15th Annual SYSK Halloween Spooktacular!

Buckle up folks, it's time for another of our favorite traditions, the SYSK Halloween Spooktacular! So sit down, dim the lights and get ready for some spooky stories. 

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Episode Transcript

Speaker 1 (00:01):
Welcome to stuff you should know, a production of iHeartRadio.

Speaker 2 (00:18):
Hey, and welcome to the Spooktacular spook Cast. I'm Josh,
and there's Chuck and Jerry's here too, and we are
all wrapped in bandages because we're mummies, scary mummies, mummies
that have been dead for thousands of years but now
want to pull your brains out with the hooks we
were buried with.

Speaker 1 (00:39):
That's good.

Speaker 2 (00:40):
Thanks. I've been writing it and workshopping it for months.

Speaker 1 (00:44):
I think it paid off, my friend. So, if you
are new to the show, or new enough that you
don't know what we do on Halloween, what we do
is we each pick a spooky story that's in the
public domain so we don't get sued, and we read
it together, sometimes with fun accents, sometimes without. This is

(01:08):
an ad free episode, and we have it. We've mentioned
this before, but we had it written into our work
contract that Halloween and Christmas are I guess barricaded off
from ads, so you can enjoy the spectacular without having
ads right in the middle of it.

Speaker 2 (01:24):
Yeah. I think it was a good move. Good move.

Speaker 1 (01:28):
Yeah, So Josh, we're gonna read yours first. Do you
want to set this one up.

Speaker 2 (01:33):
Yes, this is a story by Aldrin in Blackwood. He's
a recurring friend of the Spectacular episodes because he's squarely
in the public domain. But he was also a good
writer of ghost stories. For sure, this one it's not
his best work. But we and you in particular, but
I think we both did looked for a story written

(01:56):
by a woman. And it's harder to do than you
would think because the stuff that it's in the public domain.
I think we're up to nineteen twenty eight or twenty nine.
There weren't a lot of women published at the time,
at least it was very disproportionate compared to men. So
what we did this time was we found a story
written by a man but told from the point of

(02:16):
view of a woman. That's as good as we could
get this year, everybody.

Speaker 1 (02:20):
That's right. The other thing, too, is, especially back in
those days, women didn't write a bunch of horror, short horror,
and I did find some good ones in the Weird
Tales magazines, but those that don't think you're in the
public domain yet some of it that's where you can. Oh,
some are these from like the nineteen forties.

Speaker 2 (02:40):
Okay, I found some from like like nineteen twenty eight,
twenty nine, and they're pretty good.

Speaker 1 (02:46):
Yeah, it's also hard to find like a clean copy
of those like the one I found. I had to
blow up a PDF of the magazine itself that it
was kind of cool wow, but ended up ended up
being too long. But maybe I don't know, maybe we
can knock that one out one year.

Speaker 2 (02:59):
That's funny. We both found a new source of rich
source of horror stories to use in the future at
the same time.

Speaker 1 (03:08):
Well, mine was weird tales. What was yours?

Speaker 2 (03:11):
Amazing stories, astounting story stuffing with that? I don't remember,
but the first one I sent you that was from
one of those pulp magazines.

Speaker 1 (03:17):
Oh okay, cool. Well, maybe you know, if we live
long enough, we'll be able to read some of those.

Speaker 2 (03:22):
Yeah. I was thinking, if we keep this up for
another like fifty seventy years, we're really going to get
into some good stuff and I.

Speaker 1 (03:28):
Won't have to do a creepy accent.

Speaker 2 (03:32):
All right, I'm gonna start okay.

Speaker 1 (03:34):
All right, so I'm playing the woman a Monty Python style,
I guess.

Speaker 2 (03:38):
Right, m I'm going to be the man.

Speaker 1 (03:41):
Okay, And by the way, this story for a quote
unquote horror story gets a little sexy.

Speaker 2 (03:46):
It does, for sure. You know, I just realized something.
The entire story is told by the woman from her
point of view, so you're going to be doing a
lot of reading unless we split up the stuff where
she's relating the story.

Speaker 1 (04:02):
Well, no, no, no, I think that's what you should do. Okay,
and then I'll just read her part and once once
the man comes in, you know, he gets his do
I think?

Speaker 2 (04:10):
Okay, but we can also switch it can be the lady. No, no,
it's okay. I was just saying, it occurred to me
that we should hash this out right here live on
the on the episode.

Speaker 1 (04:20):
That's what we usually do. Okay, you ready, all right, Yeah,
let's do it. What's it called?

Speaker 2 (04:24):
This is the Woman's Ghost Story by Aldronan Blackwood.

Speaker 1 (04:29):
Geez, sorry, one more quick question. Are they British?

Speaker 2 (04:33):
And they can be? It doesn't matter, Okay, Okay, I'll
probably do British.

Speaker 1 (04:38):
You know, I'm so good at it.

Speaker 2 (04:39):
I think Algren in Blackwood was I think one hundred
percent British, So.

Speaker 1 (04:43):
So we'll go britt on this one at least I will.

Speaker 2 (04:45):
Oh and then one more thing, big hat tip and
a big thank you to a guest producer, Ben, who's
handling the sound effects this episode. So thanks a lot, Ben.

Speaker 1 (04:57):
That's right. Cherry decided she didn't like fun in her
life more.

Speaker 2 (05:04):
Okay, so here we go with the Woman's Ghost Story
by Aldrin in Blackwood. Uh yeah, sorry, good?

Speaker 1 (05:15):
Take two? All right, back to one, everybody, So I
start then you're gonna read the other stuff? Right?

Speaker 2 (05:21):
Yes?

Speaker 1 (05:21):
Sorry, okay, all right? Ready here we go.

Speaker 2 (05:26):
Yes, she said from her seat in the dark corner.

Speaker 1 (05:30):
I'll tell you an experience if you care to listen.
And what's more, I'll tell it briefly without trimmings. I mean,
without unessentials. That's the thing storytellers never do, you know,
she laughed, They dragging all the unessentials and leave your
listeners to disentangle. But I'll give you just the essentials
and you can make of it what you please. But
on one condition that at the end you ask no

(05:52):
questions because I can't explain and have no wish to.

Speaker 2 (05:57):
We agreed we were all serious. After listening to a
dozen Prolix stories from people who merely wished to talk
but had nothing to tell. We wanted essentials. In those days,
she began feeling from the quality of our silence that
we were with her.

Speaker 1 (06:13):
In those days. I was interested in psychic things and
had arranged to sit up alone in a haunted house
in the middle of London. She's not really British, is she?
Middle English?

Speaker 2 (06:24):
Sure?

Speaker 1 (06:25):
All right? It was a cheap and dingy lodging house
in a mean street, unfurnished. I had already made a
preliminary examination in daylight that afternoon, and the keys from
the caretaker who lived next door were in my pocket.
That doesn't seem essential to me. Honestly, the story was
a good one. Satisfied me at any rate that it

(06:45):
was worth investigating. And I won't weary you with details
as to the woman's murder and all the tiresome elaboration
as to why the place was alive enough that it was,
I was a good deal bored therefore, to see a
man whom I took to be the talkative caretaker waiting
for me on the steps when I went in at
eleven pm. Where I had sufficiently explained that I wished

(07:06):
to be there alone.

