In the horror genre, rabbits are routinely positioned as creatures capable of unsettling audiences, whether through the killer-rabbit trope, which has been a mainstay of the genre since the 1970s, or by evoking the animal’s childlike associations only to disturbingly undercut them. Robert Eggers’ The Witch (2015) breaks from these conventions by presenting the audience with an unnervingly silent hare. This silence transforms the hare into an open signifier, making it especially difficult to read. Eggers’ hare, therefore, acts as a sonic cypher, and it is this ambiguity that renders it an especially disquieting creature in the film, making the hare a flexible sign upon which horror can be inscribed. Moreover, the subdued soundscape associated with the animal serves yet another purpose: it highlights the issue of muteness, drawing our attention to the horror associated with lacking a voice. In this regard, the silent hare of The Witch is an intriguingly doubled figure, having the power to generate fear and highlight the fear associated with the lack of power.