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A 1973 Japanese Anthology television series created by Tsuburaya and Fuji TV.
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Part 1 · Jan 1, 1973
A Mummy’s Love
In post-war Japan, a publisher goes to visit her former teacher for help on a modern translation of a legend about a mummified Buddhist monk who was revived and who, centuries later, turned into a sex demon who terrorized a village in pre-modern Japan.

Part 2 · Jan 1, 1973
A Woman Who Warns of Death
A successful lyricist, Sakumaki (Yukio Ninagawa), lives with his partner Kazue (Keiko Fujita) and their daughter, though he has always kept an emotional distance from them. One night, he returns home to find a mysterious woman in black (Yuko Kusunoki) waiting in his apartment. She calmly tells him that he will die the next night at precisely 12:13 a.m. Shaken, Sakumaki flees, only to discover the same woman appearing wherever he goes. As her presence grows more menacing and unexplainable, his fear spirals into paranoia. Directed by Toshiya Fujita, the episode blends domestic drama with supernatural dread, blurring the line between hallucination and reality. With Ninagawa in a rare starring role, supported by Ichiro Zaitsu and Akira Nagoya, the story pushes its protagonist into a psychological nightmare where fate, guilt, and obsession collide.

Part 3 · Jan 22, 1973
The Killing Game
A middle-aged office worker, Masao Okada (Eiji Okada), discovers that his worsening illness is terminal cancer. Shaken and resigned, he meets a mysterious man, Suzuki (Haruo Tanaka), who knows every detail of his life. Also a dying patient, Suzuki proposes a “game”: two men with little time left will live in suspense, wondering when and how the other might kill, using paranoia as a way to escape the greater fear of death. Directed by Yasuharu Hasebe and based on a story by Kyotaro Nishimura, this short TV film from "Horror Theater Unbalance" blends psychological dread with social reflection. Alongside Okada’s fragile romance with nurse Akiko (Masumi Harukawa), the story introduces a nihilistic subplot where a reckless young couple (Renji Ishibashi among them) engage in a fatal dare that ends in self-destruction — echoing the era’s sense of emptiness and contrasting Okada’s struggle to find meaning in the face of death.