Speaker 2 (07:07):
For the night, it was distributed to the room, he mumbled,
And of course I couldn't exactly refuse, having tipped him
for the temporary loan of a chair and table. Come
in then, and let's be quick, I said.

Speaker 1 (07:24):
We went in, he shuffling after me through the unlighted
hall up to the first floor where the murder had
taken place, and I prepared myself to hear his inevitable
account before turning him out with the half crown his
persistence had earned. After lighting the gas, I sat down
in the armchair he had provided, a faded, brown plush armchair,
don't be dumb, and turned for the first time to

(07:47):
face him and get through with the performance as quickly
as possible. And it was in that instant I got
my first shock. The man was not the caretaker. It
was not the old fool carry I had interviewed earlier
in the day and made my plans with my heart
gave a horrid jump. Now, who are you? Pray, I said,
you're not Cary, the man I arranged with this afternoon.

(08:10):
Who are you? I felt uncomfortable, as you might imagine.
I was a psychical researcher and a young woman of
new tendencies, and proud of my liberty. But I did
not care to find myself in an empty house with
a stranger. Something of my confidence left me. Confidence with women,
you know, is all humbug after a certain point written
by a man. Or perhaps you don't know, for most

(08:33):
of you are men. But anyhow, my pluck ebbed in
a quick rush, and I felt afraid. Who are you?

Speaker 2 (08:39):
I repeated, quickly and nervously. The fellow was well dressed,
youngish and good looking, but with a face of great sadness.
I myself was barely thirty. I'm giving you essentials, or
I would not mention it. Out of quite ordinary things
comes to the story. I think that's why it has value.

Speaker 1 (08:57):
Boy, she's really talking a lot about hell.

Speaker 2 (09:00):
How great her story? This story?

Speaker 1 (09:02):
Yeah, because she fills it with mundane details. All right,
here we go.

Speaker 2 (09:06):
The keys were in her pocket. Everybody, that's right? And
now you no, he said, I am the man who
was frightened to death.

Speaker 1 (09:17):
His voice and his words ran through me like a knife,
and I felt ready to drop. In my pocket was
the book I had bought to make notes in. I
felt the pencil sticking in the socket. I felt too,
the extra warm things I had put on to sit
up in, as no bed or sofa was available. A
hundred things dashed through my mind, foolishly and without sequence
or meaning, as the way is when one is really frightened. Unessentials.

(09:42):
Unessentials leaped up and puzzled me. And I thought of
what the papers might say if it came out, and
what my smart brother in law would think, and whether
it be told I had cigarettes in my pocket and
was a freethinker.

Speaker 2 (09:53):
Ooh, the man was frightened to death, I repeated, Aghast,
that's me, he said, stupidly.

Speaker 1 (10:05):
Well, your name is Gomer. I stared at him, just
as you would have done any one of you men
now listening to me, and felt my life ebbing and
flowing like a sort of hot fluid. You needn't laugh.
That's how I felt. Small things, you know, touched the
mind with great earnestness. When terror is there, real terror.
But I might have been at a middle class tea party,

(10:27):
for all the ideas I had. They were so ordinary.
But I thought you were the caretaker I tipped this
afternoon to let me sleep here. I gasped, Did Carrie
send you to meet me?

Speaker 2 (10:38):
No, he replied, in a voice that touched my boots. Somehow,
I am the man who was frightened to death. And
what is more, I am frightened now, so am I?
I managed to utter, speaking instinctively.

Speaker 1 (10:54):
I'm simply terrified, yes.

Speaker 2 (10:56):
He replied, in that same odd voice that seemed to
sound within me. But you are still in the flesh,
and I am not.

Speaker 1 (11:04):
I felt the need for vigorous self assertion. I stood
up in that empty, unfurnished room, digging the nails into
my palms and clenching my teeth. I was determined to
assert my individuality and my courage as a new woman
and a free soul. You mean to say you are
not in the flesh, I gasped, What in the world
are you talking about? The Silence of the night swallowed

(11:28):
up my voice. For the first time, I realized that
darkness was over the city, that dust lay upon the stairs,
that the floor above was untenanted, and the floor blow empty.
I was alone in an unoccupied and haunted house, unprotected
and a woman. I chilled. I heard the wind round
the house and knew the stars were hidden. My thoughts
rushed to policemen and omnibuses and everything that was useful

(11:50):
and comforting. I suddenly realized what a fool I was
to come to such a house alone. I was icily afraid.
I thought the end of my life had come. I
was an utter ooh to go in for physical I'm sorry,
psychical research. When I had not the necessary nerve, Good God,
I gasped, If you're not carry the man, I arranged

(12:11):
with who are you?

Speaker 2 (12:13):
She's kind of dense, I know, man.

Speaker 1 (12:19):
I was really stiff with terror. The man moved slowly
towards me across the empty room. I held up my
arm to stop him, getting up out of my chair
at the same moment, and he came to halt just
opposite to me, a smile on his worn, sad face.

Speaker 2 (12:33):
I told you who I am, he repeated quietly, with
a sigh, looking at me with the saddest eyes I've
ever seen. And I am frightened still.

Speaker 1 (12:45):
By this time, I was convinced that I was entertaining
either a rogue or a madman, and I cursed my
stupidity and bringing the man in without having seen his face.
My mind was quickly made up, and I knew what
to do. Ghosts and psychic phenomena flew to the winds.
If I angered the creature, my life might pay the price.
I must humor him till I got to the door

(13:06):
and then race for the street. I stood bolt upright
and faced him. We were about to be height, and
I was a strong athletic woman who played hockey in
winter and climbed outs in the summer. My hand hitched
for a stick, but I had none. Now, of course,
I remember.

Speaker 2 (13:22):
I said, with a sort of stiff smile that was
very hard to force.

Speaker 1 (13:27):
Now I remember your case and the wonderful way you behaved.
The man stared at me, stupidly, turning his head to
watch me. I backed more and more quickly to the door,
but when his face broke into a smile, I could
control myself no longer. I reached the door in a
run and shot out on the landing. Like a fool.
I turned the wrong way and stumble over the stairs

(13:47):
leading to the next story, but it was too late
to change. The man was after me, I was sure,
though No sounds of footsteps came, and I dashed up
the next flight, tearing my skirt and banging my ribs
in the darkness, and brushed headlong into the first room
I came to. Luckily, the door stood ajar, and still
more fortunate, there was a key in the lock. In
a second, I had slammed the door, flung my whole

(14:10):
weight against it, and turned the key. I was safe,
but my heart was beating like a drum. A second
later it seemed to stop altogether, for I saw that
there was someone else in the room besides myself. A
man's figure stood between me and the windows, where the
street lamps gaped just enough light to outline his shape
against the glass. I'm a plucky woman, you know, for

(14:31):
even then I didn't give up hope. But I may
tell you that I have never felt so dly frightened
in all my born days. I had locked myself in
with him. The man leaned against the window, watching me
where I lay in a cleft heap upon the floor.
So there were two men in the house with me,
I reflected, perhaps other rooms were occupied too, What could

(14:52):
it all mean? But as I stared, something changed in
the room or in me, hard to say which, and
I re my mistake, so that my fear, which had
so far been physical, at once altered its character and
became a psychical I became afraid in my soul instead
of in my heart. And I knew immediately who this
man was, How in the world did you get up here?

