Christmas Horror Stories: 3 Scary Holiday Novellas

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
All right, my spookies, it's your host and narrator, Enrique Kuto.
I'm back again. You know that feeling when you've had
just enough Christmas. The lights are pretty, the music is looping,
the malls are packed, and everybody's smiling a little too hard,

(00:21):
like their faces are getting tired. Yeah, well that's where
we're headed tonight. Because this isn't a quick little ghost
story to sip cocoa with. This is a Christmas horror
novella marathon, Three longer, nastier holiday tales, back to back

(00:43):
to back, the kind of listening that turns your living
room into a graveyard. We've got a mall after hours
where the decorations keep glowing even when the people are gone.
We've got a movie night that opens the wrong kind
of doorway, one that doesn't care what your plans were

(01:04):
for tomorrow. And we've got a Christmas event that's supposed
to be sweet right up until something steps in and
starts rewriting what home means. So top off your drink,
check your locks again, because believe you me, you want

(01:25):
to check them again, and if you hear bells, they're
definitely not festive this time. So now without further Ado,
let's begin the holiday fund and make sure you're subscribed
on your favorite podcasting app so you don't miss a

(01:47):
single bit of spooky we bring during the holidays and
beyond them all overnight by Rob Fields Prolog. Just outside
the Strickfield Village limits, in an old mansion that was

(02:09):
thought to be abandoned, Vincent Frankenstein was in a third
floor laboratory and examining the humanoid experiment that was secured
to a large metal slab. Stevie quaid. His young assistant
stood ready to do whatever. Vincent asked. Are you sure

(02:29):
there's enough sedatives pumping through the creation's body to keep
her sleeping the sleep of the dead? Stevie asked, looking
like she hadn't slept in several days. Vincent regarded her.
I'd like to give you an honest answer, but we've
seen how she adapts. Stevie groaned and stood in front
of him. I told you we should have just destroyed her.

(02:53):
Did you forget what she did when she got loose
two years ago at Christmas time? Don't you remember how
she wreaked Havoc and strict Field, Remember how she terrorized
them all north of the village. She nearly killed us
several times when we tried to stop her. Vincent sighed,
I'm aware, Stevie raised her finger, and let's not forget

(03:16):
how long it took us to actually capture her again
and finally keep her. This time, she growled and turned
her back to him. You were the one who put
the head of a vampire on her when you built her.
She turned back to him, really angry now, and stretched
out her fists sideways. Did it ever occur to you

(03:38):
that we'd never be able to destroy her, Vincent sighed again,
acknowledging her. I haven't forgotten my fatal miscalculation, Stevie. He
could see her heaving now. She put her finger in
his face. It took us nearly midway through this last
October to finally capture her and keep her. We threw

(04:00):
everything we had at that creation. We even tried killing
her by using vampire methods. Unfortunately, her monster side renders
her immune to all that, even sunlight. We can't even
behead her. When Stevie turned her back to Vincent, he
came up behind her and put his hands on her shoulders.

(04:24):
I'm quite aware of what the creation has done my
dear assistant, I understand how she's affected your life. I
know you wanted to destroy her. I still do, she
assured him. I'm still surprised you entertained my idea of
trying to fix her. Unfortunately, I cannot fix her the

(04:45):
way I'd hoped. I wanted to be able to replace
her head, maybe just the brain itself, with a more
positive one. I truly understand the horror that I've created,
and will have to live with the consequences of both
my my actions and hers for the remainder of my
days on earth. Ultimately, we tried doing things your way

(05:07):
as well. Even that isn't working. Stevie slowly turned around
to face Vincent. They looked each other in the face
for a long moment. Ultimately, it was Vincent who concocted
the most powerful tranquilizer ever made. It had taken two
darts filled with it in order for them to finally
recapture the Creation. The two of them turned to the

(05:29):
bandaged Creation as the powerful tranquilizer continued to be pumped
into her system. Ultimately, they agreed that if they could
not destroy her, then they would keep her permanently asleep
in the laboratory, Vincent could tell Stevie was still very
much afraid. I can keep making the tranquilizer. You'll have

(05:52):
to keep making it stronger and stronger. Stevie told him
in a shaky voice. We've seen how quickly she can
recover from both the Tricity and your previous tranquilizers. I
even blew her brains out, literally, and that didn't stop her.
Vincent hugged Stevie to him. Stevie came to be with
him as a result of the Creation's actions. Vincent had

(06:15):
bandaged her up and took care of her. Since she
had nowhere to go, She ended up staying with him
and becoming his assistant. She still wasn't sure that she
trusted him completely, but he hadn't turned against her in
any way. He seemed to understand the great wrong he
had done and regretted it each and every day. If anything,
Stevie helped him out of loyalty for taking her in

(06:38):
and caring for her. Stevie suddenly gasped Vincent, look the
Creation just twitched. Vincent eased her aside and cautiously moved
toward the Creation. She had shown fear upon her awakening
nearly two years ago, shortly after she had become angry

(06:59):
and broke loose. It was only after seeing that the
Creation hadn't cast a reflection in a nearby mirror that
he realized his great horror in putting the head of
a newborn vampire on her. No matter what he had
tried in terms of destroying her, it was evidently clear
that she would never ever die. I think she's dreaming, Stevie,

(07:23):
he told her cautiously. What Stevie snapped, Vincent came very
close to the Creation and watched her. He remembered she
couldn't breathe like a normal person since she was undead.
The Creation continued to move and twitch uneasily as her
eyes remained closed in a forced slumber. For a brief moment,

(07:46):
her face seemed to convey the same innocence as it
had done upon her initial awakening. He wondered if the
Creation still continued to run on pure instinct. Had she
learned anything during her time on Earth. The Creation was
nearly two years old, but she did convey in her
own way that she could understand things. The Creation had

(08:09):
been asleep for several days, with the steady flow of
the powerful tranquilizer Vincent created specifically for her. This was
the first time she had moved in several of those days.
As Vincent moved to increase her tranquilizer intake, the Creation
suddenly stopped still. Then her red eyes opened wide. Immediately,

(08:33):
she looked right at Vincent and showed anger. She screamed loudly,
then roared as she worked to break the reinforced shackles
that held her to the table. No, Stevie shrieked, please
not again, stop her, Vincent. As a precaution, Vincent had
the tranquilizer loaded into emergency pistols. He grabbed one nearby

(08:55):
and shot her. The Creation seemed to become drowsy almost immediately.
Vincent shot her a second time, then a third. The
Creation moaned for a moment, then she became angry again
and screamed. Vincent fired his remaining darts into the Creation,
but they didn't seem to be having any other effect

(09:16):
aside from making her drowsy. Stevie grabbed the other gun
and shot up the Creation with every dart, only to
get the same results. For a brief moment, it seemed
that the Creation was on the verge of falling back
to sleep. Suddenly, the Creation broke the restraints on her
wrists with one quick upward motion. The remaining restraints soon

(09:37):
came apart as the Creation finished breaking free. Oh please, no,
Stevie cried. The Creation was fully on her feet now.
The bandages covering her body made her almost look like
a mummy, only her head, hands, and feet were completely exposed.
The Creation stared at Vincent and Stevie and screamed so

(09:57):
loud that they had to cover their ears. Run Stevie,
Vincent told her, running her way. The Creation started after them,
but she stopped and turned in the direction of the
door she had escaped the mansion from the first time.
Then she saw the nearby window and decided it was
a better means of escape. She roared for freedom as

(10:17):
she ripped the bars away and escaped through the window.
She dropped all the way to the grass below and
landed with the grace of a cat. The Creation turned
and looked upward to see Vincent and Stevie looking down
at her. She sneered at them, knowing she had triumphed
over them once again. Remembering everything from before, she turned

(10:39):
and headed toward the village. The Creation remembered to stay
off the main roads and not let anyone see her.
Vincent would have gotten his answers on how much more
intelligent she had become since her birth nearly two years ago.
The Creation at least understood that she needed to stay
ahead of Vincent and Stevie and not be recaptured again. Suddenly,

(11:02):
she remembered that place where she had entered the day
after she was born. She made her way to Strickfield
Town Center Mall, keeping out of sight as she did.
It was dark when she reached her destination and saw
there were hardly any cars in the parking lot. She
crossed the lot and came to the loading docks. The

(11:24):
lock to the dock door broke instantly when she slid
it up and entered. She pulled the door back down
and put it back into place. After some minutes, the
Creation found her way out into the main mall itself.
It wasn't as brightly lit as the first time she
had entered. Somewhere, deep in her mind, she understood the

(11:45):
mall wasn't open, just the same she herself was inside.
The Creation seemed to smile when she saw the clothing
store nearby. She looked at her bandaged arms and body
and knew she wanted real clothes. She walked to the
clothing store and pulled up on the gate, breaking the

(12:06):
lock to get in. As with the loading dock doors,
she pulled the gate back down. The creation was pleased
at knowing she had the mall all to herself. After
looking around and finding some desirable clothes, she began to
undo her bandages. The next day. Perspective Madeline Donnerly, ah Man,

(12:32):
how am I always getting myself into these situations? Probably
because I'm me and Ariel Miron's Aeriel. Let me tell
you what's going on. It's the first weekend in December, right,
I'm up in the mousehole my bedroom playing video games.
I figured I was entitled to some unwinding after a
hardcore Friday and acing three tests at school. I'm right

(12:55):
in the middle of playing some Donkey Kong on the
full sized arcade cabinet. Yeah. I know it's an old
nineteen eighties retro video game, but I really love playing it.
Problem here is, I ain't gonna get to play long.
Next thing, I know someone's knocking on my door. It's open.
I call out my next door neighbor, and my buddy,
Carter Cross comes in and sees me playing. Really Madeline,

(13:20):
you have a new sign on your door that says
welcome to the Mousehole. Yeah, I got a little playful
with the three D printer. What's up, buddy, He sighs.
I think I just saw Ariel Mirran lurking around our neighborhood.
I groan and shake my head. I told you you
never should have posted that video. You know how Ariel

(13:40):
can be when you scorn her. Yeah, but you know
she deserves it. Carter stresses. I stop playing the game
and just look at him. Between you and Ariel, you're
both gonna get me in deep, deep trouble. I smirk, uneasily.
Or did you forget I'm bff to both of you? Now?
Point at him, and don't even get me started on

(14:02):
how many times Ariel was drilling me about you at
her slumber party last night. I fold my arms in
front of me. I told you not to post that video.
I walk over to my computer and sit down in
front of it. Carter sits next to me. I open
up Facebook and see all kinds of notifications for Carter's video,
and most of them are Ariel. What happened. Ariel's almost

(14:26):
always stuck having a babysitter little cousin Stuart. Here's the problem.
Little Stuart's four years old and gets into everything. If
he can wreak havoc somewhere, he's gonna do it. What's more,
Stuart's mom don't really do anything to discipline him. What's
sad is he almost always gets dumped off on Ariel.
When that happens, Stuart just raises, well, you get the idea.

