Horror Bulletin Weekly
Insidious (2010), The Haunting (1963 and 1999), and Count Dracula (1977)
Episode 137 Summary
This week, we’ll be watching some more classics. We’ll watch four more horror films, including “The Haunting” form 1963 AND the remake from 1999, “Insidious” from 2010, and “Count Dracula” from 1977.
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The Haunting (1963)
– Directed by Robert Wise
– Written by Nelson Gidding, Shirley Jackson
– Stars Julie Harris, Claire Bloom, Richard Johnson
– Run Time: 1 Hour, 52 Minutes
“Hill House had stood for 90 years, and might still stand for 90 more,” says the narrator. Credits roll. Afterward, he tells more of the history of the scary old house. “It was an evil house from the beginning. A house that was born bad.” Hugh Crain’s wife was killed, and he raised his young daughter alone. He later remarried, and the second wife fell down the stairs and died.” Hugh then went to England and died there. Young Abigail grew up and grew old in Hill House. She hired a young companion to care for her, but the companion was making out with a farm hand when she died. Abigail is said to haunt the house still. The companion eventually hanged herself.
Dr. Markway is the narrator, and he wants to rent Hill House to do a paranormal investigation in the house. He arranges to go to the place from Ms. Sanderson, the current owner of the house. Ms. Sanderson doesn’t like the idea of Dr. Markway staying in the house with female assistants, so she insists that her nephew Luke go and stay with them.
Eleanor has been invited to the house, but her family doesn’t want her to go. Her sister seems to be her “keeper” or something. She doesn’t seem terribly stable. She really has to put up a fight just to take her own car out. She thinks this is where she’s been wanting to go all her life. The family has no idea where she’s gone since she basically stole her own car. She very much lives in her own mind.
Dudley the caretake is rude to her, but he finally lets her in. She sets eyes on the house and thinks it’s staring back at her. She senses the house’s evil intent, and that it is patient and waiting. Mrs. Dudley lets her in and explains about mealtimes; she clearly points out that she doesn’t stay there after dark.
She meets Theodora, another guest. She gets a scare, but it’s only Dr. Markway. All the doors are slightly off-kilter and tend to close by themselves.
They find the dining room and meet Luke Sanderson, who’s already drinking. The other specialists dropped out, so these four are the only ones coming. He’s already planning to sell the place when he finally inherits it. Markway explains that Theo has ESP and Nell has experience poltergeists in her childhood, but she’s in denial. Markway thinks the house has become… deranged.
Eleanor has a continuous inner monologue going on, where she tells herself she belongs there and this is the place she is meant to be. Theo seems to know everything about Nell, even that she wants to have her hair style changed. She reads Nell’s mind easily.
Nell goes to bed, but she hears knocking in the middle of the night. She hears Theo screaming, and they look for the unidentifiable sound in the freezing cold room. There’s definitely something right outside the room pounding on the walls.
The next morning, Markway has a million personal questions for Eleanor, and she tells him all about her past. We hear about his back story as well; basically, he simply wants to prove that ghosts exist. Luke comes in and tells them about chalk writing on the hallway wall. “Help Eleanor come home,” is scrawled on the wall. Theo says maybe the house likes her best, or maybe she wrote it herself.
They find a statue of the original Crain family, and one of the statues, the companion, looks a lot like Nell. Eleanor has issues with the house, and it does things to her when she stops paying attention. Eleanor and Theo move into the same bedroom to avoid any weirdness like last night. Eleanor tells Theo she wants to stay at Hill House forever.
Markway finds a cold spot in the hallway, and he calls it the “heart” of the house. Their breaths fog up when they stand in the right place. Nell has a night visitor as she sleeps, or maybe it was just her own dream? Markway thinks they are really close to observing something undeniably real, but Eleanor is already convinced. She explains that she was tired and let her mother die; she didn’t mean for it to happen, but it did. Theo knows too much, and it starts getting on Nell’s nerves.
A car pulls up, and it’s Grace, Markway’s wife. The newspapers have found out about this study, and if it gets out, he’ll be a laughing stock. She doesn’t take any of this seriously at all and mocks Markway. Not only that, but she wants to sleep in the nursery, which all of a sudden has become unlocked and open.