Speaker 2 (15:15):
I stammered to him across the empty room, amazement, momentarily
stemming my fear. Now let me tell you, he began,
in that odd, faraway voice of his that went down
my spine like a knife. I'm in different space for
one thing, and you'd find me in any room you
went into, For according to your way of measuring, I'm

(15:35):
all over the house. Space is a bodily condition, but
I am out of the body and am not affected
by space. It's my condition that keeps me here. I
want something to change my condition for me, for then
I could get away. What I want is sympathy, or
really more than sympathy, I want affection. I want love.

Speaker 1 (15:58):
That accent are you from. While he was speaking, I
gathered myself slowly upon my feet. I wanted to scream
and cry and laugh all at once, but I only
succeeded in sighing, for my emotion was exhausted and a
numbness was coming over me. I felt for the matches

(16:18):
in my pocket and made a movement toward the gas jet.

Speaker 2 (16:20):
So this lady's already bored of talking to.

Speaker 1 (16:23):
A ghost, right, Yeah? That wand's love.

Speaker 2 (16:26):
You're right, I should be much happier if you didn't
light the gas, he said at once, For the vibrations
of your light hurt me a good deal. You need
not be afraid that I shall injure you. I can't
touch your body to begin with, for there's a great
gulf fixed, you know, and really this half light suits
me best. Now let me continue what I was trying

(16:46):
to say before. Hm, hmmm. Oh, you know so many
people have come to this house to see me, and
most of them have seen me and one and all
have been terrified. If only, oh, if only someone would
not be terrified but kind and loving to me, then
you see, I might be able to change my condition
and get away.

Speaker 1 (17:08):
Hmm. His voice was so sad that I felt tear
start somewhere at the back of my eyes, but fear
kept all else in check, and I stood shaking as
cold as I listened to him. Well, who are you? Then?
Of course Carrie didn't send you, I know now.

Speaker 2 (17:22):
I managed to utter. My thoughts scattered dreadfully, and I
could think of nothing to say. I was afraid of
a stroke, an elf stroke. I know nothing about Cherry
or who he is, continued the man quietly. Oh sorry,
I know nothing about Carrie or who he is, continued
the man quietly. And the name my body had I

(17:44):
have forgotten, thank God. But I am the man who
was frightened to death in this house ten years ago,
and I've been frightened ever since, and am frightened still
for the succession of cruel and curious people who come
to this house to see the ghost and thus keep alive.
It's at me. Fear of terror only helps to render
my condition worse. If only someone would be kind to me, laugh,

(18:06):
speak gently and rationally with me, cry if they like pity, comfort,
soothe me anything, But come in here in curiosity and
tremble as you are now doing in the corner. Now, madam,
won't you take pity on me? His voice rose to
a dreadful cry. Won't you step into the middle of
the room and try to love me a little?

Speaker 1 (18:30):
A horrible little laughter came gurgling up in my throat
as I heard him, But the sense of pity was
stronger than the laughter, and I found myself actually leaving
the support of the wall and approaching the center of
the floor.

Speaker 2 (18:45):
By God, he cried at one, straightening up against the window.
You have done a kind act. That's the first attempt
at sympathy that has been shown to me since I died,
and I feel better already in life. You know, I
was a misintobe. Everything went wrong with me. I can
understand this, and I came to hate my fellow men
so much that I couldn't bear to see them even

(19:08):
of course, like begets like, and this hate was returned finally.
I suffered from horrible delusions, and my room became haunted
with demons that laughed and grimaced, and laughed and grimaced
and laughed and grimaced. And one night I ran into
a whole cluster of them near the bed, and the
fright stopped my heart and killed me. It's hate and

(19:28):
remorse as much as terror that clogs me so quickly
and treats me here. If only someone could feel pity
and sympathy and perhaps a little love for me, I
could get away and be happy. When you came this
afternoon to see over the house, I watched you, and
a little hope came to me. For the first time.
I saw you had courage, originality, resource love. If only

(19:53):
I could touch your heart without frightening you, I knew
I could perhaps tap that love you have stored up
in your being there and thus borrow the wings from
my escape.

Speaker 1 (20:07):
It sounds like he's asking for consent.

Speaker 2 (20:08):
It does sound a lot like it is.

Speaker 1 (20:11):
Very forward thinking at the time.

Speaker 2 (20:12):
Yeah, that's Algren in Blackwood for you.

Speaker 1 (20:15):
That's right. Uh, all right, where worry? He was about
to tap something, right, Okay, now I must confess. My
heart began to ache a little as fear left me
and the man's words sank their sad meaning into me. Still,
the whole affair was so incredible, and so touched with
unholy quality, and the story of a woman's murder I
had come to investigate, and so obviously nothing to do

(20:38):
with this thing, that I felt myself in a kind
of wild dream that seemed likely to stop at any moment,
to lead me somewhere in bed after a nightmare. Moreover,
his words possessed me to such an extent that I
found it impossible to reflect upon anything else at all,
or to consider adequately any ways or means of action

(20:58):
or escape. I moved a little nearer to him in
the gloom, horribly frightened, of course. But but the beginnings
of this strange determination in my heart.

Speaker 2 (21:11):
You women, he continued his voice, plainly thrilling at my approach,
you wonderful women to whom life often brings no opportunity
of spending your great love. Oh, if only you could
know how many of us simply yearned for it. It
would save our souls if but you knew, if you
might find the chance that you now have. But if
you only spent your love freely, without definite object, just

(21:34):
letting it flow openly all over the place for all
who need, you would reach hundreds and thousands of souls
like me and release us. Oh, madam, I ask you
again to feel with me, to be kind and gentle.
And if you can't love me a.

Speaker 1 (21:51):
Little, am I being love bombed?

Speaker 2 (21:57):
It seems like it, for sure.

Speaker 1 (22:00):
He's a little desperate, even for a ghost. My heart
did leap within me, and this time the tears did come,
for I could not restrain them. I love too for
the way he called me madam sounded so odd here
in this empty room at midnight to the London street.
But my laughter stopped dead and merged in a flood

(22:20):
of weeping. When I saw how my change of feeling
evicted him. He had left his place by the window,
and was kneeling on the floor at my feet, his
hand stretched out toward me, and the first signs of
a kind of glory about his head.

Speaker 2 (22:33):
He was doing downward.