(14:50):
Earlier this week, Carter and me are hanging out at
Roth's Rings, a twenty four hour donut shop and video
game arcade in downtown village. Carter and me get finished
play in some games and we go to the counter.
Carter says he'll buy me a cup of death, wishes
Ginger dead for helping him pass Miss Radolfhy's science test.
I'm just getting my cup and ready to savor it

(15:11):
when we hear the commotion. Suddenly, Little Stuart comes running
into the place. Ariel ain't too far behind. Come back here,
you little goober, Ariel yells. Carter and me are both
giving each other weird looks now. Suddenly Little Stuart snatches
my coffee and throws it at Ariel. The cup explodes

(15:33):
all over her. Aw man, I groan, but you just
know Stuart ain't done there. When Ariel's about to grab
her cousin, he snatches up a slice of pie off
of somebody else's plate and smashes it into her face
as she grabs him. Wouldn't you know it, Carter got
his smartphone out and recorded the whole thing. What can

(15:54):
I do? Like I told Carter, I'm best friends with
both him and Ariel. Stuart runs around inside Roth's rings
and is knocking the little tables down next to the games,
many of which have food and drinks on him. Just
as Ariel's grabbing and picking up Stewart again, he has
a cream filled donut in his hand and he smashes
it right in her face. Anyway, I think you're getting

(16:17):
the idea here. When Carter finishes the game, he gives
me that look saying he's gonna post it to Facebook.
I'm raising my hands in front of me and shaking
my head fast. Don't do it, Carter, I quickly tell
him nothing doing. He posted it the comment the little
Prince treats the Princess to some treats at Roth's rings.

(16:38):
The look I gave Carter when he did it. No,
I wasn't mad, try scared. I was gonna try not
to have to go to Ariel's slumber party last night.
But Ariel cornered me at school with Mona Abels and
Bailey Downs and told me, don't you even think of
skipping out of my slumber party tonight. Mouse, She was

(16:59):
rubbing her hand together. We are gonna have such a
nice conversation about Carter Cross, you and me. Like I said,
Ariel didn't break me, but I could tell she wasn't
finished yet. I know Ariel nearn and she never forgives.
Anne never forgets when you embarrass her on Facebook like that.

(17:20):
Getting back to now, I'm reading all the comments. I
ain't gonna list them all here because there are too
many of them, and there's some choice things I'd rather
not repeat here. Okay, buddy, what do you suggest I ask?
Before Carter can talk to me, we hear both the
doorbell and some hard knocking downstairs. I know you're in there,

(17:41):
Carter Cross. We both hear Ariel yelling gulp, I know
your parents aren't home. Mouse. Ariel continues, I saw Carter
come in here. You don't open this door right now.
I'll just come on in myself. When neither of us answer,
we suddenly hear the live click. I quickly turned to Carter.

(18:07):
Ariel found the spare key. She's coming in. I shake
my head quickly. Uh oh, buddy, no way, you two
are fighting in my house. We gotta get out of here.
Close the door. Carter quickly closes the mousehole's door as
I'm opening my window. We climb out and hurry down
the TV antenna. We quickly get into our garages and

(18:28):
grab our bikes. As soon as we're both hitting the road,
Ariel's shooting right out my front door. You won't get far,
Ariel yells. Carter and me look at each other. Our
bikes seemed to be just fine. What do you suppose
she meant by that? Carter asks, Suddenly I got a
real bad feeling and look over my shoulder. Aw man.

(18:51):
We both turned to see Ariel riding a moped. Since
when did she get one of those Carter gasps? I
don't know. I fire back. She's got one now. When
she's catching up to us fast, we both look at
each other and know we gotta lose Ariel, Carter calls
over his shoulder, Yeah, princess, let's see you do some

(19:13):
real riding. Carter and me pedal fast until we get
to our turn. Then we turn off and ride through
Gunter Square, a park not too far from our houses.
Ariel continues to follow. Yeah, riding through flat grass, ain't
gonna stop a moped. Once we're out of the park,
we pedal fast and come to another turnoff where we

(19:34):
know Ariel can't follow. Carter and me are doing some
stunt riding on our mongooses. I actually snicker a little
when I'm thinking about how I'd rather be driving a
real car like I did on Halloween night when we
were facing down the ghost of Abigail Tomlin. After a
few twists and turns, we both come out on another road.

(19:55):
Looks like we lost her, Madeline, Carter said. Then my
mouse sense my tummy starts aching again. I look over
my shoulder wrong. Carter looks where I'm looking. You gotta
be kidding me. Let's move, I say, yeah, you just
keep riding your little bikes. Ariel yells, you'll never lose me.

(20:19):
We keep doing our stunt riding and put distance between
us and Ariel. But somehow Ariel keeps sticking with us.
I think it's safe to say she knows Strickfield just
as good as we do. Man, that girl never gives up,
Carter complains. When Ariel finds us again, told you you
never should have put that video on Facebook. I tell

(20:40):
him again. Then I see the road ahead. I think
I got a fool proof plan to lose Ariel this time.
Carter knows what I'm thinking. The old railroad street bridge.
Let's do it. Carter and me pedal fast and soon
reached the downward slope. We both jump the little hill
and are riding on the concrete angle. Before long, we're

(21:02):
off it and riding right beside the Castalia River. We
can ride to Indian Hollow Road, Carter says. I quickly
tap his shoulder and point upward. Ariel's riding on the
upper part of the hill by the railroad tracks. She's
waving to us to let us know she's still here.
I can't believe this, Carter groans, What have we gotta

(21:24):
do to loser? I've got one more plan. I tell
him it's gonna be a long shot. Carter and me
keep pedaling until we're going underneath the main street bridge.
I quickly jam on my brakes. Carter does the same.
Then he sees me turning around and follows me. We're
pedaling in the other direction now. Then I remember the

(21:45):
part of the Castalia River that's shallow. We get off
our bikes and get across the river fast. Once we're
on the other side, we get back on our bikes
and pedal fast again. We ain't here an Ariel's moped.
Now you think we lost her, Carter asks, I shake
my head. I ain't saying nothing till I'm sure. We skip,

(22:07):
coming back up at old Railroad Street and keep going
until we reach University Avenue. We take a few of
the trails made by bikes like ours, and soon come
back up onto the road. No sign of her, Carter says.
Suddenly we hear that sound and realize Ariel's caught up
to us again. Oh man, we are so dead perspective.

(22:34):
Carter cross, Madeline and I both look to see a
dirt bike speeding right past us. We both breathe easy,
knowing Ariel mirn ain't nowhere around. Looks like we're gonna
be okay, I say. Madeline gives me that look now,
So now what, buddy, she asks in her mousey voice.

(22:57):
We're riding for a little bit before I tell her
what I'm thinking. Well, i'd say going back to either
of our houses is out. What's to say Ariel won't
be waiting for us there. Well, we can't stay out
here all day, she says, and not just because it
started drizzling. It's cold out here. We could go to

(23:18):
the mall. I throw out, I don't think Ariel's gonna
find us out there. Not an actual guarantee, Carter. She sighs, Okay,
we'll go to the mall. I gotta get something hot
to drink, coffee or hot chocolate. I'll pay Madeline. I
tell her, I'm really sorry you got in trouble with Ariel.

(23:38):
That wasn't supposed to happen. She gives me her usual
smirk that says we're still buddies. Then she says, just
give me an invitation when you and Ariel get married
after you graduate high school. I groan and point a
shaky finger at her. You always gotta go there. Come on, buddy,

(24:00):
this is me you're talking to here. Madeline tells me,
I know you really like Ariel. I mean you got
her pick on your phone, and I'm pretty sure she
likes you too, So why don't you just ask her out?
I shake my head. It's one thing for me to
like Ariel, but I ain't given up to her. She

(24:20):
can call herself the queen be at Strickfield Junior High
all she wants, but I ain't bowing to her. I
can't believe she's got everybody else doing things for her.
Then she expects me to fall in line and go
along with it. Not happen in Madeline at least now
I'm not alone. But you still like her? She states? Okay, yes,

(24:44):
I like her. Okay, I point at her. Just don't
be telling everybody about it. I don't think I gotta.
I'm pretty sure everybody in our group knows.

Speaker 2 (24:54):
No.

Speaker 1 (24:54):
I didn't tell him again. Just ask her out. I'm
sure she'll say yeah. I shake my head. You think
Princess Ariel's gonna want to go on a date with
me after that video I posted over way, I'm seeing it, buddy,
Ariel ain't gonna stop until she's caught up to you
for that video. Maybe she didn't get you now, but

(25:15):
we got to go back to school on Monday. Guess
I got two days then, assuming she don't catch up
to me before that, Madeline and I make it out
to Strickfield Town Center Mall. We chain up our bikes
and head inside. You'd think they'd have the Christmas decorations
up by now, I say, I mean, don't They usually

(25:35):
have them up by Black Friday? Madeline points in a
few places they got some up. They also got a
Santa House in Center Court, like they do every holiday season.
You're right, though, how come they ain't got a lot
of decorations up? Madeline and I walk the mall. November
and December are the two months out of the whole

(25:57):
year that our mall looks like a grand open. I mean,
nearly every store is filled and open. There are also
a lot of kiosks set up. Before and after those months,
the mall maybe has one quarter of the stores and
a lot less foot traffic. People keep saying it's going
to close up for good, but it hasn't yet. Then

(26:18):
Madeline and I see a woman who owns the mall herself,
Harmony Miron. She's standing over at Center Court and greeting
the kids to let them see Santa Claus in his house.
She really doesn't look that old, like she's not too
long out of high school. I know she inherited the
mall from her parents and has a little baby girl
of her own. Hmmm, I wonder what relation she is

(26:41):
to Ariel. Madeline and I reach Center Court, where the
food is also located. We go into caffeine junction and
get in line. That's when I start laughing. What's so funny,
Madeline asks, being in here is making me think of
Roth's rings. I snicker, Come on, you thought it was
funny too watching little Stuart Mirran at his worst. I mean,

(27:06):
it was like watching a cartoon. Madeline does laugh a little,
then she says, you know, at the same time, I
feel sorry for Ariel having to get stuck with him
all the time. I know he really does drive her crazy.
When it's our turn to order, I get a hot
chocolate Madeline orders that death wish gingerbread coffee. I pay

(27:30):
for both of us. As soon as we get our drinks,
we head back out into the mall. Carter, Maddie, we
hear someone calling out. We both turn around to see
Richie Horton and Brian Chunk. Horton, Chunker, what's going on,
I ask Horton, and I are just hanging out today,
Chunker says, Chapman's doing stuff with his mom and dad.

