact was that in her unmarried state Mrs. Alcock had not only had every indulgence and consideration, but that even the ordinary rubs of practical life had been warded off from her; and that having been suddenly transplanted into being the head of a large establishment in Leicestershire, with quantities of visitors coming and going throughout the hunting season, had been too much for a very peculiar and nervous temperament, and that over-fatigue and unwonted excitement had settled into this peculiar form of delusion. She must have perfect rest, they said, and her mind would soon recover its usual tone.
“This was acted upon. The house in Leicestershire was shut up, and Major and Mrs. Alcock went abroad for the summer. The remedy completely answered. Mrs. Alcock forgot all about the face, slept well, enjoyed herself extremely and became perfectly healthy in body and mind. So well was she, that it was thought a pity to run the risk of bringing her back to Leicestershire just before the hunting season, the busiest time there, and it was decided to establish her cure by taking her to pass the winter at Rome.
“One of the oldest established hotels in Rome is the Hôtel d’Angleterre in the Bocca di Leone. It was to it that travellers generally went first when they arrived at Rome in the old vetturino days; and there, by the fountain near the hotel door which plays into a sarcophagus under the shadow of two old pepper-trees, idle contadini used to collect in old days to see the foreigners arrive. So I remember it in the happy old days, and so it was on the evening on which the heavily laden carriage of the Alcock family rolled into the Bocca di Leone and stopped at the door of the Hôtel d’Angleterre. Major Alcock got out, and Mrs. Alcock got out, but, as she was descending the steps of the carriage, she happened to glance round at the group under the pepper-trees, and she uttered a piercing shriek, fell down upon the ground, and was carried unconscious into the hotel.
“When Mrs. Alcock came to herself, she affirmed that amongst the group near the door of the hotel she had recognised the owner of the face which had so long tormented her, and she was certain that some dreadful misfortune was about to overwhelm her. Doctors, summoned in haste, when informed of her previous condition, declared that the same results were owing to the same causes. Major Alcock, who disliked bad hotels, had insisted on posting straight through to Rome from Perugia; there had been difficulties about horses, altercations with the post-boys—in fact, ‘the delusion of Mrs. Alcock was owing, as before, to over-fatigue and excitement: she must have perfect rest, and she would soon recover.’
“So it proved. Quiet and rest soon restored Mrs. Alcock, and she was soon able to enjoy going about quietly and entering into the interests of Rome. It was decided that she should be saved all possible fatigue, even the slight one of Roman housekeeping: so the family remained at the Hôtel d’Angleterre. Towards January, however, Mrs. Alcock was so well that they sent out some of the numerous letters of introduction which they had brought with them, and, in answer to these, many of the Romans came to call. One day a Roman Marchese was shown upstairs to the Alcocks’ room, and another gentleman went up with him. The Marchese thought, ‘Another visitor come to call at the same time as myself,’ the waiter, having only one name given him, thought, ‘The Marchese and his brother, or the Marchese and a friend,’ and they were shown in together. As they entered the room, Mrs. Alcock was sitting on the other side of the fire; she jumped up, looked suddenly behind the Marchese at his companion, again uttered a fearful scream, and again fell down insensible. Both gentlemen backed out of the room, and the Marchese said in a well-bred way that as the Signora was suddenly taken ill, he should hope for another opportunity of seeing her. The other gentleman went out at the same time.
“Again medical assistance was summoned, and again the same cause was ascribed to Mrs. Alcock’s illness: this time she was said to be over-fatigued by sight-seeing. Again quiet and rest seemed to restore her.
“It was the spring of 1848—the year of the Louis Philippe revolution. Major Alcock had a younger sister to whom he was sole guardian, and who was at school in Paris, and he told his wife that, in the troubled state of political affairs, he could not reconcile it to his conscience to leave her there unprotected; he must go and take her away. Mrs. Alcock begged that, if he went, she might go with him, but naturally he said that was impossible—there might be bloodshed going on—there might be barricades to get over—there might be endless difficulties in getting out of Paris; at any rate, there would be a hurried and exciting journey, which would be sure to bring back her malady: no, she had friends at Rome,—she must stay quietly there at the hotel till he came back. Mrs. Alcock, with the greatest excitement, entreated, implored her husband upon her knees that she might go with him; but Major Alcock thought this very excitement was the more reason for leaving her behind, and he went without her.