Speaker 1 (22:34):
Doc I think, so.

Speaker 2 (22:36):
Put your arms around me. Kiss me, for the love
of God, he cried, kiss me, Oh, kiss me, and
I she'll be freed. You have done so much already.

Speaker 1 (22:46):
Now do this.

Speaker 2 (22:49):
I know it's getting hot and steamy, it really is.

Speaker 1 (22:54):
I stuck there, hesitating, shaking my determination on the verge
of action, yet not quite april to compass it. But
the terror had almost gone.

Speaker 2 (23:03):
Forget that I'm a man and you're a woman, he continued,
in the most beseeching voice I ever heard. Forget that
I'm a ghost, and come out boldly and press me
to you with a great hiss, and let your love
flow into me. Forget yourself for just one minute, and
do a brave thing. Oh love me, love me, love me,

(23:25):
and I shall be free.

Speaker 1 (23:28):
Wow. This Halloween episode has taken a toin n The
words or the deep force they somehow released in the
center of my being stood me profoundly, and an emotion
infinitely greater than fear surged up over me and carried
me with it across the edge of action. Without hesitation.

(23:49):
I took two steps towards him where he knelt, and
held out my arms. Pity and lover in my heart
at that moment, genuine pity, I swear, and genuine love.
I forgot myself and my little trimly and a great
desire to help another soul. I love you, poor, aching,
unhappy thing.

Speaker 2 (24:06):
I love you, I cried through hot tears.

Speaker 1 (24:10):
And I am not the least bit afraid in the world.
The man uttered a curious sound like laughter, yet not laughter.

Speaker 2 (24:27):
Oh I was waiting for it.

Speaker 1 (24:34):
Oh boy, okay, yet not laughter, and turned his face
up to me. The light from the street below fell
on it, but there was another light too, shining all
round it that seemed to come from the eyes and skin.
He rose to his feet and met me, and in
that second I folded him to my breast and kissed

(24:55):
him full on the lips, again and again.

Speaker 2 (25:00):
All our pipes had gone out, and not even a
skirt rustled in that dark studio, as the storyteller paused
a moment to steady her voice and put a hand
softly up to her eyes before going on again.

Speaker 1 (25:14):
Now what can I say? And how can I describe
to you, all, all you skeptical men sitting there with
pipes in your mouths, the amazing sensation I experienced of
holding an intangible, impalpable thing so closely to my heart
that it touched my body with equal pressure all the
way down and then melted away somewhere into my very being.

(25:35):
At this moment, the pipes fell from their mouths, for
it was like seizing a rush of cool wind and
feeling a touch of burning fire. The moment it had
struck its sweet blow and passed on, a series of
shocks ran all over and all through me. A momentary
ecstasy of flaming sweetness and wonder thrilled down into me.

(25:57):
My heart gave another great leap, and I was alone.

Speaker 2 (26:02):
I wonder if this story is just one big euphemism.

Speaker 1 (26:06):
Maybe I just realized in doing Harvey Corman from Blazing.

Speaker 2 (26:09):
Saddles Nice, that's technically the second Harvey appearance, because she
mentioned mean streets earlier and Harvey Kaitel was in there.

Speaker 1 (26:16):
Oh that's right, is this me? Okay? Here we go.
The room was empty. I turned on the gas and
struck a match to prove it all fear had left me,
and something was singing round me in the air and
in my heart, like a joy of a spring morning
in youth. Not all the devils or shadows or hauntings
in the world could have caused me a single trimmer.

(26:37):
I unlocked the door and went all over the dark house,
even into kitchen and cellar, and up among the ghostly addicts.
But the house was empty. Something had left it. I
lingered a short hour, analyzing, thinking, wandering. You can guess
what and how, perhaps, but I won't detail, or I
promised only essentials remember, and then went out to sleep

(26:57):
the remainder of the night in my own flat, locking
the door behind me upon a house no longer haunted.
But my uncle, Sir Henry, the owner of the house,
required an account of my adventure. Of course, I was
in duty bound to give him some kind of a
true story. Before I could begin, however, he held up
his hand to stop me.

Speaker 2 (27:14):
Eh. First, he said, I wish to tell you a
little deception I ventured to practice on you. So many
people have been to that house and seen the ghost
that I came to think the story acted on their imaginations,
and I wished to make a better test. So I
invented for their benefit another story, with the idea that
if you did see anything, I could be sure it

(27:36):
was not dear merely to an excited imagination. He's a horse,
by the way, I'm doing a horse for her uncle.

Speaker 1 (27:43):
I thought that was really good. He went for the accent.
Then what you told me about a woman having been
murdered and all that was not a true story of
the hunting.

Speaker 2 (27:51):
No where was not the true story is none of
a consin of mine went mad in that house and
killed himself in a fit of morbid terror, following upon
years of miserable hypochondriasis. It is his figure that investigators see.

Speaker 1 (28:07):
That explains.

Speaker 2 (28:08):
Then, I guessed, no, explain what I thought of that poor.

Speaker 1 (28:12):
Struggling soul, longing all these years for escape and determined
to keep my story for the present to myself explains
I mean, why I did not see the ghost of
the murdered woman?

Speaker 2 (28:25):
I concluded, we precisely, said, sir Henry. And why if
you had seen anything, it would have had value it
as much as it could not have been caused by
the imagination working upon a story you already knew, and
and scene.

Speaker 1 (28:47):
Wow, that one got pretty sexy.

Speaker 2 (28:50):
Yeah, I figure that most of our Halloween episodes are
not quite steamy enough, so I'm wanting to steam this
one up.

Speaker 1 (28:56):
Yeah, and it all makes sense now with Algren on
Blackwood writing the story from one's point a few facebook yeah, exactly.

Speaker 2 (29:04):
Every couple of paracrassies stopped and made that sound right.
You did great, by the way. I mean, you really
carried that story shucked. I mean, I appreciate it had
the accent, the hallway story. It was just a delight
to listen to you.

Speaker 1 (29:17):
I feel like she's a part of me now, you know, Yeah,
she is forever and thus I a part of you.

Speaker 2 (29:24):
I don't know about that.

Speaker 1 (29:25):
I mean I held you to my bosom and we kids. Yeah,
that's she made out a lot my Toledo and ghost.

Speaker 2 (29:32):
I like the horse guy too, Yeah he was great.
Can you just see like his huge mutton chops?

Speaker 1 (29:37):
Oh yeah, totally.

Speaker 2 (29:38):
So now we're onto your story, right, it's time for
your story, the story you chose.

Speaker 1 (29:44):
That's right. This is from Ambrose Beers. It's called the
middle toe of the right foot, not on, but of
the right foot. And here we go, just to give
you a little preamble. This is a story about some
men who go to a haunted house and some stuff happens.

Speaker 2 (30:04):
I should probably do some of this reading. Huh.

Speaker 1 (30:07):
Yeah, you should do a lot of this reading. And
it's kind of hard to tell who's who at first, Yeah,
because it goes for a chapter and then it jumps
back and tells the pre story in chapter two, and
then back to the present.