(27:53):
We're supposed to meet up with him later. He's the
husky guy who's always wearing cargo pants and an open
Hawaiian shirt over a black T shirt. I didn't want
to stay at home, so I texted Chunker, and here
we are. Horton says in his squeaky voice. He's the
really skinny kid with the circular lensed glasses. Suddenly, Maddeline

(28:13):
grabs my wrist fast. I'm about to ask her what's
up when I see where she's pointing. Now the four
of us are looking right at Ariel Mirran, who's now
got her eyes locked right on me. Ariel points right
at me and smiles sweetly as she's approaching us. Soon
she's right in front of me. Hi, Carter, you really

(28:36):
should just lay down right here. Her face suddenly turns
monstrous because you are so dead perspective, Ariel Mirror. I've
got Carter Cross dead to rights now. I've got to
hand it to them losing me the way they did.

(28:57):
I'm guessing Mouse was probably the one who came up
with that plan. As far as I'm concerned, she's guilty
by association. That means she's getting hers too, Ariel. There's
plenty of security guards here. I hear Mouse say. I
point right at her while I'm still looking at Carter.
I'll be with you in a moment, little mousey. There's

(29:20):
already two mal popos looking our way. Guys, Richie Horton squeaks,
I'd rather not have to explain to my mom why
we got busted if it's all the same to you.
When Carter tries to slip away from me, I quickly
get right back in front of him. You have no
idea how much I'd like to kill that little goober
of a cousin. I have. But when you record videos

(29:43):
of me and the goober and post them the Facebook,
oh no, you don't. This time Carter tries pulling that
trick that Mouse pulled on Halloween night, Mouse tends to
drop to the floor and then move in between my
legs to escape. In fact, that's how she is scared
from my sleepover last night. Problem is Carter telegraphed it. Also,

(30:05):
he's nowhere near as small and thin as Mouse. I
get on Carter's back. No way, Carter, you are mine.
But Carter suddenly surprises me by holding onto my legs
and lifting me up. He easily gets back to his feet,
and I'm stuck fast on his back and holding on.
You're not getting away from me, Carter, I declare, I'm

(30:28):
killing you right here and now you do not get
away with what you pulled on Facebook. Geeve, Princess, are
you putting on weight? Carter sneers. Must be all those
pies Stuart's been feeding you. A few more and you
can join the guy's wrestling team at Strickfield High. I
growl and grab two handfuls of hair. Guess I'll start

(30:50):
with you, Carter groans, Get off me, Princess, go on
back to your castle, inside your wall and leave us
peasants in peace. Eyes Come on, those guards are really
looking our way now. Mouse calls out, and then I
feel arms moving around my waist. I cry out when
I'm being pulled away from Carter and know Brian Chunks

(31:11):
got a hold of me. After he sets me down,
I quickly turn around to confront him. Chunker points right
at me. Now that's enough, Ariel. We got all kinds
of security guards looking right at us, and Horton's right.
I know I don't want to be explaining to my
parents why we got arrested. Here. I put a finger
of my own in Chunker's face. You do not ever

(31:33):
touch me, fat boy, Chunker shakes his head. You do
know I'm not afraid of you? Right then, I give
him my wicked smile. You should be, or did you
forget I'm Ariel Miron. Chunker raises his hand in front
of him. Okay, okay, you're right. I need to learn

(31:54):
my place, right, that's what you keep saying. Suddenly he
grabs me and holds me to him. Run you guys,
go let go of me, Chunker, I yell when I
see Carter and Mouse running for it. You guys, the
mall popos are honest, now, Horton warns us. Chunker, lets
go of me now. My fists are tightened. Then I

(32:14):
growl and point right at Chunker. Oh you you as
I'm ready to vent my anger and frustration with one
of my trademark screams. Chunker quickly grabs my hand and
holds it. I'm really growling now, and I'm ready to
claw at him. Listen, Ariel, how about I take you
to the food court and buy you a coke, Chunker asks,

(32:38):
And just like that, I'm not even mad at him anymore.
M all right, I reply, Just as the security guards
are almost honest, Chunker raises his hand. It's okay. I'm
just taking my girlfriend to the food court. She's having
a really bad day. The guards look at each other.

(32:58):
Then one of them says to us, we've already got
enough on our plates here with it being a Saturday
in December. Be respectable while you're here, got it? Yeah,
we got it. Chunker quickly agrees. We start walking away
from the guards. You don't make good on that coke,
and I'm gonna claw your eyes out, then Carter's I

(33:19):
tell him on no uncertain terms. Now I shove Chunker,
and how dare you call me your girlfriend? Hey? The
guards believed it, didn't they, Chunker stresses. Then I realize
Chunker's holding my hand. You're skating on very thin ice

(33:42):
with me. The next thing I know, where at Scotto's
Pizza in the food court. Large coke, please, Chunker tells
the cashier. Before long, Chunker lets go of my hand
and gives me the drink. I pop the top and
drink that sweet, bubbly slice of heaven. Then Horton gives
me a weird look. Why do you like coke so much?

(34:03):
I stop drinking and look at him. Because Mom never
lets us have anything other than diet soda at the house.
That's why I'm always sneaking off to drink the regular
stuff or steal carters. I take a few more drinks
and look back at Chunker. Okay, I guess you get
to live, geez, Ariel. Not even so much as a

(34:24):
thank you, Chunker says. I look him in the eyes. Now,
I think I'm going to call this a respect offering.
You Carter, Bill Chapman and this bean pole here have
yet to show me respect at my school. Chunker laughs
a little. It ain't your school now. I know. I
can say we respect you as a person, Ariel, but

(34:45):
we're not gonna call you the queen Bee. Horton raises
his finger. And you're not going to order us around either.
I look from one to the other. You two are
going to know your place at my school, one way
or another. Aerial renaissance mirror. A voice I'd really rather
not here today, calls out Chunker. Horton and I turn

(35:07):
and see both my mom and Aunt Margaret, and then
my stomach drops when I see my aunt has Steward
in her arms. What do you want, I asked Mom.
She points right at me. I want you to always
have your phone turned on. I should never be directed
to your voicemail. Then she snatches up my coke and

(35:28):
I told you you are never to drink these. This
is how you put on weight. Do I look like
I need to be on any kind of diet? I
fire back. Now. Mom points to Chunker and Horton. Go away,
but I turn and grab both of their wrists. No,
these two are my friends, so they're staying with me.
And then Aunt Margaret sets Stuart down right next to me.

(35:52):
That's fine, the three of you can keep an eye
on your cousin. Then she says, in the absolute most
snooty voice I have ever heard from a mirror. I
shake my head. You are not sticking me with Stuart again, Margaret.
Why can't you keep that rotten goober with you? Aunt
Margaret looks like she's ready to rip into me. I'm

(36:12):
ready to fight back, but Mom's quick to get in
my face. You will be watching Stuart as of right now,
Margaret and I have to go to Erie City for
an emergency meeting regarding my latest computer game. Will be
gone the rest of the weekend, so you will be
keeping Stuart with you and watching him. Do you understand.

(36:33):
That's when little Stuart gives me his mischievous look. I
look right at Aunt Margaret. I mean it, take your
goober son to Erie City with you. I am not
ever watching him again. All he does is get me
into all kinds of trouble. Aunt Margaret chuckles, not my
problem as of right now. Then she gives me a

(36:55):
scornful wave and sings Tata nah oh. I scream behind them.
I want to run after them, but little Stuart's already
running away from me. I growl and turn to run
after him. You stop right there, you little goober. I
can hear Stuart laughing. He really knows how to get

(37:16):
under my skin and he's only four years old. Stuart
is moving through the crowds of people. I'm trying to
get around them to get to my latest problem. Seriously,
why do I always have to get stuck with Stuart?
Mom and Aunt Margaret both know he gets under my
skin in the worst way, and they don't care. Stuart
continues to laugh as he keeps moving. I'm growling as

(37:38):
I keep trying to move around people to get to him.
How can these people not see that, goober? I'm almost
on Stuart when some idiot crashes into me and knocks
me down. Watch where you're going, kid, I hear the
person say, Oh, now I'm really mad. I really focus
and get around all these shoppers. I'm almost on Stuart again.

(37:59):
When I finally grab a hold of him and lift
him off the floor. He turns and bashes me in
the head with something that explodes all over me and
gets me wet. My eyes are burning right through Stuart.
Now I hate you, you little eh. Lately it just
never fails. Somehow he keeps managing to douse me with pop.

(38:21):
Stuart points right at me and laughs his evil little
kid laugh. If you were in his terrible twos, I
suppose I could be more understanding. But he's four years old.
I'm holding Stuart right where I can look at him
face to face, and I'm about to find out that
I've underestimated him again. The goober laughs his evil laugh

(38:41):
again and then spits a wat of gum right in
my eye, I cry out and almost drop him. He
manages to slip out and climb down my body to
the floor. He's off and running again. Oh you you.
I really don't care who hears me as I belt
out another one of my blood curdling screams. I'm way
beyond mad right now. When I stop, the pain in

(39:04):
my eye registers. As I'm holding my hand there, you
better go after your brother kid, some idiot shopper tells me.
I don't even look at the person as I point
their way. You can just shut up. So I'm chasing
little Stewart around the mall again. He leads me right
to the end of the mall where the best Buy is,
and then that's when I see Carter and Mouse sitting

(39:27):
at the fountain. My eye doesn't hurt as much right now,
but at least both of them are working to where
I can see Stuart running around the fountain and Carter
pulling his smartphone out. No doubt he's planning on recording
me in my troubles with my goober cousin again. Don't
you even Carter, I yell, I will kill you for sure,

(39:48):
and not think twice about it. Carter quickly gets up,
Mouse is trying to tell him not to do it.
He's recording a new video. Now, hey, Princess, I think
I'll call this one. Mal Santa tells Princess Ariel she's
been naughty and is chasing down one of his elves.
I tighten my fists and belt out another scream, which

(40:10):
lasts much longer than the first one. I'm not even
aware that I'm running right at Carter when I'm screaming.
In fact, I can't hear much of anything, and all
I'm seeing is red. When I crash right into Carter
and take him right into the fountain perspective Madeline Donnerly, Ah, man,

(40:32):
you just knew something like this was gonna happen. Carter
and Ariel both splash right into the fountain just outside
of best Buy. I managed to catch Stuart and lift
him up. He laughs a real mean laugh and points
right at Ariel. Ah, come on, why you gotta be
so mean, little guy? I ask. Just then Horton and
Chunker show up and see Carter and Ariel splashing around

(40:53):
in the fountain. These two ain't even trying to get out.
Ariel's grabbing at him and throwing him into the water,
then she jumps on him. They both go under the
water again and come back up. Horton leans in, Hey,
mal popos are coming this way, lots of them. Just stop.
Chunker yells, but Ariel and Chunker don't even hear him.