They all sleep downstairs in the parlor except for Grace, who’s still in the nursery. This time, they all hear the pounding on the walls. The door bends inward like it was rubber. Things get hectic, and Nell decides to give herself to the ghost if it wants her. They all go up to the nursery, but Grace has disappeared.
Eleanor goes into the library and up the strange, wobbly old spiral staircase. “I am home,” she repeats several times. Markway finds her and chases up after her. They bring her back down, but then they insist that she leave and go somewhere safe. She insists that the house wants her, and no one else. She takes the car and speeds away, but the house doesn’t want her to go. Eventually, she runs into a tree and is killed. It was the same tree that killed the original Mrs. Crain many years ago. Almost immediately, Grace turns up, wandering around the grounds.
Theo explains that now the house belongs to Nell. She got what she wanted. The house has what it wants. Markway goes back to the house and locks everything up so nothing like this happens again.
I can’t think of another movie that has so much inner dialogue. Nell constantly thinks things to herself, and we hear all of it. She’s unstable for sure, and maybe a little insane, but that’s what makes her interesting. This is about as “psychological horror” as a movie can be. There are only four real main characters here, and we get to know them all, which is good. We know what they want, why they have come, and what they do.
Early on, Markway explains that Nell had had a previous encounter with a poltergeist, which she denies, but this never goes anywhere, nor is it even brought up again.
It’s long, but the pacing is good, and it’s not even slightly boring. The ghostly activity is pretty minimal, and you never see anything, but it’s a good ghost story.
The Haunting (1999)
– Directed by Jan de Bont
– Written by David Self, Shirley Jackson
– Stars Liam Neeson, Catherine Zeta-Jones, Owen Wilson, Lili Taylor
– Run Time: 1 Hour, 53 Minutes
Nell and her sister Jane are fighting over their inheritance. Nell has been taking care of her sick mother for over a decade, and now she’s going to be thrown out on the street. Jane offers Nell a job as their maid and babysitter. She gets a call about becoming a research subject for $900 a week.
Dr. David Marrow is doing a research study, and he’s looking for “suggestible” people for his trip to Hill House. His boss doesn’t think he can do his research credibly or ethically.
Nell arrives at the huge old mansion, and Mr. Dudley unlocks the gate for her. No one opens the door, so she goes inside and finds Mrs. Dudley. We get a feel for the place as they walk to Nell’s room. The place is insanely large and well furnished, and Nell notices a giant, creepy painting of Hugh Crain. Mrs. Dudley explains that these will be the first visitors Hill House has had since Mr. Crain died.
Theo arrives, and she has her own baggage. Mrs. Dudley goes through the same spiel about dinner time. They get along fine, and the compete to see who is more messed up. Then they find a fun-house room with mirrors and a moving floor. They literally run into Luke Sanderson, and then we meet David Marrow and his assistants Mary and Todd. Mary immediately gets creeped out by the place.
David explains that he’s doing a research study on “bad sleepers” and insomnia. That’s not true, but it’s the cover story for what he really wants. David explains the story of Hugh Crain, who built the house but really just wanted children. Unfortunately, all his children died in childbirth. He kept on building and building, and people still say they can hear the sounds of children at night. Crain’s wife killed herself.
As Mary explains that there is evil in the house, a piano string tightens and snaps all by itself and hits her in the eye. Todd takes her in the car, and they take the key to the big gate. They never come back.
Night falls, and they all go about their business. Nell sees the faces on her fireplace are all looking at her. Luke walks the halls with insomnia. Nell wakes up to a loud pounding noise on the walls and hears Theo calling for her in the next room. She runs over there, and now they both hear the sounds. Something is trying very hard to get into their room. It gets cold and they can see their breaths in the bedroom air. Luke comes in, but it’s gone by this point. They eventually go back to bed. Little CGI faces crawl through the bedsheets to scare Eleanor. They say, “find us!”
In the morning, Luke has come to the conclusion that David hasn’t told them the whole truth about why they are there. Nell sees something in the fireplace, but again, no one else sees it. Soon after, they find “Welcome home, Eleanor” painted on the wall.
The next night, Nell finds red footprints in her bedroom. She follows them to a secret room with a ledger. It’s Crain’s secret study, and his ledger is full of names of children who died. What happened to them? The next day, Nell finds David’s tape recorder and figures out why they’re really here. She then gets a ghostly hint from Carolyn, Crain’s second wife, to look in the fireplace again, and this time, she finds the bones of children. Nell tells everyone this, and David comes clean about the nature of the scientific study.