Speaker 2 (30:19):
So we'll figure it out. Yeah, all right, take it away, Okay.
The Middle Toe of the Right Foot by Ambrose Bierce,
The Wickedest Man Alive. It is well known that the

(30:39):
old Manton House is haunted in all the rural district
near about, and even in the town of Marshall a
mile away. Not one person of unbiased mind entertains a
doubt of it. Incredulity is confined to those opinionated person
who will be called cranks as soon as the useful
word shall have penetrated the intellectual dements of the Marshal advance.

(31:01):
I think this is worth explaining. So he was basically
taking a shot at the local paper saying that they're
intellectually They weren't even smart enough to use the word
cranked yet. Yeah, I had to read that like five times,
so I thought it might be worth pointing out.

Speaker 1 (31:15):
No, totally, I didn't get it, So now I do.

Speaker 2 (31:17):
Thank you, thank you, thank you for thanking me.

Speaker 1 (31:21):
You're welcome.

Speaker 2 (31:25):
The evidence that the house is haunted is of two kinds,
the testimony of disinterested witnesses who have had ocular proof
ocular meaning eye witnesses, and that of the house itself.
The former may be disregarded and ruled out on any
of the various grounds of objection which may be urged
against it by the ingenious, but facts within the observation

(31:46):
of all our material and controlling I'm not going to
explain that last bit, because even I still don't understand it. Okay.
In the first place, the Manton House has been unoccupied
by mortals for more than ten years, and with its
outbul buildings, is slowly falling into decay, a circumstance which
in itself the judicious will hardly venture to ignore. It

(32:09):
stands a little way off the loneliest reach of the
Marshall and Harriston Road, in an opening which was once
a farm and is still disfigured with strips of rotting
fence and half covered with brambles. Overrunning a stony and
sterile soil, long unacquainted with the plow. The house itself
is intolerably good condition, though badly weather stained, and in

(32:30):
dire need of attention from the glacier. The smaller male
population of the region having attested in the manner of
its kind, its disapprovals of dwelling without dwellers. That means
that the kids throw stones through the windows and have
broken them all.

Speaker 1 (32:45):
Yeah, this place is not in great shape.

Speaker 2 (32:47):
No, and Ambrose Beerce composes such thick plumage it's hard
to see the meat sometimes.

Speaker 1 (32:53):
That's right, he's not all about the essentials.

Speaker 2 (32:57):
No, he hasn't even mentioned the keys in his pocket yet,
that's right. Or that he climbs the alps. It is.
This is the house. It is two stories in height,
nearly square, its fronts pierced by a single doorway, flanked
on each side by a window boarded up to the
very top. Corresponding windows above, not protected, serve to admit

(33:19):
light and rain to the rooms of the upper floor.
Grass and weeds grow pretty rankly all about, and a
few shade trees somewhat the worse for wind and all
leaning in one direction, seem to be making a concerted
effort to run away. In short, as the Marshalltown humorists
explained in the columns of the Advance, the proposition that
the Manton House is badly haunted is the only logical

(33:41):
conclusion from the premises. The fact that in this dwelling
mister Manton thought it expedient one night, some ten years
ago to rise and cut the throats of his wife
and two small children weremoving at once to another part
of the country, has no doubt done its share in
directing public attention to the fitness of the place for
super natural phenomena.

Speaker 1 (34:02):
All right, so there's our first little reveal here, is
that the former Manton gentleman murdered his wife and child
and left and fled.

Speaker 2 (34:12):
That's right, all right. He was a real puttz. He was, Oh,
you want to keep going? Sure to this house. One
summer evening came four men in a wagon. Three of
them promptly alighted, and the one who had been driving
hitched the team to the only remaining post of what
had been a fence. The fourth remained seated in the wagon. Come,

(34:32):
said one of his companions, approaching him, while the others
moved away in the direction of the dwelling. This is
the place, the man addressed. Do you want to be
the man addressed?

Speaker 1 (34:41):
Uh?

Speaker 2 (34:42):
Sure that the man addressed. The man addressed did not move,
By God, He said harshly, this is a.

Speaker 1 (34:52):
Trick, and it looks to me as if you were
in it.

Speaker 2 (34:56):
Perhaps I am, the other said, looking him straight in
the face and speaking in a which had something of
contempt in it. You will remember, however, that the choice
of place was with your own ascent left to the
other side. Of course, if you are afraid.

Speaker 1 (35:09):
Of spooks, I'm afraid of nothing.

Speaker 2 (35:12):
The man interrupted with another oath, darn it, and sprang
to the ground. The two then joined the others at
the door, which one of them had already opened. With
some difficulty caused by rust of lock and hinge, all
entered inside. It was dark, but the man who had
unlocked the door produced a candle and matches and made

(35:34):
a light. He then unlocked a door on their right
as they stood in the passage. This gave them entrance
to a large, square room that the candle but dimly lighted.
The floor had a thick carpeting of dust, which partly
muffled their footfalls. Cobwebs were in the angles of the
walls and depended from the ceiling like strips of rotting lace,

(35:55):
making undulatory movements in the disturbed air. The room had
two windows in adjoining sides, but from neither could anything
be seen except the rough inner surface of boards a
few inches from the glass. There was no fireplace, no furniture,
There was nothing besides the cobwebs and the dust. The
four men were the only objects there which were not

(36:16):
a part of the structure.

Speaker 1 (36:19):
All right, So four men are now visiting this old
haunted Manton house where a supposed murder has taken place,
and one of them doesn't seem to like really know
the other guys, and seems like he's saying, hey, you
played a trick on me by bringing me here, And
they were like, you agreed.

Speaker 2 (36:33):
To it, buddy, Yeah, shut your mouth, Yeah exactly.

Speaker 1 (36:37):
Shut that by hole. You want me to pick up?

Speaker 2 (36:40):
Yeah, you pick up all right.

Speaker 1 (36:42):
Strange enough, they looked in the yellow light of the candle.
The one who had so reluctantly alighted was especially spectacular.
He might have been called sensational. He was of middle age,
heavily built, deep chested, and broad shouldered. Ah, I know
I'm playing him. Looking at his figure, one would have
said that he had a giant strength. Maybe not at

(37:03):
his features that he would use it like a giant.
He was clean shaven, his hair rather closely cropped in gray.
His low forehead was seamed with wrinkles. Above the eyes
and over the nose, these became vertical.

Speaker 2 (37:15):
Those are called elevens. You can get them taken care
of with piller.

Speaker 1 (37:20):
Is that in between those little worry lines are called elevens?

Speaker 2 (37:24):
Yeah, in between your brows. Never heard of that, because
there are a pair of vertical lines, So now I
get it's like an eleven.