(41:16):
They just keep having their water fight. I'm gonna kill you,
Carter cross, Ariel belts out. Chunker reaches into the fountain
to try and grab Ariel, but she slips out of
his hands and jumps right at Carter again. Get off me,
you spoiled bratt. Carter belts back, and then I see
Horton seeing a good six security guards coming our way.

(41:37):
But it's what Horton didn't see that's got my tummy
feeling like lead. When I see her coming with him,
you just know things are gonna be a whole next
level of bad. Horton and Chunker both see harmony mirrn
with him too, because they're yelling for Carter and Ariel
to stop. Oh man, I never knew feelings were this

(41:59):
bad between Carter and Ariel. Even I'm trying to tell
him to stop and why, but they just keep jumping
on each other and throwing each other into the water.
Now we finally stop yelling at Carter and Ariel because
it's too late, Harmony Mirron and the guards are here.
That's when I feel Stuart pull my beret off my head.

(42:20):
I quickly turned to the little guy and put it
on his head. You can keep it on if you
behave Stuart laughs happily. Now guess I ought to be
so lucky. This little guy always minds me when he's
with me. Hopefully I ain't assuming nothing when I say
I think he likes me, Harmony Mirn don't even look mad.
When the security guards grab hold of Carter and Ariel

(42:42):
and yank him out of the fountain, Water's just dripping
off them and all over the floor. Now why am
I worried about Harmony Mirron. Not only is she the
owner of this mall, she's also one of the absolute
meanest Mirrans I know. Harmony claps her hands together once.
I'm so happy you two love playing together in one

(43:03):
of my fountains. Then her fake happy tone quickly turns
sour fast. Bring them to my office yesterday, and before
anybody can even so much as take a breath, Harmony
points right at the rest of us. I want them
to bring all these brats to my office. What Chunker protests,

(43:24):
we were trying to stop him. Lady Harmony points right
at him, save it, fat stuff. A security guard moves
behind Chunker, Move it, kid, just as another one's about
to grab Horton. He raises his hands in front of him. Okay, okay,
I give up. I'm coming along quietly. Then Harmony Mirran
points right at me. You too, Velma Dinkley, and bring

(43:48):
that little rugrat with you. Ah man, I mutter, Oh,
I'm gonna love explaining all this to mom and dad.
I'm sure Harmony Miron's gonna to call the cops and
have us all arrested. Yeah, Harmony's all nicey nice to
the customers, but you get caught doing something you shouldn't
be doing in her mall. Oh man, yeah, this ain't

(44:13):
gonna end well. Perspective, Brian Chunk. I keep telling the
lady who owns this mall that Horton, Maddie and I
were trying to break things up between Carter and Ariel.
She just keeps telling me to shut up and move.
My guess is she's gonna call our parents, no back up,

(44:34):
She's gonna call the cops first. Then call our parents.
I ain't worried about my own parents. All I gotta
do is just explain to them what happened, and things
should be okay. At my end, I'm more worried about Horton, though.
I'm surprised his mom's still letting him hang out with everybody,
especially after we were gone for a whole year. What

(44:57):
with everything that happened with Abigail Tomlin's ghost. Oh, Horton's
mom wanted to keep him in the house forever and ever.
Once we all came back home after Maddie and her
friend saved us and brought us back to the Mortal
realm Horton hardly ever gets confrontational, but he wasn't gonna
let his mom keep him away from the group. I'm
wondering if she'll make good on that, though, If Harmony

(45:19):
Miron calls her up and tells her just what happened.
Everybody's watching the guards escort us to the other end
of the mall and down a side corridor. Next thing
we know, we're turning off and going past a set
of restrooms and into the mall office. Harmony Miron shuts
the door and locks it tight. Then she pulls these

(45:40):
drapes closed. Finally, she sits down at her desk. Her
face is so red now you just know she's as
angry as all get out. Harmony points to Ariel. First,
believe me, I know you're my cousin. She points to Stuart,
who's standing next to Maddie now and sows that rotten brat. Now,

(46:03):
she glares at Ariel. But the fact that you too
our family, doesn't mean a single thing to me. In fact,
I'm going to pick up this phone and call the
police and have them come get all of you. She
points to all of us as a whole. Now, too bad,
none of you damaged anything in my maull because I
really really want to press more severe charges on all

(46:25):
of you before any of us can speak, she points
sharply at all of us. Shut up. You do not
speak unless I say so, and I did not say so.
She clasps her hands together now and smirks, Oh, yes,
all of you rotten brats belong to me. Now. She
unclasps her hands and picks up the phone. She's about

(46:48):
to punch the number for the police. When she hangs up,
her smile's really making me feel uneasy. Right now. I
suppose I should actually be thanking all of you from
the bottom of my heart that you created a disturbance
in my mall today, she says softly. In case you
haven't noticed, the mall doesn't look all jolly for the

(47:11):
holiday season like it's supposed to. Oh, there are a
select few things up and about, like Santa's House, a
few scenes, and even some of the Christmas hangings. However,
there's still plenty more to do here to make my
mall a winter wonderland. Now, she's smiling, really sweet. Yeah,

(47:34):
she's that scary. I think I'm willing to cut you
brats some slack this time, she chuckles. Now, but in
no way am I letting you off the hook. Oh no,
In fact, I see my Christmas decorations crew right here
in front of me. It's very simple, really, You brats
get to work the rest of the day and all

(47:56):
night finishing up with the Christmas decorations. There are several
Christmas trees that have to be placed at precise locations
throughout my mall. There are even some scenes that have
to be finished. Now, before you decide you're not going
to cooperate, that's fine, Harmony, puts her elbows on the
desk and puts her chin on her fists. I can

(48:18):
pick up the phone again, call the police, and have
them charge you accordingly. Believe me when I say how
much I love watching the police arrest brats who think
they can run rampant in my mall. I've already had
more than I can count on two hands arrested just
this week. If I have to have you brats arrested,

(48:39):
then I'm pretty sure it'll be more than I can
count on my hands and feet. Your choice. When none
of us answer, she tells us, Oh, you may speak now.
It wasn't Horton starts. Harmony point's right at him. Save it, wimp. No, you,

(49:03):
the fat kid and the mouseie girl weren't fighting. I'm
so sure you were trying your absolute best to stop
your two friends from fighting in the fountain. Weren't you.
Harmony shoots up to her feet quickly. But you didn't
stop it, did you, She calms down. Now, the way
I'm seeing it, you're all part of the same group.

(49:25):
This means you're all guilty as charged. End of discussion.
Now you have to make a choice. All I want
to hear from the five of you is either you're
going to finish with the Christmas decorations or you're not
going to help and I can pick up the phone.
That's it. Having said that, choices, what about this little guy,

(49:47):
Maddie asks her, pointing to Steward. What about him? Harmony snaps,
If you can call somebody to come and get him,
then okay. Otherwise you brats had better keep an eye
on him if he stays with you all night. Can
we talk about it amongst ourselves, Horton asks, Harmony laughs scornfully.
You do not get to make requests, tent Pole. I

(50:11):
will not ask you brats again your choices. Now you
all know we're going to choose to stay and put
up the rest of the decorations. Splendid, Harmony cries with glee.
That's the choice I would have picked myself. And now
Harmony explains what all we're supposed to do. She says

(50:32):
that since she doesn't trust us, she herself will be
supervising us to make sure we do the job on
her level. Turns out, her baby as being watched by
her other family members, so she doesn't have to worry
about getting back to her right away. When she finishes
explaining everything. She smiles her devilish smile again. I'm going

(50:53):
to have so much fun with all of you, Harmony
warns us. Also, if any if you are slacking off
or sleeping on the job, I call the police. Don't worry.
I'm not a totally unfeeling person. I'll give you all
a little break at every hour. I'll even let you
have free soft drinks from the food court and feed

(51:15):
you when it's time for meal breaks. And if the
decorations aren't finished before the morning, then I call the police.
Harmony points at Ariel and Carter. I suppose we really
should get you to some dry clothes. I'll get you
to some overalls to change into while we dry your clothes.

(51:36):
She raises her finger quickly. Those of you who have smartphones,
call your parents right now and tell them you're spending
the night here. When you're done, your phones get locked
in this drawer until morning. You're here to work, not play.
We're all looking at each other now. I don't know
about the others, but I get the feeling we're in

(51:58):
for a very long rest of the day and all night. Perspective,
Richie Horton, the others are quickly noticing that I'm actually
not minding being here so much. Even Harmony Mirran barking
orders at us isn't really bothering me. We've been working
together at going around the mall and hanging things from

(52:20):
giant Christmas ornaments to draping tinsel to even bright and
colorful lights. Since the mall's still open, people are seeing
us slowly but surely making our way across. We started
at J. C. Penny and are expected to end over
by Best Buy. Harmony Miron has been keeping a watchful
eye on all of us. Even Maddie's got little Stuart

(52:42):
helping her out with putting the animatronic scenes together. In fact,
it was Ariel who advised Harmony that it would be
a good idea to let Stuart stay with Maddie to
keep him out of trouble. When Harmony sees how Maddie's
kind of playing with him to keep him occupied, she
starts yelling at her. Ariel quickly comes over to Maddie.

(53:03):
If I were you, Harmony, I'd leave Mouse alone. Believe me,
you want her keeping Stuart the way he is. But
if you insist on being all high and mighty, go
ahead and keep getting on mouse. When Stuart starts running
around your mall and getting into everything, don't expect us
to stop him. Harmony points right at Maddie. Fine, Ariel,

(53:26):
she can entertain the kid. Then she says to Maddie,
don't go too far out of my sight. I may
need you to be my gopher. Maddie keeps entertaining Stuart.
Come to think of it, this isn't the first time
we've seen Maddie playing with him. He doesn't seem to
like the rest of us, especially Ariel. He really seems

(53:46):
to like Maddie, though, he even does what she tells
him and doesn't get poudy with her about it. I
also recall he's never once said a single word at
four years old. I'm sure he can talk, he just
doesn't talk unless he has something to say, probably to
his mom. Harmony doesn't seem to mind us talking to
each other as long as we're working. Right now, I'm

(54:09):
helping Ariel with hanging more tinsel on the ceiling. Chunker's
working on getting the rest of another animatronic scene put together.
Carter's putting up some more of the Christmas trees that
were found in storage. I think Carter and Ariel both
look quite obvious in their navy blue overalls. Every now
and then I see them giving each other mean looks.