They put the distraught Nell to bed and turn out all the lights, always a good idea. The room comes alive and attacks her. She follows the baby ghosts up the rickety old spiral staircase in the greenhouse. David slowly goes up behind her, but it keeps falling apart every time he takes another step. They finally get her down and put her to bed—until her bed tries to kill her. They all see the thing in her room this time, so any doubt is removed.
It soon comes up that David never called Nell. He never spoke to her before she arrived in the house. Who invited her in the first place? Luke gets in the car and tries to ram the front gate, but that goes badly for him. Nell hears the children inside calling for her to return. Luke gets out of the car, and everyone goes back into the house.
Nell explains that Carolyn was her great-great grandmother, and the children need her to take care of them. As long as she’s here, Crain can’t hurt them anymore. Luke smashes the painting of Crain, and the house pulls him into the fireplace, where the giant lion beheads him. Nell then fights off a stone gargoyle
Finally, Mr. Crain himself makes an appearance, but Nell refuses to be afraid of him. She gives him a piece of her mind and threatens to stop him now. The statue of Purgatory comes to life and sends Crain to Hell. We then see all the children’s spirits leave and thank Eleanor on the way out. Of course, she dies as well.
In the morning, the Dudleys let David and Theo out.
We watched this one immediately after the 1963 version to compare the differences, so we’ll look at those first.
We get told right up-front what Nell has been doing with her life and it’s clear what her choices are and her situation is. In the first movie, Nell seemed eccentric, flighty, and maybe a little crazy. She seems much more normal and relatable in this one.
In the original film, we see literally nothing spooky. It’s all noises and atmosphere. This film has some dated CGI to help our imaginations work. Toward the end, the CGI and creatures get a little excessive.
With the mystery of the missing children, this film also has much more of a plot to it than simply, “The house wants me.” There’s also no mention of Abigail and the negligent caretaker, it all focuses on evil Mr. Crain. Most surprisingly, there was absolutely none of the inner dialogue that went on in the original film – Nell had quite a bit of that the first time around.
This was a big-budget remake with an A-list cast. The set is outrageously overblown, probably the nicest and most elaborate haunted house ever. As Mrs. Dudley says, “it’s a lot to dust.” There’s a lot of running around and CGI ghosts and things here, so it’s a lot more exciting, but less cerebral, than the original.
The scenery and sets are worth the watch, but the story in the original was probably more uniquely told.
Short film: Making Friends (2021)
– Directed by Chris Vincze
– Written by Mark Davison, Pat Schulenburg, David Shute, Joel Veitch, Chris Vincze
– Stars Mark Davison, Lucy Roslyn, Rick Warden, Lucy Barker
– Run Time: 9:49
Moe, a lonely man, makes little artificial animals as a hobby. He waves to Caroline and lets her in. Caroline actually has a little crush on Moe, but when she goes over to ask him to come over for tea, he goes on and on about being invited to his high-school reunion.
Moe goes to the reunion, where he sees Emma, the girl he used to have a crush on back then. She doesn’t remember him. She now married to Darren, one of his old bullies. Moe switches bags with Darren, and Darren comes over the next day to trade back.
Can Moe turn Darren into a new friend? Darren calls him a creepy freak and then chokes on a biscuit. Now they can be friends! But… what about Caroline?
It starts out a little sad and pathetic, but spirals down into just plain weird very quickly. Still, some people are weird, and just maybe Moe can still find his soul mate. He just needs someone as weird as he is.
Count Dracula (1977)
– Directed by Phillip Saville
– Written by Gerald Savory, Bram Stoker
– Stars Louis Jordan, Frank Finlay, Susan Penhaligon, Judi Bowker
– Run Time: 2 hours 31 minutes
Jonathan Harker is loading up the carriage, he’s off to Transylvania. He says goodbye to his fiancé, Mina. Mina will be staying with her mother and her sister, Lucy. He’s off! Credits roll.