Speaker 1 (37:34):
The heavy black brows followed the same law of the
eleven saved from meeting only by an upper turn at
what would otherwise have been the point of contact. Deeply
sunken beneath, these glowed in the obscure light a pair
of eyes of uncertain color, but obviously enough, too small.
There was something forbidding in their expression, which was not
bettered by the cruel mouth and wide jaw. The nose

(37:56):
was well enough as noses go, One does not expect
much of noses. All that was sinister in the man's
face seemed accentuated by an unnatural pallor. He appeared altogether bloodless.
So this guy that they brought with them, the three
guys brought, is like creepy looking and weird looking.

Speaker 2 (38:13):
Yeah, and seems pretty grumpy stand offish.

Speaker 1 (38:19):
Yes, I agree.

Speaker 2 (38:20):
You want me to pick up? Are you going and
keep going?

Speaker 1 (38:23):
Uh? Well, let me do this part and then we'll
get to the play parts. The appearance of the other
men was sufficiently commonplace. They were such persons as one
meets and forgets that he met. All were younger than
the man described. Between whom and the eldest of the others,
who stood apart, there was apparently no kindly feeling. They
avoided looking at each other.

Speaker 2 (38:44):
So the other three are younger than the grumpy man
and they don't really like him, or vice versa.

Speaker 1 (38:51):
Looks like right, and I think the grumpy man is
gross smith right.

Speaker 2 (38:56):
Yeah, uh no, I don't remember what they call him.
Gross smith is yeah, no, because the yeah, well we'll
get there one day. Yeah. What we should tell everybody
if you haven't noticed already. One of the reasons it's
so difficult to keep up with who's who is Zambro
Bierst didn't go to the trouble of naming most of
them until part way through, and it's just confusing.

Speaker 1 (39:19):
I definitely know Grossmith is the big creepy guy that
they brought there.

Speaker 2 (39:22):
Oh is that right? Okay, I think that's Rosser. No,
that's Rosser, is it? Yeah? Because listen?

Speaker 1 (39:30):
Oh yeah, okay, you're right.

Speaker 2 (39:32):
Go ahead, gentlemen, said the man holding the candle and keys.
I believe everything is right. Are you ready? Mister Rosser?
The man standing apart from the group bowed and smiled,
which is what you would do if your name was Rosser.

Speaker 1 (39:47):
You're right and not a part of the group.

Speaker 2 (39:48):
And you, mister Grossmith, the heavy man bowed and scowled.
Oh wait, see this is so confusing. So you're right,
Grossmith is the grumpy old I think. So why do
I even argue with you? You know?

Speaker 1 (40:05):
Well, everyone, I promise we read these several times on
our own. It's just a little confusing.

Speaker 2 (40:11):
This was not just put in front of us by Jerry.

Speaker 1 (40:13):
That's right.

Speaker 2 (40:15):
The heavy man bowed and scowled. That's mister Grossmith, the
grumpy guy. You will be pleased to remove your outer clothing.
So it's getting steamy in this one too.

Speaker 1 (40:24):
Yeah.

Speaker 2 (40:25):
Their hats, coats, waistcoats, and neckwear were soon removed and
thrown outside the door in the passage. The man with
the candle now nodded, and the fourth man, who had
urged Grossmith to leave the wagon, produced from the pocket
of his overcoat, two long, murderous looking bowie knives, which
he drew now from their leather scabbards. They are exactly alike,

(40:46):
he said, presenting one to each of the two principles,
for by this time the dullest observer would have understood
the nature of this, meaning it was to be a
duel to the death.

Speaker 1 (41:04):
Wow, yeah, they see what's happening here.

Speaker 2 (41:08):
I didn't realize it until he said it was a duel,
or really until they produced the knives, that that's what
was going on.

Speaker 1 (41:13):
So yeah, it's a little confusing. Uh you want me
to take it?

Speaker 2 (41:18):
Yeah, sure, all right.

Speaker 1 (41:21):
Each combatant took a knife, examined it critically near the candle,
and tested the strength of the blade and handle across
his lifted knee. Their persons were then searched in turned
each by the second of the other. The second is
in the second of the duel is that right.

Speaker 2 (41:35):
Yeah, like the present dueler. Yeah, your back up, your
wingman for the duel, all right, go ahead, Oh, if
it is agreeable to you, mister.

Speaker 1 (41:45):
Grossmith, said the man holding the light.

Speaker 2 (41:48):
You will place yourself in that corner.

Speaker 1 (41:50):
He indicated the angle of the room farthest from the door,
whither Grossmith retired his second, parting from him with a
grasp of the hand which had nothing of cordiality. Okay,
so a second sounds like he was forced into this.

Speaker 2 (42:04):
Maybe it sounds like it.

Speaker 1 (42:06):
In the angle nearest the door, mister Rosser stationed himself,
and after a whispered consultation, his second left joined him,
joining the other near the door. At that moment, the
candle was suddenly extinguished, leaving all in profound darkness. This
may have been done by a draft from the open door.
Whatever the cause, the effect was startlight, gentlemen, said a

(42:27):
voice which sounded strangely unfamiliar in the altered condition, affecting
the relations of the senses.

Speaker 2 (42:34):
Gentlemen, you will not move until you hear the closing
of the outer door.

Speaker 1 (42:40):
A sound of trampling ensued, then the closing of the
inner door, and finally the outer one closed with a
concussion that shook the entire building. So these guys have
been locked in a dark room with knives to fight
to the death. That's pretty good.

Speaker 2 (42:56):
Yeah.

Speaker 1 (43:00):
A few minutes afterward, a belated farmer's boy met a
light wagon which was being drawn furiously toward the town
of Marshall. He declared that behind the two figures on
the front seat stood a third with its hands upon
the bowed shoulders of the others, who appeared to struggle
vainly to freed themselves from its grasp. This figure, unlike
the others, was clad in white and had undoubtedly boarded

(43:21):
the wagon as it passed the haunted house. That the
lad could boast a considerable former experience with the supernatural thereabouts.
His word had the weight justly due to the testimony
of an expert. So this guy I had seen this
kind of thing before.

Speaker 2 (43:36):
Basically yeah, and also Ambrose Bierce was meant to be
read silently right.

Speaker 1 (43:44):
The story and connection with the next day's events eventually
appeared in The Advance, which is the newspaper with some
slight literary embellishments. In a concluding imitation that the gentleman
referred to would be allowed the use of the paper's
columns for their verse of the night's adventure, but the
privilege remained without a claimant.

Speaker 2 (44:07):
Okay, some weird stuff happened. Four men go in, Three
men fly past a superstitious farm boy who mentions it
to the paper, and the paper says, this is crazy.
Anybody who wants to come forward and say this was
us and tell us the story go ahead, And no
one did.

Speaker 1 (44:24):
Right's right. And now chapter two we jump back in time.