(54:30):
When we're at Strickfield Junior High, nearly everybody's quick to
step aside for Ariel, even the eighth graders. When it's
said that she's the queen Bee. It doesn't mean that
she literally rules the school. It's just it means she's
the most popular girl there. When she does tell somebody
to do something, they do it. When I said nearly everybody,

(54:50):
the exception is Carter, Chapman, Chunker and me, And lately
it seems Mona Abeles and Bailey Downs, the other two
girls in our group, aren't so quick to do what
she wants. These days, we keep working on into the
evening and right up until closing. We're nearly halfway through
the mall. When ten o'clock rolls around. We've really put

(55:11):
up a lot of decorations. Since we have to finish
the rest of the mall, that means we've got a
lot more. Believe me when I say Harmony hasn't taken
her eyes off us for so much as a second.
Even when she was looking at her phone, she was
still watching us. When Carter and Ariel started sneering at
each other a few hours ago, Harmony told them to
get back to work. Maddie and Stuart are back with

(55:33):
sodas on a tray for everybody. She goes around and
hands everybody one. I'm surprised Maddie's been able to keep
Stewart occupied for as long as she has. When Ariel
tried to tell him to do something a moment ago,
he nearly threw his soda at her. Maddie stopped him
and told him he'd get thirsty later again. He listened

(55:54):
to her. Harmony, lets us take a break to enjoy
our sodas. When you finish your break, get some more
Christmas decorations out and keep going. I'm going to take
Madeline and Stuart with me and make sure the entrances
are locked up tight. She points sharply at the others.
And if I come back and see you're slacking off,
Harmony gets on her golf cart, letting Maddie and Stuart

(56:16):
sit up front with her. Then they take off to
go check the entrances. Like I figured, Ariel and Carter
start going at each other again. I hate you, Carter,
she snaps. He points right at her. Hey, I wasn't
the one who wanted to fight in one of them
all fountains. That was all you. She gets up and

(56:36):
goes right to him. Because you have to fill me
and the goober on your phone and post it on
social media, letting everyone make fun of me, because you
keep trying to order me around at school, he fires back.
Even when we're not in school, you always try to
make me do things I don't want to do. You
even drink up my sodas. I get that you're filthy

(56:57):
rich and your family owns all of Strickfield Commons now,
but that don't mean you get to order us around
my school. Ariel growls. That means I run it. Carter
stands up now. He and Ariel are looking each other
in the eyes. You'd swear they're getting ready to throw
down again, except Chunker comes in between them. That's enough

(57:20):
you guys, he tells them. If Harmony comes back here
and sees you two fighting again, there's no telling what
she's gonna do. Ariel points right at him. You keep
out of this. Chunker turns and looks at her. No,
it's all because of you two fighting. That we're in
this mess. I really don't know what you're trying to
prove with saying you run our school. What are you

(57:43):
trying to be a bully? Because that's how I'm seeing you, Ariel.
Maybe that's why we scoff at you when you tell
us to know our place at school. I'm just saying.
Chunker turns away from her and sits back down to
drink his soda. Boy, Chunker sure took the wind out
of her sail. I mean, she looks pretty sad right now.

(58:03):
Then she turns and runs away. Hey, Princess Harmony's gonna
be back in a little bit. Carter calls out to her,
but Ariel doesn't look back. I look over at Chunker. Hey,
somebody needed to set her straight, he tells me. Then
he gets up. Fine, I'll go talk to her again.

(58:25):
He gets up and starts walking in her direction. Perspective
Ariel mirrn. I finally stop running when I get to
a far corner of the food court and hide out
of sight. I sit down and start crying. I thought
I was really alone, but then I feel someone's there.

(58:47):
I look up and see Chunker. What do you want?
I snap? Did you follow me to see me at
my worst and gloat. Chunker sits down across from me. Hey,
I wasn't trying to cut you down, Ariel, but really,
how do you think people at school see you? You know,

(59:09):
being the most popular girl at our school doesn't mean
telling people what to do. What do you expect me
to do?

Speaker 3 (59:17):
Then?

Speaker 1 (59:17):
I ask, I'm Ariel Miron. Do you have any idea
what that means? No, you don't. You don't know what
kind of expectations Mom has for me. Aside from making
sure I'm always there when Aunt Margaret wants me to
take care of Stuart. Not only do I have to
keep that little goober out of trouble all the time,
but Mom expects me to be a dominant in our family.

(59:38):
She's expecting me to be homecoming and prom queens when
we get to high school, the same as she did.
Mom ruled her school with power, so she expects me
to do the same. What do you want to do?
He asks? I wipe away tears with the back of
my hands. I don't know, I do. I know I'm

(01:00:00):
tired of always trying to please Mom when I know
she'll never be pleased. You're not a mirror. You'll never
know what it's like to have lots of expectations placed
on you. Chunker smiles a little. Hey, didn't you stand
up to your mom on Halloween night? Maddie was telling
us about it, shortly after you guys saved all of

(01:00:21):
us from Abigail Tomlin that night. If you don't want
to live by your mom's expectations, then tell her that
you're supposed to be a dominant Miran. Right, then be
a dominant Mirran. But be your dominant miran now. I
smile at him. You're right, I sigh. I'll share something

(01:00:44):
with you. Sometimes. I wish I wasn't a Mirran. If
it wasn't for my girls, including Mouse, I think I'd
have lost my mind a long time ago. I take
his hands, thank you. Before Chunker can reply back, we
both realize we're not alone. At first, we're thinking harmony

(01:01:07):
found us, but it's some other woman. She looks huge
her height. I'm thinking she's at least seven feet tall,
which would explain why the clothes she's wearing look like
summer clothes. She has on a T shirt that looks
torn at the sleeves and jeans that could pass for capris.
She's also barefoot. But what's really scaring the both of

(01:01:31):
us right now is that her skin looks chalk white
and her eyes are glowing bright red. We both scream
when she shows us her clawed hands and the glistening
fangs in her mouth. We get up and run for it. Help.
Chunker calls out, Ariels, she's got me. I turn and
see that woman. I think she's a vampire, pulling Chunker

(01:01:55):
into one of the double doors beside the pizza place.
I duck fast when she throws a big track at
me with one hand. I'll get help, I call out
to Chunker. Then I turn and start running back to
where the others are. Perspective Brian, Chunk, I'm trying to
break free of this woman who's holding onto me. But

(01:02:15):
she's really strong. If she really is a vampire, I'm
gonna be in real big trouble here. Let go of me,
I yell help. The vampire woman growls as she keeps
dragging me along. Soon she opens one of the doors
leading to the basement level. I remember we had to
go down there to get some of the Christmas decorations.

(01:02:37):
There's also a parking garage under a part of the
mall itself. Now, the big vampire's picking me up and
carrying me downstairs under one arm. I know I ain't
no lightweight, but she's carrying me like I am one.
I keep calling out for help. I just hope Ariel
tells the others what's going on before I end up
becoming food for this thingh or she makes me into

(01:03:01):
something like her. Then I remember I was already not
alive once before that time, when Abigail Tomlin brought Chapman,
Horton and me to the Afterlife a year ago last Halloween.
No way I was letting this giant woman turn me
into a vampire. Seeing the woman's bare foot, I raise

(01:03:22):
my shoe and stomp down on one of her feet.
She growls and stops. That's when I break loose and run.
The woman screams now. I don't even look over my shoulder.
I know she's after me. I just know I gotta
get out of here and get back upstairs to the others.
Hopefully Ariels warn them. Already, for all I know, they're
probably on their way out of the mall. I'm turning

(01:03:44):
the corner to open the door to get back upstairs.
What I quickly yell that giant vampire woman is is
right in front of me. Then I remember vampires can
literally warp right in front of you. I quickly slam
the door and run to another. Now I hear the
vampire woman knock the door away and come out. She

(01:04:07):
screams again, which really sends shivers down my spine. I
run to the upward ramp and start making my way up.
I hear the giant vampires scream again. It'd be one
thing if she hissed or even went bleh, bleh or something,
but screaming like Ariel Mirran when she's mad. Even hearing
Ariel scream sends shivers down my spine. But she ain't

(01:04:30):
a giant vampire woman. When I'm about to reach the
top of the ramp, I quickly stop when I see
she's right there. She looks right at me and and
and I feel feel her eyes. I can't move, I

(01:04:55):
can't can't run the last last it's glam. Then I
think she's lifting me on her shoulders.

Speaker 2 (01:05:13):
Can't move.

Speaker 1 (01:05:18):
Perspective, Madeline Donnerly. I thought it'd be hard trying to
keep Stuart occupied all day. In fact, he's sitting on
my lap right Now he points at the Christmas displays
and is all happy and laughing. Stuart helped me put
all of them together. All I had to do was
point to what I wanted, and he brought it to me.

(01:05:39):
Harmony's just now bringing us back, after making sure all
the entrances are locked up tight. That's when we're seeing
Aeriel running out of the food court to the others help.
She's shrieking help. The others are looking at her. Now.
I can tell you Harmony ain't too happy when she
pulls the golf cart right up by her. There is

(01:06:00):
no reason whatsoever for you to be carrying on Ariel.
Harmony snaps, there's a giant vampire woman. She tells all
of us she got Chunker. Then she tells us what
happened in the food court. I'm not making any of
this up, I swear, but I can tell Carter ain't
believe in her. Suddenly, Ariel comes over to me. She

(01:06:22):
takes my wrist and locks her little finger with mine.
Pinky promise. I'm giving Ariel my most serious look. Right now,
you say it's a vampire. Now, Harmony grabs my arm.
None of you brats are leaving this mall until all
the Christmas decorations are put up. You understand me, none
of you. I shake Harmony off me. If Ariel says

(01:06:44):
Chunker's in trouble, then I'm gonna go help find my friend.
I lift Stuart up and quickly get off the cart.
I'm leaving this little guy here with you. You got
a baby, right so you ought to know what to
do with Stuart. You stop right there, Harmony yells. I
did not excuse any of you. I mean it. I'll
call the police and have them here right now. Now,

(01:07:05):
I see Horton pointing and gasping.

Speaker 4 (01:07:07):
Fast.