Aboard the carriage, one of the men says it’s May 4th, the Eve of St. George, when all the evil things of the world take command. People have been giving Jonathan a ward against the evil eye. When the passengers hear the name Dracula, they all cross themselves and mutter, “Strigoi.” They tell him not to go. When he gets off the carriage, the woman gives him a cross on a chain to wear. They leave him alone in the wilderness; they refuse to wait.
Eventually, a carriage comes for him as promised. The silent coachman drives Jonathan the rest of the way to the big castle. Dracula opens the door and lets him in. Dracula carries in Jonathan’s heavy trunk as if it were empty. Dracula has already dined, but he has prepared a nice dinner for Jonathan. The plates are 400 years old and solid gold. Dracula asks about Carfax, the old house that he’s just purchased. The sun has begun to rise, so Dracula says they’ve talked enough for tonight, so he warns Jonathan to stay out of the rooms with locked doors. Dracula looks very human and acts very civilized.
Jonathan goes to bed but remembers to put that cross on first. The next evening, Dracula explains about the trouble with mirrors – one Jonathan is shaving with doesn’t reflect the Count, and he makes a joke out of it before he throws the mirror out the window. Dracula wants him to stay for a month to teach him better English. At night, he watches Dracula climb down the outside wall of the castle, moving the way a bat would.
Meanwhile, Mina, Lucy, and their mother go to their summer home. It’s the most bleak, grey, dingy summer home ever. Jonathan has written that he’ll be gone another month, and they all worry about him. Lucy has received two marriage proposals: one from Dr. Seward, and the other from Quincey Holmwood.
Jonathan, back in Transylvania, writes to Mina using shorthand, hoping that Dracula can’t read the letters. Dracula’s three wives show up and tease Jonathan. Dracula comes in and orders them away. He promises they can have Jonathan as soon as he’s finished with him. They whine that he never gives them anything, so Dracula brings them a baby to eat.
Dracula says Jonathan can leave, but there are wolves outside. Dracula then returns the coded letters that Jonathan wrote to Mina. Jonathan soon finds himself trapped but does manage to crawl down on the outside of the castle to Dracula’s wives’ secret sleeping room. He also finds Dracula, who lies in his coffin. Jonathan beats him with a shovel, but it doesn’t damage him. him. Dracula’s somewhat awake through the whole thing but cannot get up in the daylight.
Back in England, at Dr. Seward’s Purefleet Asylum, Mr. Renfield has been catching flies again. He plans to feed them to spiders-- if he had spiders. Mina and Lucy see a ship out on the horizon in the storm, and it’s heading straight for the rocks. Sure enough, the ship sinks. The newspaper and the ship’s log say the ship had been haunted by a strange man before the crew all died mysteriously. They all wonder why Jonathan hasn’t written in over a month.
That night, Mina wakes up to find Lucy isn’t in their room. Lucy is sleepwalking up to the creepy old Carfax place beyond the cemetery. Mina finds Lucy in the graveyard with a mysterious man in black biting her neck. She gets a good look at Dracula’s face before he disappears. Lucy has bite marks on her neck now. Lucy and Dracula get together several more times over the following nights, and she doesn’t show much interest in her fiancée, Holmwood, anymore.
Dr. Seward notices from his office window that a bunch of boxes have been delivered to the abandoned abbey next door. Renfield’s been eating the flies recently, so he’s not getting any better. He wants a kitten next. Jonathan’s boss talks to Mina and explains that Jonathan is very sick, but that Mina can go to see him.
Dr. Seward comes over and examines Lucy, but he can’t find anything wrong with her to explain her malaise. Seward thinks he’ll call in his old professor from Amsterdam to help out with a diagnosis. Dr. Van Helsing soon arrives on the scene. He wants to know what’s on under her choker necklace. It’s the bite marks. He also noticed her fangs, which are pretty hard to miss. Each morning, Lucy gets sicker and weaker. Van Helsing tells Lucy to wear a necklace of garlic to bed each night.
That night, Lucy’s mother notices a bat flying outside Lucy’s window. She doesn’t like the smell, so she removes all the garlic. A wolf jumps through the window, giving the mother a fatal heart attack, but then the wolf turns into Dracula who finishes Lucy.
Dracula finally pays Renfield a visit. Renfield overpowers the guard and drinks some of his blood as Dracula watches.
Lucy is dying, but the marks on her neck have vanished overnight. Van Helsing notices that she doesn’t have a reflection in the mirror anymore, and her fangs have grown longer.