Speaker 2 (44:32):
The events that led to this duel in the dark
were simple enough. One evening, three young men of the
town of Marshall were sitting in a quiet corner of
the porch of the village hotel, smoking and discussing such
matters as three educated young men of a southern village
would naturally find interesting hoggs. Their names were King, Sancher
and Rosser. At a little distance within easy hearing, but

(44:55):
taking no part in the conversation, set a fourth. He
was a stranger to the others. They merely knew that.
On his arrival by the stage coach that afternoon he
had written in the hotel register the name of Robert Grossmith.
He had not been observed to speak to anyone except
the hotel clerk. He seemed indeed singularly fond of his
own company, or, as the personnel of the advance expressed it,

(45:17):
grossly addicted to evil associations. But then it should be said,
in justice to the stranger that the personnel was himself
of too convivial disposition fairly to judge one differently gifted,
and had, moreover, experienced a slight rebuff in an effort
at an interview. You want to be king?

Speaker 1 (45:37):
Sure, I hate any kind of deformity in a woman,
said King, whether natural or acquired. I have a theory
that any physical defect has its correlative mental and moral defect.

Speaker 2 (45:53):
Okay, I am fur Then, said Rosser gravely, that a
lady lacking the moral advantage of a nose would find
the struggle to become missus King an ouduous enterprise. I'm doing.
Leonardo DiCaprio and Django unchained.

Speaker 1 (46:12):
Okay, where's my beautiful sister that was so creepy? Uh
so is this me? Uh?

Speaker 2 (46:21):
Yeah? I think so.

Speaker 1 (46:23):
Of course you may put it that way, was the reply.
But seriously, I once threw over a most charming girl
on learning quite accidentally that she had suffered amputation of
a toe. My conduct was brutal, if you like. But
if I had married that girl, I should have been
miserable for life and should have made her.

Speaker 2 (46:42):
So I just want to point out you morphed just
briefly into Zach Galifanakis in the middle of that. Okay,
who's Sancho? Am I Sancho?

Speaker 1 (46:54):
You know I like it. You could be Sanchure.

Speaker 2 (46:57):
Let's see, whereas said Sancho with light laugh, By marrying
a gentleman of more liberal for you, she escaped with
the parted throat.

Speaker 1 (47:07):
Ah, you know to whom I refer. Yes, she married Manton,
but I don't know about his liberality. I'm not sure.
But he cut her throat because he discovered that she
lacked that excellent thing in a woman, the middle toe
of the right foot. Am I right?

Speaker 2 (47:23):
Guys, look at that, Chap, said Rosser in a low voice,
his eyes fixed upon the stranger. That Chap was obviously
listening intently to the conversation.

Speaker 1 (47:36):
Damn, his impudence, muttered, king, What ought we to do?

Speaker 2 (47:42):
That's an easy one. My gud's turned into forest gump,
Rosser replied, rising sir. He continued addressing the stranger. I
think it would be better if you would remove your
chair to the other end of the verandah. The presence
of gentlemen is ever unfamiliar situation to yo.

Speaker 1 (48:03):
So so these guys are talking about what happened to
that the guy who supposedly killed his wife because she
had no toe, and he's this guy's overhearing this conversation,
and they're not too thrilled with that, right.

Speaker 2 (48:16):
Yeah, And one of them apparently dated her for a
while but found out that she didn't have a toe
and was like, no way, no, how, right.

Speaker 1 (48:25):
All right, I'll pick up you ready. The man sprang
to his feet and strode toward with clenched hands, his
face white with rage. All were now standing. Santra stepped
between the belligerents. You are hasty and unjust, he said
to Rosser.

Speaker 2 (48:40):
This gentleman has done nothing to deserve such language.

Speaker 1 (48:44):
But Rosser would not withdraw a word. By the custom
of the country and the time, there could be but
one outcome to the quarrel.

Speaker 2 (48:53):
You're the stranger. I think, right, that's.

Speaker 1 (48:55):
Right, and I forget how I was doing him. I
demand the satisfaction due to a gentleman.

Speaker 2 (49:00):
And said this stranger.

Speaker 1 (49:01):
Oh yeah, this year, said the stranger, who had become
more calm. I have not an acquaintance in this region.
Perhaps you, sir, bowing to Sancher, will be kind enough
to represent me in this matter. Santra accepted the trust
somewhat reluctantly. It must be confessed, for the man's appearance
and manner were not at all to his liking. King,

(49:22):
who during the colloquis had hardly removed his eyes from
the stranger's face and had not spoken a word, consented
with a nod to act for Rosser sid. They're figuring
out who the seconds are.

Speaker 2 (49:31):
Right, mm hmmm yeah.

Speaker 1 (49:32):
And the upshot, Oh there you go, tas I noticed,
And the upshot of it was the principles. Having retired,
a meeting was arranged for the next evening. The nature
of the arrangements has been already disclosed. The duel with
knives in a dark room was once a commoner feature
of Southwestern life than it is likely to be again.
How thin a veneering of chivalry covered the essential brutality

(49:55):
of the code under which such encounters were possible. We
shall see.

Speaker 2 (50:00):
Yeah, so just and by Southwestern, he's basically talking about
Louisiana or Mississippi.

Speaker 1 (50:07):
Probably at that point. Yeah, I guess so.

Speaker 2 (50:10):
And also what he's talking about is like, so one
man was insulted by another man, and now they've agreed
to a duel.

Speaker 1 (50:16):
Yeah, because he was eavesdropping. Yeah.

Speaker 2 (50:19):
Yeah. And in the South, especially at these times, you
basically had to kill somebody else who insulted you.

Speaker 1 (50:25):
Yeah, you mind your own business.

Speaker 2 (50:29):
You want me to pick up a chapter three?

Speaker 1 (50:30):
Please?

Speaker 2 (50:32):
Chapter three? In the blaze of a midsummer noonday, the
old Manton House was hardly true to its traditions. It
was of the earth, earthy. The sunshine caressed it warmly
and affectionately, with evident disregard of its bad reputation. The
grass greening all the expanse in its front seemed to grow,

(50:53):
not rankly, but with a natural and joyous exuberance, and
the weeds blossomed quite like plants, full of charming life
and shadows and populace with pleasant voiced birds. The neglected
shade trees no longer struggled to run away, but bent
reverently beneath their burdens of sun and song. Even in
the glassless upper windows, was an expression of peace and

(51:13):
contentment due to the light within over the stony fields,
the visible heat danced with a lively tremor incompatible with
the gravity, which is an attribute of the supernatural. Such
was the aspect under which the place presented itself to
Sheriff Adams and two other men who had come out
from Marshall to look at it. One of these men
was mister King, the Sheriff's deputy Ah. The other, whose

(51:37):
name was Brewer, was a brother of the late Missus
manton Ah. Under a beneficent law of the state relating
to property, and if you put all those three together
you have a proper sentence which has been for a
certain period abandoned by an owner whose residence cannot be ascertained.
The sheriff was legal custodian of the Mantin farm and

(52:00):
apportuendancies thereunto belonging.

Speaker 1 (52:03):
So in other words, the sheriff, it's an abandoned house.
The sheriff is sort of taken care of it.

Speaker 2 (52:07):
Yeah, he owns all the apportenances, right.