Speaker 1 (01:07:08):
May Matty, many, Matty, many come. Madi, Come, Matti. We're
all looking where Horton's pointing. Now, Ariel's joining Horton. That's her.
That's the big vampire woman who took Chunker. You, Harmony
yells at her. I turned to her. You know that
vampire woman, Harmony. That's the thing that trashed my maul

(01:07:31):
and attacked my security guards on Christmas Eve two years ago.
Harmony shrieks. I could never forget that face, that hair,
or those eyes. That vampire woman looks like she's got
a good seven feet of height. Her red eyes are
glowing bright even in the dark. She tightens her fists
and screams, that's when Harmony turns her cart and drives off. Wow,

(01:07:57):
Harmony really drove off and left us here. Horton says,
that's a mirror for you. Carter mutters, hey. Ariel yells
at him. Then she slaps his shoulder. I'm standing right here,
you bump us. Carter looks kind of ready to stick
his foot in his mouth. That vampire woman moves really
fast because she's almost right on us. Scatter, Ariel yells.

(01:08:21):
Carter quickly takes Ariel's hand as they run one way.
Horton turns and runs another way. Then I feel little
Stuart pulling on my pants pocket. I picked the little
guy up and run in another direction. Wait for me.
I hear Horton yelling. Guess he reconsidered which way he
was going. Turns out I ain't gotta wait for Horton.
He's running so fast as shoes are squeaking on the floor.

(01:08:43):
I gotta quickly stop and put Stuart down. Then I squat,
get on my back. Little buddy. Stuart again listens to
me and climbs on. I lift myself up so Horton
and me can run again. Much easier to carry Stuart
on my back than trying to hold him. Can you
see her, Maddie, Horton asks. Suddenly, the vampire woman appears
right in front of us when she comes out of

(01:09:04):
one of those side corridors, making us both scream. Never
mind forget, I asked, Horton shrieks. When we turn around.
What's real funny right now? Is that little Stewart is
laughing it up? Yeah, I'm glad you're having fun, little buddy.
Hang On, Horton and me scream when we hear the
vampire lady shout. Then we round a few of the
kiosks and head into the food court. Why are we

(01:09:27):
running this way, Maddie, Horton asks, We gotta find Chunker.
I tell him they both came this way. What's really
bad is I ain't even got time to try and
find a mirror to summon Mary Worth to come and
help us. Uh man, where'd that giant vampire lady come from?
I'm almost thinking Lady Dimitri su escaped from resident evil village.

(01:09:48):
When we're about to turn another corner, we're both screaming
again when the giant vampire Lady has her hands on
our shoulders. She's flying. Horton shrieks down. I yell. We
both fall on our bellies and let the vampire lady
fly right over us. We quickly get back up, glad.
Little Stewart doesn't weigh much. The vampire lady lands and

(01:10:09):
points right at us. Now, my children, Wow, she don't
sound nothing like Lady Dimtrisu. Her voice actually echoes, and
her face looks like the original Fright Night poster. Boy
do Horton and me ever scream? I remember telling Ariel
Mirror to give me something to be scared about just

(01:10:29):
after we started junior High. If she's seeing me right now,
she ain't never gonna let me live this down. Then
I stop screaming when I hear Little Stuart laughing again.
Oh you think this is funny, I ask him. The
vampire lady licks her long, glistening fangs. My children, Horton

(01:10:52):
and me both scream again and run for all we're worth.
We run out of the food court and down toward J. C.
Penny where you're in. That vampire lady's screaming as she's
flying after us again, really sharp claws outstretched. Hey as
long as Stuart's laughing, then him being scared is one
problem we ain't gotta worry about. We turn a corner

(01:11:13):
and see an suv that's being raffled off parked. I
can't run much longer. Horton pants, Hey, that vehicle's got mirrors.
I can call Mary Worth. I never thought I'd ever
be so glad. I'm possessed by the spirit of a
white witch from the time of the Salem Witch Trials.
But just as we reach the suv, it suddenly comes

(01:11:34):
off the floor, the giant vampire ladies lifting it right
above her head. No escape, she growls. No way. Horton squeaks, Yes, way.
I squeak back, and then I see the bikes. Carter
and me rode here just outside. The only way Horton

(01:11:55):
and me can use him is to I got an idea, Horton.
At first, I think think about handing Stuart off to Horton,
but I ain't sure how he'll behave with him. Nah,
I gotta keep this little guy with me. Hang on, Stuart,
I tell him, what are you doing, Maddie. Horton shrieks
when he sees me running around The vampire lady Now

(01:12:15):
Horton and me are on either side of her. Yeah,
you keep having fun, little man, I tell Stuart when
he's still laughing it up. Now I call out to
the vampire lady. Hey, she turns around to face Stuart
and me. Bet you can't hit me with that, Maddie.
Horton gasps, really. Then my plan totally backfires. The vampire

(01:12:38):
Lady drops the car so that it bounces on its
tires once and remains parked against a wall. Then she
snatches Horton by his shoulders and lifts him up. All
he can do is smile and laugh a little. Then
he waves at her.

Speaker 4 (01:12:52):
Um.

Speaker 1 (01:12:54):
Ugh, hi bee bee. She says, yeah, I'm your baby.
Horton quickly agrees, probably hoping she don't lower him down
and bite him. Then I see the door on the
suv is open. Hey, that's right. The vehicle was unlocked

(01:13:14):
so people could look inside it to entice them into
filling out a raffle card. I inch my way over
to the vehicle. Stewart gets off my back and climbs inside.
Then I get into the driver's seat. Man, I'm hoping
there's keys in this thing. It's gonna be a long shot,
but I pull down the sun visor like I did
on Halloween night. Nope, no keys. Then my little buddy

(01:13:38):
taps my leg fast. I turned to see him handing
me the keys. Aw thanks, I cry, taking him off
his hands. Man, I sure hope this works. I put
the keys in the ignition and crank it. That's when
the giant vampire lady turns and looks right at me.
Now I'm feeling a little weird. Then I quickly shake

(01:14:00):
my head on No, no way, I'm letting her glam me.
Come on start, will you. I beg the car when
all it's doing is cranking. Then I call out the window,
this is the part where you start running, Horton. He
don't need me to tell him twice. And just when
that giant vampire Lady's almost on me, the car roars

(01:14:20):
to life. Time to play some more grand Tarismo again,
just like on Halloween night. Okay, Mouseie, time to show
this big ugly vampire some driving skills. I say to myself.
When I hear Stuart laughing at all the fun he's having,
I know I gotta keep him entertained. I take a
deep breath, shift the gears and floor the gas. The

(01:14:45):
tires are squealing on the floor as I'm backing up.
When I'm out in the main area, I shift again
and floor it forward. Hang on, little guy, we're gonna
get horton. I just hope I can drive like our
lives depend on it. Oh wait, they do, perspective carter cross.

(01:15:06):
Ariel and I made it out of the mall itself
and make it back to the storeroom where the rest
of the Christmas decorations are. After we piled stuff up
against the doors. We got our backs to the wall
and her sweating as we're catching our breaths. When we're
calm enough, Ariel growls her usual growl and slaps me
on the arm ow. Then I turned to her, what's

(01:15:28):
your problem now, princess. She turns to me and pushes me. Now,
I can't believe what you said about the mirrors. I
was right there. I'm a mirror. I raise my hands
in front of me. Okay, bad choice of words. I'm sorry.
To be honest, I wasn't thinking about you when I
said what I said. Ariel calms down a little. Really,

(01:15:52):
I sigh. Okay, yes, you're a mirror, but you wouldn't
have left us the way Harmony did cut me some
slack here, She slaps my shoulder hard again. You don't
deserve any slack, Carter, not when you keep making videos
of me in that little goober and posting them on Facebook.
And now that we're all here alone, just you and me,

(01:16:13):
we can finish our fight from earlier. We both know
you can't outrun me, right, I look her in the face.
If we survive this, I'm still not gonna treat you
like you're the queen. When we're back at school, she
points right at me. It's my school, whatever, princess. I snap.

(01:16:34):
Then I turn my back to her. There's just no
talking to you. I raise my finger. That's where you
show you're a mirror. It's always your way or no way.
Then I see the pop machine with can sodas and
go over to it. I'm surprised that you even keep
one of these here in the storeroom. Looks like it's working.

(01:16:56):
I dig into my pocket and pull some change out.
Next thing I know, Oh, Ariel's right there, can you.
I don't have any money on me, and my smartphone
is still locked in Harmony's desk. Please well, I do
like it when Ariel says the magic word, because she
don't say it very often. I plunk in my coins

(01:17:17):
and let her get a coke. I plunk in some
more money and get myself one too. Sodas are like
catnip to this girl. And it don't matter how mad
she is. Just give her a soda and she's calm
and happy. Just like that. Ariel looks at me.

Speaker 3 (01:17:32):
Now.

Speaker 1 (01:17:33):
You know, when we're at school, you could just bribe
me with a soda. I'd probably leave you alone. Ariel
and I are looking at each other now. I mean,
we just can't take our eyes off each other. This
right here is why Madeline gives me a hard time.
Not in a bad kind of way. But you know

(01:17:53):
what I'm gonna do it. I don't care what anybody says.
I take a deep breath and just say it. We
make it out of this. You wanna go out on
a date with me? Ariel don't say anything right away.
She don't look like she's mad. She takes a deep
breath of her own and opens her mouth to give

(01:18:15):
her answer. Suddenly, that suv we saw it in the
mall that's being raffled off, comes plowing right through the doors.
All the Christmas stuff we piled up against them, just
flies everywhere. Ariel looks at me. Is that mouse driving? Suddenly?
That monster's flying right in. I'm quickly shaking up my soda.