“As all know, the Louis Philippe revolution was a very slight affair. The English had no difficulty in getting out of Paris, and in a fortnight Major Alcock was back in Rome, bringing his sister with him. When he arrived, Mrs. Alcock was gone. She was never, never heard of again. There was no trace of her whatever. All that ever was known of Mrs. Alcock was that, on the day of her disappearance, some people who knew her were walking in front of S. John Lateran, and saw a carriage driving very rapidly towards the Porta S. Giovanni Laterano, and in it sat Mrs. Alcock crying and wringing her hands as if her heart would break, and by her side there sat a strange man, with the face she had so often described.”
Prophetic dreams are a long-standing part of stories told in myth and literature. Many Greek and Roman myths involve a ghost that appears as a warning. In addition there are many folk creatures and ghosts that involve figures peering over a dreamer, including the Alp of Germanic origin, the incubus (similar, but with more sexual undertones), and the mara (which just happens to be the original source of the English word nightmare).
Many of these inevitably can be connected to real-world things, such as sleep paralysis and night terrors. Like many scary stories, it often begins with psychological disorders and other phenomenon that science can at least partially explain. Here is a haunting documentary that addresses such terrors, The Nightmare.
Beyond that, I think the most compelling meaning behind the Pale Lady story, and even more so the original story that it is based on, comes from what stems from a person who often shows up as “pale” and sickly looking.
In the original story, the person who is pale is the woman seeing the figure, not the figure or creature she sees. And especially in the 19th Century, a person who appears as pale is a sign of someone who is likely suffering from tuberculosis or any number of other ailments. This is a sign of someone who is on death’s door.
Seeing a ghostly, scary figure in their dream is a sign of their impending death.
Seen in this way, this scary pale figure is your own future, a future version of yourself, staring back at you. This prophetic component of a scary urban legend is used often, and has even showed up in more modern pop culture. In 2008’s Mungo Lake it isn’t a dream but rather a figure in a video, but the same prophetic vision is given a more modern spin.
A Pale Lady in Lake Mungo (2008)
When analyzing 2018’s Hereditary sleep is used in a similar way, where both a pale ghostly sister, a grandmother, and an increasingly insane mother creeping in the bedroom is used to great effect… and ultimately plays into part of the some-might-say inevitable ending. Many visions and dreams happening in Hereditary can be seen as prophetic.
A Pale Lady in Hereditary (2018)
The Dream in Hereditary (2018)
Another meaning that can be found in “The Dream” in Scary Stories to Tell in the Dark is the pale skin along with dark hair. This combination has become synonymous with gothic literature, and now goth culture and goth pop culture. Watch virtually any Tim Burton movie, or Addam’s Family, or just about anything aligned with the goth aesthetic. There are connections to certain depictions of beauty that was solidified and connected to European history that connects this story to long-distilled cultural depictions of gothicism. This pale lady with her stringy black hair, though usually depicted as ugly, is also connecting modern storytelling with a long history of gothicism that can be extrapolated in a number of different ways.
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[…] hour into the movie when Kevin sees Kaylee and her eyes and mouth have disappeared (reminiscent of The Pale Lady from the Scary Stories books or the movie Lake Mungo), that is Kevin drifting out into the real […]
[…] It is in a chapter that is dedicated to a large collection of folktales referred to as stories of a Forerunner. What is a forerunner? As it is stated in Helen Creighton’s book, forerunners are “supernatural warnings of approaching events and are usually connected with impending doom.” Many stories from Scary Stories to Tell in the Dark fit this mold, while many others exist in other legends and popular culture. Only a few include the Mothman Prophecy, the Smiling Man, and the Pale Lady. […]
[…] in relation to or in comparison to similar legends such as the night hag, succubus, or even the pale lady well-known for its inclusion in the Scary Stories to Tell in the Dark […]
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[…] The Story Behind The Pale Lady from Scary Stories to Tell … […]
[…] hour into the movie when Kevin sees Kaylee and her eyes and mouth have disappeared (reminiscent of The Pale Lady from the Scary Stories books or the movie Lake Mungo), that is Kevin drifting out into the real […]
[…] It is in a chapter that is dedicated to a large collection of folktales referred to as stories of a Forerunner. What is a forerunner? As it is stated in Helen Creighton’s book, forerunners are “supernatural warnings of approaching events and are usually connected with impending doom.” Many stories from Scary Stories to Tell in the Dark fit this mold, while many others exist in other legends and popular culture. Only a few include the Mothman Prophecy, the Smiling Man, and the Pale Lady. […]
[…] in relation to or in comparison to similar legends such as the night hag, succubus, or even the pale lady well-known for its inclusion in the Scary Stories to Tell in the Dark […]