Speaker 1 (52:10):
And so this sheriff, the sheriff and his deputy he
was one of the four guys, and Brewer, the brother
of the killed woman, are now after this duel, going
to the house to check things out, right, Yeah, yeah, okay.

Speaker 2 (52:27):
His present visit was in a mere perfunctory compliance with
some order of a court in which mister Brewer had
an action to get possession of the property as heir
to his deceased sister. By a mere coincidence, the visit
was made on the day after the night that Deputy
King had unlocked the house for another in very different purpose.
His presence now was not of his own choosing. He

(52:50):
had been ordered to accompany his superior and at the
moment could think of nothing more prudent than simulated alacrity
and obedience to the command going, did me keep going?

Speaker 1 (53:02):
Yeah? Maybe I should me read now.

Speaker 2 (53:08):
It me.

Speaker 1 (53:11):
Carelessly opening the front door, which, to his surprise, was
not locked. The sheriff was amazed to see lying on
the floor of the passage into which it opened a
confused heap of men's apparel. Examinations showed it to consist
of two hats and the same number of coats, waistcoats,
and scarves, all in a remarkably good state of preservation,

(53:31):
albeit somewhat defiled by the dust in which they lay.
So this is the stuff they took off the night before.
I guess yeah, mister Brewer was equally astonished. But mister
King's emotion is not of record. He knows why this
closure there, with a new and lively interest in his
own actions. The sheriff now unlatched and pushed open a

(53:52):
door on the right, and the three entered. The room
was apparently vacant. No, as their eyes became accustomed to
the dimmer light, something was visible in the far of
this angle of the wall was a human figure, that
of a man crouching close in the corner. Something in
the attitude made the intruder's halt. When they had barely

(54:13):
passed the threshold, the figure more and more clearly defined itself.
The man was upon one knee, his back and the
angle of the wall. His shoulders elevated to the level
of his ears. His hands before his face palms outward,
the fingers spread and crooked like claws. The white face
turned upward on the retracted neck, had an expression of

(54:35):
unutterable fright, the mouth half open, the eyes incredibly expanded.
He was stone dead, yet with the exception of a
bowie knife, which had evidently fallen from his own hand,
not another object was in the room. All right, I'll
do this paragraph and you can take it home.

Speaker 2 (54:56):
Ready, yep.

Speaker 1 (54:58):
In thick dust that covered the floor were some can
fused footprints near the door and along the wall through
which it opened. Along one of the adjoining walls, too,
past the boarded up windows, was the trail made by
the man himself in reaching his corner. Instinctively, in approaching
the body, the three men followed that trail. The sheriff
grasped one of the outthrown arms. It was as rigid

(55:21):
as iron, and the application of a gentle force rocked
the entire body without alerting the relation of its parts. Brewer,
pale with excitement, gazed intently into the distorted face, God
of mercy. He suddenly cried, it.

Speaker 2 (55:39):
Is Manton, Mike King, You're King.

Speaker 1 (55:44):
You are right, said King, with an evident attempt at calmness.

Speaker 2 (55:49):
I knew Manton. He then wore a full beard and
his hair long. But this is he, he might have added,
I recognized him when he challenged Rosser. I told Rosser
and Sancher who he was before we played him this
horrible trick. When Rosser left this dark room at our
heels forgetting his outer clothing in the excitement and driving

(56:11):
away with us in his shirt sleeves. All through the
discreditable proceedings, we knew with whom we were dealing murderer
and cowered that he was.

Speaker 1 (56:22):
So the original murderer in the Manton house is now
come back? Is that what we're to believe?

Speaker 2 (56:29):
Yeah? And he went by Grossmith, but these three recognized
him immediately, and so they I don't know if they
set up a duel or whatever. I don't know if
they set the whole thing up, But once a duel
was going on, they knew exactly where they were going
to take him, which was the very house that he
murdered his wife and children in. Can you imagine being
in that position? No, no, you can't.

Speaker 1 (56:51):
No, But they didn't kill him. No you ready, Yeah,
let's do it. Take it home, brother.

Speaker 2 (56:58):
But nothing of this did mister King's say with his
better light. He was trying to penetrate the mystery of
the man's death. That he had not once moved from
the corner where he had been stationed, that his posture
was that of neither attack nor defense, that he had
dropped his weapon, that he had obviously perished of sheer
horror of something that he saw. These were circumstances which

(57:19):
mister King's disturbed intelligence could not rightly comprehend. Groping an
intellectual darkness for a clue to his maze of doubt,
his gaze, directed mechanically downward, in the way of one
who ponders momentous matters, fell upon something which, there, in
the light of day and in the presence of living companions,
affected him with terror. In the dust of years, that

(57:41):
lay thick upon the floor, leading from the door by
which they had entered, straight across the room to within
a yard of Manton's crouching courts, were three parallel lines
of footprints, light but definite impressions of bare feet, the
outer ones those of small children, the inner. From the
point at which they ended, they did not return. They

(58:04):
pointed all one way. Brewer, who had observed them at
the same moment, was leaning forward in an attitude of
rapt attention. Horribly pale he be. Brewer look at that,
he cried, pointing with both hands at the nearest print
of the woman's right foot, where she had apparently stopped
and stood.

Speaker 1 (58:24):
The middle toe is missing.

Speaker 2 (58:27):
It was Gertrude. Gertrude was the late missus Manton, sister
to mister Brewer.

Speaker 1 (58:44):
Oh boy, so she came back for some revenge.

Speaker 2 (58:49):
And the kids too, that's right. The kids were chanting
and clapping kill kill, kill kill, and the mom was like,
you got it?

Speaker 1 (58:57):
You think you think? Elk, we're without this middle toe?

Speaker 2 (59:00):
Check out?

Speaker 1 (59:01):
How'd you like it up your butte?

Speaker 2 (59:05):
That was probably how Ambrose Beers would have written it.

Speaker 1 (59:08):
I think.

Speaker 2 (59:09):
So that was great, Chuck, you did great, I did great,
We did great, Jerry did great, Ben Ben's gonna do great.
And you guys all did great listening to us and
thrilling to the adventures that we wove for you.

Speaker 1 (59:25):
That's right.

Speaker 2 (59:26):
I guess we want to say happy Halloween. Everybody, have
a safe and happy and fun and candy filled Halloween.

Speaker 1 (59:33):
That's right. And this one falls on Halloween for a change,
so that's pretty it's pretty much about us for us.

Speaker 2 (59:38):
Yes, So happy Halloween to the Max. Yeah. And since
I said happy Halloween to the Max, we're not gonna
do a listener mail, right, We're just gonna end this
and say audios.

Speaker 1 (59:50):
That's right.

Speaker 2 (59:51):
So if you want to get in touch with us.
You can send us an email to stuff podcast at
iHeartRadio dot com. Stuff you Should Know is a production

(01:00:26):
of iHeartRadio.

Speaker 1 (01:00:27):
For more podcasts my heart Radio, visit the iHeartRadio app,
Apple Podcasts, or wherever you listen to your favorite shows.