Two days after Lucy’s funeral, Mina and Jonathan have gotten married and now return home. Jonathan recognizes the cab driver immediately—it’s Dracula! Holmwood explains what happened in their absence. Seward and Van Helsing go to the Westenra family crypt and look for Lucy there. She’s gone, but they find a little boy with bite marks. Van Helsing explains about Nosferatu to Holmwood, who is skeptical. They watch Lucy turn into smoke in order to get back into her tomb in the daylight. They stake her and cut her head off. The group talks, and Jonathan explains about Dracula and Carfax, so they know who their enemy is.
The three men go to Carfax that night and poison 29 out of 50 of Dracula’s boxes of dirt using Consecrated Host. Holmwood gets a lead on the other 21 boxes. Meanwhile, smoke pours into Mina’s room that swirls and becomes Dracula. Mina goes to see Renfield the next day, and he notices the bite on her neck. Renfield then turns against Dracula, and Dracula kills him. Dracula then goes to Mina and lets her drink his blood. Van Helsing comes in in the middle of this and puts a stop to it.
They find and destroy more boxes of dirt. Dracula and the men meet, and he taunts them. Mina starts sticking up for Dracula, seeing his side of the story. She’s got little fangs by this time. The men go out for the final box of soil, which is back in Transylvania at Castle Dracula. On the road, at night, Mina can hear the laughing of Dracula’s other wives. They come for her, but Van Helsing uses more Consecrated Host to keep them at bay.
At first light, Van Helsing heads on to the castle, leaving Mina to sleep in the sunlight. He finds and kills the brides easily enough.
Meanwhile, we see gypsies loading the final boxes onto carts. Dracula is going to get away! Holmwood, Jonathan, and Seward catch up with the gypsies and shoot them all. One guy gets away with a carriage, and the case is on! The carriage makes it to Castle Dracula and goes inside. Holmwood gets there first, but he’s been shot and can’t do much. The others come in behind him. Jonathan and Van Helsing hop on the carriage and find Dracula in his box just as the sun sets. Van Helsing is a little too fast for him, and once staked, the fireworks go off.
It’s really long, but it does follow the original novel much more closely than most other films. It tends to be slow moving, but that’s mostly due to sticking with the dialogue and ideas from the book. The video effects were extremely limited, but this was a BBC production of the 70s, so they aren’t too bad, considering. The sets, scenery, and costumes are all great, as the BBC knows how to do Victorian England better than anyone. Renfield is insane, but it’s a believable insane, not a comedy-relief giggler. Dracula is smooth and civilized here, handsome and seductive, not really monstrous in any way. Van Helsing is almost always a step ahead, and this is one of the only truly effective and intelligent portrayals of the character.
Frank Finlay, as Van Helsing, was so good at his job that he later fought space vampires in Lifeforce (1985), and Louis Jordan as Dracula was excellent as well. The others are fine, but these two really steal the show.
The story follows the book religiously, but in this version, Lucy and Mina are sisters and for some reason, the two characters of Lord Arthur Holmwood and Quincy Morris have become one man, Quincy Holmwood, who talks like a cowboy. Dracula’s hairy palms are shown in several scenes, which is a nice touch.
It doesn’t have much action, but if you are a fan of the original Bram Stoker Dracula novel, then this is the one to see.
– Directed by James Wan
– Written by Leigh Whannell
– Stars Patrick Wilson, Rose Byrne, Ty Simpkins
– Run Time: 1 Hour, 43 Minutes
Renai and Josh Lambert wake up; they’ve just spent their first night in the new house. Renai starts to unpack before Josh even gets up. Their son, Dalton, is up early because he doesn’t like his new room. They have two young boys and a new baby, and they’re all loud and annoying. Finally, Josh goes to work, and the boys go to school. Renai, however, starts hearing strange sounds in the house, but it’s just her and the baby now. She goes up to the attic, and the gas furnace up there turns itself on. Also, someone threw all her books on the floor.
Dalton goes up in the attic later and hits his head, causing much wailing and screaming. Renai finds the sheet music she had been looking for up there. The next morning, Dalton doesn’t want to wake up. They take him to the doctor as he’s now in a coma.