(01:18:35):
When it grabs Ariel. Just as Ariel screams, I hold
my can to the thing's face and pop the top.
Soda just squirts out hard right in its eyes. The
monster lets Ariel go and screams. Just then the suv
pulls right up next to us. We can see Madeline's
definitely driving, just like she did on Halloween night when

(01:18:55):
Abigail Tomlin's ghost was chasing us down at cry Baby Bridge.
Horton and Little Stewart are in with her. Get in here,
mouse tells us. When I open one of the rear doors.
Ariel shoves me in and comes in right behind me.
When she pulls the door closed, Madeline floors the gas
and drives around the storeroom. Before long, we're back out
in the main mall. I can't see her, Horton tells Madeleine. Newsflash,

(01:19:21):
you ain't gonna see her in any of those mirrors.
She tells him vampires don't cast reflections. Ariel gulps and
turns around. She nearly got us mouse, she just crashed
into a kiosk. Ariel shrieks, Yeah, I gotta get us

(01:19:43):
to a mall entrance and drive right through it, Madeleine
tells her. Then she looks over her shoulder. Unless you don't,
you can wreck this whole mall for all I care, mouse,
Ariel tells her, let Harmony sort it out. If anything,
we're saving her life by leading that th away from here.
I love how you think, Madeleine says, turning back around

(01:20:05):
and focusing on her driving. When we get to the
food court, she hits the brakes and makes a sharp turn. Hey,
Harmony's right up ahead. Horton pipes up. Stop. Harmony screams
in terror. Her golf cart seem to have stalled out.
What do you think, guys, Madeleine teases. Ariel growls again.
I'd say just leave her, but I'd rather not have

(01:20:30):
Crampis visit me on Christmas Eve. Santa could always leave
some coal in your stocking, I joke, or some diet coke.
Ariel tightens her jaw and slaps my arm again. Shut up, ow, easy, princess,
I laugh. Madeleine hits the brakes. When we're stopped, Ariel
and I scoot over and let Harmony come in. When

(01:20:52):
she closes the door, Madelene shifts gears, hits the gas,
and backs up. What are you doing, Madeline, I ask,
gotta have momentum to get through those doors, she calls back,
when Madeleine shifts gears and floors at Harmony's looking wide
eyed when she sees who's behind the wheel. Wait a minute,
there's a kid driving pull over. Ariel really growls now

(01:21:16):
and points at her. You just shut up. My little
friend up there can drive very well. For your information,
Madeline raises her finger, and for the record, we're all
teenagers here. She lowers her finger. Okay, maybe not little Stewart.
Suddenly we crash right through the main doors and are
out in the parking lot. Harmony yells up at Madeline,

(01:21:38):
you do realize you're paying for all the damage you
just Horton quickly says, we didn't have to pick you up,
you know, especially considering how you just left us behind
and everything. I mean, if you want to get out,
Harmony shuts up fast, but it don't last. Wait a minute,
we're not leaving. The mall exit is over there. I

(01:22:00):
know that Madeleine says, we're heading down below to the
parking garage to find Chunker. We ain't leaving here without him.
She glances back at us. We ain't gonna get that
much further anyway. Wasn't much gas in the tank when
I started this thing. Harmony leans forward. How about you
go get some gas? You squirt told you we ain't

(01:22:21):
leaving our friend behind. Then she jams on the brakes.
When we stop, she looks back at Harmony. You know what,
how about you getting up here and driving? Lady mouse,
what are you doing? Ariel chokes out. Let's just go
fill the gas tank. Then we can come back here
and look for Chunker. At least we can get out
of here on a full tank. And that's what Harmony's

(01:22:43):
gonna do. Madeleine says, I'm gonna go back in the
mall and find Chunker. I'm about to tell her how
crazy she is, remembering the crazy stunt she tried to
pull on Halloween night. I'll come with you, Madeline, She
points right at me. Nope, you gotta be a man
and protect Ariel. Ariel shakes her head slowly. Madeleine, I'll

(01:23:05):
be okay, you guys, I promise, just go, Madeleine insists.
When Harmony jumps behind the wheel, she pulls the door
shut and floors it. The rest of us are looking
back is Madeleine heads back to the mall. The next
thing we know, Stuart's coming in between us. He ain't
laughing and having fun so much. Now. I think this

(01:23:26):
is the first time Ariel and I have ever seen
how worried the little guy looks. Perspective, Madeline donnerly. I
make it back to the mall and start walking into
the parking garage underneath. There's cars parked under here. Then
I have a thought and look in a driver's side
mirror and see Mary Worth looking back at me. Can

(01:23:48):
you tell me where my friend is? I whisper, certainly,
Mary answers. The mirror changes. Turns out I ain't far
from Chunker. That giant vampire lady's got him dashed away
in the security station down here, Mary's face reappears. Be careful, Madeline,
the one who has taken your friend is not far

(01:24:09):
from you. And before I know it, that giant vampire
lady is right on me. I hate when vampires can
suddenly appear right behind you without warning. No, I shriek
when she's picking me up. You are mine, the vampire
lady echoes. I squirm and struggle and fight and thrash

(01:24:30):
for all I'm worth. Problem is, this thing is way
too strong, and I'm just a little mousey. Now the
vampire Lady turns me around to look me in the face.
M Hi, I squeak. You're not gonna eat me, are you.
The vampire lady pulls me to her and hugs me,

(01:24:53):
baby baby. She thinks I'm her. Oh boy, now she's
patting my back. Wait a minute, now's my chance. I
quickly make like a little mouseie and start scurrying over
the vampire Lady's shoulder. She starts roaring as I drop
right behind her. I run right to a car and
look in the driver's mirror. Maryworth, Meryworth, Mary Work. When

(01:25:18):
the vampire Lady has me again, she's given me odd
looks when she sees light coming out of that car
mirror and into me. Soon she's looking right into the
face of Mary Worth, who easily passes right through her hands.
The vampire Lady's real mad. Now she tries warping behind Mary,
but my ghostly friend only has to float away from her.

(01:25:40):
She utters one of her spells to cause the door
to the security station to open up. Chunker suddenly steps out.
Oh thank you. WHOA yeah, I guess Chunkers still ain't
used to seeing Mary. Mary glances his way and utters
another spell. A jacket appears on him. You had best
leave here. Chunker looks at the vampire lady. She'll just

(01:26:04):
appear and grab me again. Mary faces the vampire lady again. Ah, yes,
you are quite right. Mary utters one more spell. When
she finishes, the vampire lady suddenly stops dead in her tracks.
Her eyes are up in her head now. Then she
falls on to her side. What did you do, Mary,

(01:26:26):
I ask her. Mary and I can talk to each
other through thinking while she's possessing me. I simply uttered
a spell to render her unconscious, at least in her
own mind. Mary thinks back to me, she will sleep
for a time. We can't just leave her here. I
quickly point out, I am aware of this madeline. This

(01:26:50):
creation is far too powerful to be contained in a
prison creation. Now I'm confused. Mary tells me that this
scary vampire lady is really a monster right out of Frankenstein.
I end up seeing how this monster came to be
and what all she did? Then I remember the original

(01:27:11):
story myself. Mary, can you put her at one of
the polls, I ask, Maybe, if she's there, she can't
harm anybody. Mary raises her hands and utters one more spell.
This one takes longer this time. When she's finished, the
vampire Monster's gone. I'm hoping she'll want to stay where

(01:27:34):
you sent her. I say, perhaps with no one around
at the south Pole, she will be at peace. Mary
tells me. Now, Mary turns to Chunker, thank you, He stammers,
do not fear Brian. Chunk look over my shoulder. Chunker

(01:27:55):
looks past Mary and sees the others are coming back,
floats us away and is soon out of sight. We
use another driver's side mirror to make a quick switch
so I can come back. Now I gotta act like
I've been trying to find him, Chunker, I call out, Maddie.
We both run to each other and hug. Just then

(01:28:17):
Harmony mirror pulls up and sees us. The others get
out and come to us too. Then I feel my
leg getting squeezed and see little Stewart. Ariel looks at me.
Now he really did good with that little goober mouse.
Maybe he's better off letting you babysit him. Then Harmony
honks the horn. We all turn to her. Don't even

(01:28:38):
think you're off the hook, she snabs. Do you realize
how much damage has been done to my maul and
to this vehicle? What damage? Chunker asks? What damage? Harmony shrieks.
Then she points to the main entrance. How about the
what we all look and see the aime mal entrance

(01:29:01):
is fully restored, even the suv is fixed. Harmony shakes
her head. No, no, no, She points at me. You
drove this vehicle right through it. I shrug. Don't look
like it to me, But you drove this vehicle right
through it. Harmony repeats, I was sitting in the back seat.

(01:29:22):
Don't know what to tell you, lady. Then Ariel tightens
her fists and we are done. When it comes to
your mall, Harmony points right at her. Oh no, you
are not. You are all going right back inside and
finishing with the Christmas decorations. Otherwise I'll call the police
right now. Ariel tightens her jaw now and waves her off.

(01:29:45):
Go ahead and call them. Then, after the night we've had,
I'd say we're done here. Carter stands with her. Also,
keep in mind that we saved you earlier, so I'd
say that makes us even. Harmony comes right out of
vehicle and tries to get us to go back inside
them all again again. Ariel speaks up, we're only going

(01:30:06):
back in to get our phones. After that, we're leaving.
When Harmony tries and posing her will on us again,
we all come together. Now she's realizing the numbers game.
Ariel points to her, give us our phones back now,
or we'll break into your desk and take them back ourselves.
Then I'm feeling something in my back pocket. WHOA, Mary

(01:30:30):
got me my phone back? How did you get that?
Harmony demands I locked all your phones up. Seeing we
all got our phones back, I quickly use mine to
call home. Mom picks up. We talk for a bit
before we hang up. Mom's coming to get us. Harmony
tries one more time and pulls out her phone. I

(01:30:52):
mean it, I'll call the police. Ariel again stands up
to her, So call them. You heard Mouse, We're going home.
Like Carter said, we saved your life. We're even now
leave us alone. And then I finally see Stuart has
a fountain soda in his hands, probably got one at

(01:31:13):
the gas station. He walks away from me and heaves
it at Harmony. It explodes on her head, making her shriek.
Then she looks right at him. You wicked little brat,
she yells, and for the first time ever far as
I know, Ariel actually praises her little cousin. Good job, you,

(01:31:35):
little goober. Stuart looks up at her and laughs his
mischievous laugh. Then Harmony points right at us. You are
all barred from my mall. Don't you ever return here again?
Fine by me, Horton replies, won't be much here after
the holidays are over anyways. Harmony growls and marches right

(01:31:56):
back inside the mall. It ain't much longer before or
Mom comes and picks us up and takes everybody home.
Epilogue When Mom pulls up to the gated mirror community,
little Stewart don't want to go. At first, he's fighting Ariel,
but I quickly tell him we'll see each other again.