Three months later, they bring Dalton home, but he still hasn’t woken up. Renai starts hearing voices on the baby monitor, but when she goes up there, the baby is alone. Foster wants to change rooms because he doesn’t like it when Dalton, who is still in a coma, walks around at night.
That night, they hear knocking at the front door, but when Josh goes down to investigate, there’s no one there. Renai sees someone standing in the baby’s room just as the downstairs alarm goes off. The front door is now wide open. The next morning, Renai notices that there is a large, bloody claw handprint on the sheet beside Dalton’s foot.
Renai tells Josh that there’s something wrong with the house, that it has a sickness. She thinks the house is haunted, but he keeps working late. She finds someone in her room that night, but the windows are locked. She wants to move. So they move to yet another house. Lorraine, Josh’s mother, helps them move.
At the new house, Renai’s music changes to “Tiptoe Through the Tulips” all by itself. She sees a little boy running around in the hallways playing hide and seek. It quickly becomes obvious that this house is haunted too. Or maybe Renai is just insane? She calls in a priest, and Lorraine backs her up. She had a dream about a monster in Dalton’s room that wants him. Then she sees the monster standing right behind Josh. It ransacks Dalton’s room and throws him to the floor.
Lorraine calls Specs and Tucker, a duo of paranormal investigators. They bring a ViewMaster with colored film and other high-tech toys. Tucker almost immediately finds a pair of twin ghosts. They call in Elise, who is a medium. Elise can see the monster in Dalton’s room and describes it while Specs draws what she describes. Elise says she thinks Dalton isn’t in a coma; his spiritual body is elsewhere. “It’s not the house that’s haunted; it’s your son.” Dalton has been leaving his body in astral form as his body sleeps. He’s gone too far and has become lost in a place she calls “The Further. A place not meant for the living.” These evil entities are gathered around him because he’s just a body with no soul now. One of them is the demon that Specs drew.
Josh puts up with the dog and pony show for a while but says this is all ridiculous. He throws the supernatural trio out. Then he looks at Dalton’s old drawings on the wall and changes his mind. They call in the experts again, and this time, they set up cameras and start a séance. The flashbulbs start going off faster and faster until they lose Dalton. The physical Dalton gets up and attacks the people in the room, and other ghosts come along for a full-scare ghostly home invasion. That could have gone better!
Lorraine comes over and explains how she met Elise. Turns out, Josh was able to astral project as well, and had a problem when he was eight years old. He used to be terrified of an old woman who used to come visit him at night. She has actual old photos of the ghost following young Josh around. He doesn’t remember any of it.
Elise tries talking Josh into astral projecting himself. He used to be able to do it but has blocked out all memory of it. Josh soon finds himself inside “The Further” as he looks at his physical body across the room. He quickly finds Dalton, and then loses him again. Now they have to find their way out. The ghostly old woman is there as well as other strange characters. Josh is the one who is actually alive, so he’s stronger than they are.
“Tiptoe Through the Tulips” starts up again, which seems to be the main demon’s favorite song. Back in the physical world, the house starts to shake, and the light bulbs all explode. They hear things upstairs on the baby monitor. Then they all appear again, terrorizing the living. Meanwhile, Josh and Dalton try to get back to their bodies. Josh confronts the old lady ghost while Dalton runs from the red-faced monster. They both wake up; happy ending!
Renai, Lorraine, and Dalton have spaghetti in the kitchen whole Josh murders Elise in the living room. Renai looks at the photo of Josh and sees the woman in black instead. It’s not over!
They’ve got an awfully large house for a schoolteacher and a songwriter. Renai complains, “This house is haunted, I want to move” and Josh is like, “OK.” It’s not usually that easy, but they manage to go to a second nice house, almost certainly before the first one sold. Economics matter, even in the movies.
I don’t know if you can have paranormal investigators without stepping on the toes of Poltergeist. There’s a lot of story here. Between Josh’s past history and whoever the multiple ghosts are, there’s plenty here to develop in the sequels. Astral projection has been a big thing with “paranormal people” for ages, and this is the only film I can think of that really deals with it to any degree.
The acting is excellent, the story is detailed and rich, there are lots of little details, and the creatures are interesting and unique. It’s got some well-placed jump scares, but it’s pretty suspenseful, even without them. This is definitely one of the best haunted house/ghost/possession stories of recent years.
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