(01:32:20):
That makes the little guy happy enough to where he
finally goes with Ariel. Thanks Mouse, see you Monday, Ariel
tells me, and thanks missus Donnery, You're quite welcome, Ariel.
Mom replies later, Ariel, I tell her Mom finishes dropping
everybody off at their houses. Carter and me are the

(01:32:42):
last ones, since we live next door to each other.
Carter thanks Mom. After we say goodnight. He gets out
to head to his back porch. When Mom and I
get inside our own house, I yawn, Mom and I
say goodnight and head upstairs. It feels good to be
back in the mousehole again. I get changed for bed

(01:33:05):
and hop in. I pick up the mirror I keep
on my nightstand so I can talk with Mary Worth.
Did you have something to do with fixing up the mall?
I ask her. Let's just say that miserly woman cannot
hold anything against you. Mary tells me. She shows me

(01:33:27):
the inside of the mall, which is completely decorated the
way Harmony wanted it. I smile, Now, thanks for getting
us out of trouble again. What's important is that you
remain out of trouble. I doubt that. With our track record,

(01:33:47):
trouble just seems to find us. I say, so it seems.
Then I have a thought. Can you show me if
that vampire lady's still at the south pole? Certainly Mary's
face disappears, and the giant vampire lady reveals herself. She

(01:34:09):
seems to be okay with being where Mary's center. I
guess being a vampire or monster or whatever she is,
she won't freeze. She just looks like she's lost something.
When I'm done looking, Mary's face reappears in the mirror.
Mary and I talk for a little bit longer before

(01:34:32):
I feel I can't stay awake anymore. This is a
good place for me to say goodbye. Don't worry, We'll
definitely be back with some more adventures and soon. Doorway

(01:34:53):
to Horror by Rob Fields perspective, Madeline, don you just
know it's Friday for a couple reasons. The first is
because you know as soon as you're done with school
it's the weekend. The second is a couple hands slamming
on the table I'm sitting at in the cafeteria at lunchtime. Yes,

(01:35:16):
I ask Ariel, mirn I hate you mouse, Ariel growls,
Then she points right at me. I will never give up.
I will see you scared out of your wits one
of these days. I'm laughing inside now. If only Ariel
knew how many opportunities she could have had to see
me get scared, well, I sure ain't gonna tell her. Still,

(01:35:40):
I can't really say she'll never get me. I'm sure
one of these days will be her lucky day. Ariel
puts her hands on the table again, softer. Now, slumber
party at my house tonight, same time as last Friday.
You still bringing those Christmas movies over? You said you
just got unless you want me to bring some other
stuff uf I reply, no, bring those. Also. Mona said

(01:36:04):
she's got a movie for us to see tonight. She
sits down. Now, you ever heard of a movie called
Doorway to Horror? Can't say I have. Then I pull
out my phone and do some searching. I ain't even
seeing it on IMDb or any of the other sites. Now,
I did find an old VHS horror game called Doorways

(01:36:25):
to Horror, not exactly the same thing, I don't think.
Did Mona tell you where she got it? Nuh uh.
Ariel looks uneasy. Once in a while, Mona will find
something she's not you or Bailey, though you two know
your movies. Speaking of Bailey, that's one of the movies
we're seeing tonight. It's a Christmas horror story. Ariel raises

(01:36:49):
her finger. Oh hey, gatecode changed yesterday. She tells it
to me. You got it mouse yep. Then Ariel narrows
her eyes on me. You haven't seen Carter around here?

Speaker 4 (01:37:02):
Have you?

Speaker 1 (01:37:03):
I shake my head. Don't tell me he's posting videos
of you on Facebook again? She nods quickly. He always
seems to be there whenever I got Stewart with me.
She points right at me. You're not covering for him?
Are you you think I forgot you? Two are best buds.
I promise you I ain't covering for him. Ariel holds

(01:37:25):
out her little finger. You willing to pinky promise on it?
I make the pinky promise with her. I really don't
know where he is. Maybe he's with the other guys.
Ariel shakes her head. Nope, look I look to where
she's pointing. Bill Chapman, Richie Horton, and Brian Chunk are
coming into the cafeteria. No Carter, though. A moment later,

(01:37:48):
the guys come over to us. Ariel confronts him, where's Carter?
I know you guys know where he is. What makes
you think we'd even tell you if we did know?
Chapman replies, he's the tough guy with the burr haircut.
I'm not above administering decisive methods of torture on you, guys.
Ariel replies, all I have to do is divide and conquer.

(01:38:13):
Chunker points at her and tells the other two, Ah,
this I gotta see. He's the husky guy wearing the
cargo shorts with an open Hawaiian shirt over a black
T shirt. Don't temp fate you, guys, Horton warns him.
He's the skinny guy wearing the glasses with circular lenses.
I keep telling you how evil Ariel Mirron is. One

(01:38:35):
of these days you're going to wish you'd have listened
to me. Ariel smirks, I'd be listening to Horton if
I were you guys, She points to him. But you're
not off the hook. Horton grins and looks her in
the eyes. Why don't you just look over your left shoulder.
Ariel quickly turns and sees my buddy and next door neighbor,

(01:38:55):
Carter Cross. The next thing we know, Ariel's running off
and check Carter down. Yesterday he recorded a video of
Ariel and Stuart at Denoyer's grill. He slipped away and
started running around and wreaking havoc. I know this because
she texted me asking for help nine to one to
one at Denoyer's Stuart. Fortunately for Ariel, I happened to

(01:39:19):
be in the area on my mongoose and stopped in.
I was able to get Stuart to calm down and
behave I don't know what it is about that little guy,
but he likes me enough to where he always minds me.
I don't even have to yell at him anyway. Carter
was already there before me and recording Ariel losing her mind.
He put the video on Facebook and got everybody laughing

(01:39:42):
at her. When the guys get their lunches, they come
and sit with me. The four of us have some
good conversation before we got to go back to class.
That night, I'm walking to Ariel's house. When I reached
a mere engated community, I punch in the new code

(01:40:02):
and go in. Never seems to fail. Every time I
walk to Ariel's on Friday nights, there's always a few
mirans who walk past me and give me looks like
I don't belong inside. I gotta walk a few blocks
before I get to Capital Court. When I reach the
double doors, one of them opens Ariel appears and says, wow,

(01:40:23):
you're actually here before Mona and Bailey mouse. Then she
steps aside and lets me come in. It's about twenty
minutes later when Mona abels and Bailey downs finally show up. Sorry, Ariel,
Mona says, I had to help mom with something at home.
You're good, Ariel replies, After the week I've had, I

(01:40:43):
just want to hang with my girls and let loose.
At least your aunt never drops Stuart off here while
we're having our slumber parties. Bailey says, Ariel points right
at her. You do not even get to say that.
Mona and Bailey laugh a little. Ariel gives me that
look that asks why she puts up with them. I
give her a smirk that says not to worry about it.

(01:41:05):
After some socializing, Ariel gets the pizza's order. From there,
we start spinning some movies. First up is a Christmas
horror story. As soon as the name of the town
is mentioned, Bailey gives us all weird looks. First Ginger snaps,
and now this one. She mutters, what other movies have
the town named the same as mine? Orphan Black? I reply,

(01:41:28):
it's a TV series. Bailey points right at Ariel. Why
do I get the feeling you had something to do
with this? Was this because Mona and I weren't spending
the night at the mall with you last weekend? Then
Ariel grabs a pillow and throws it at Bailey. She
catches it and laughs. Ariel points at her, not funny.
Then she smirks, Okay, Bailey, you can go out and

(01:41:51):
get our pizzas. Then Bailey gets off the couch. Fine.
Bailey downs after I bring our pizzas in. Mouse resumes
the blu ray of a Christmas horror story. I have
the feeling Ariel put Mouse up to bringing this movie
over in spite of the fact that it takes place

(01:42:14):
in a town with the same name as mine. It
is a really good horror anthology, though I really love
the twist and the Santa versus Crampis story. We also
watched the original Black Christmas and Silent Night Deadly Night.
We don't get to lay down for the night. After
three movies, Mona announces that she's got a movie she
wants us to see, which is called Doorway to Horror.

(01:42:38):
When Ariel asks what it's about, Mona doesn't know, believe
it or not. I found it just sitting on a
table in study hall. It's a burned blu ray, but
it plays. I put it in my laptop and checked it.
The opening scene looks really creepy, so I thought i'd
bring it to the sleepover to share. Ariel turns to Mouse.

(01:43:00):
I'm guessing you didn't turn up anything else on it.
Mouse shrugs. I tried all kinds of searches when I
got home. Nothing. So we sit back and let Mona
spin her find. There are all kinds of Christmas things
in the movie, but the town looks like something out
of a post apocalyptic story. We're eating more pizza and

(01:43:21):
drinking some more of the cokes that Mona and I
snuck over in our backpacks. You gotta love that missus
Miran won't let her own family drink any sugary sodas
it's diet or nothing. The four of us are talking
about the movie once it's over. There really wasn't any
dialogue or anything. Maybe David Lynch lost the one copy

(01:43:42):
of a new movie he was working on. I half joke.
We've seen some pretty weird stuff since we started doing
our sleepovers years ago. Ariel says, you've brought over stuff
like this before. Mouse, I ain't denying it, She agrees.
Doorway to Horror. Still don't ring a bell with me, though.
Guess you made a rare find. Mona, Yeah, kudos, I

(01:44:05):
tell my best friend. We talk for a little while
longer before we're finally yawning our heads off. The nice
thing about this big living room is there are enough
couches for all of us to sleep on. Ariel sleeps
on one too. Even though our bedroom is the first
one on entering the hallway, it don't take us all
long to fall asleep. Perspective, Mona abels I'm the first

(01:44:30):
one to wake up. I yawn and feel how parched
I am. Knowing we still got cans of coke left.
I grab one and feel grateful. I stop drinking and
notice something weird. Did I just take a power nap
or something? Because it still seems like it's dark out.
I look at my smart watch and see it's blank

(01:44:52):
across the screen. I find my smartphone underneath my pillow
and see the same blanks where the date and time
should be. Then I see Mouse's phone and look at hers.
She's got the same blanks too. Seriously, what gives I
need to see what time it is. As soon as
I come out of my comforter, I'm quickly wrapping my

(01:45:14):
arms around myself and start shivering. Boy, it's really cold
in Ariel's mansion, so cold I can see my own
breath like when I'm outside. I see Ariel's bedroom door
open and peek inside. My eyes are wide when I
see there's no windows. I mean, the cold's just blowing
right into the house. I walk down the hall to

(01:45:36):
the next bedroom and see there ain't no windows there either.
Then I hear movement and return to the living room.
Ariel's getting out from underneath her comforter. Why is it
so cold in here? Then Ariel sees me, Mona, why
aren't there any windows? Ariel? I ask, She gives me
a weird look. What no, I'll show you. I grab

(01:46:00):
Ariel's hand and bring her to her own room. You
have got to be kidding me, Ariel gasps. We move
to a few other rooms and see no windows. We
go into the bathroom. Normally there's scented pillar candles on
either side of the mirror. On the sink, looks like
there's only one that remains of the said candles. When
we come back out, we see Bailey and Mouse are up. Now, boy,

(01:46:23):
it sure got cold fast. Bailey states, what I wouldn't
give for some hot coffee right now? Mouse mutters. Then
Mouse turns and walks to the front window. She turns
to us fast. There's only a big window shade here,
as in no big window here. What's going on? Ariel?

(01:46:43):
Ariel goes to Mouse and sees for herself. What on
earth is going on here? Beats me. Mouse answers, and
what time is it? Ariel snaps, That's what I've been
trying to find out. I say, our phones and watches
ain't working. Ariel quickly goes to the closet and starts
tossing us our jackets. We take them and head into

(01:47:05):
separate rooms to get changed. We're all dressed to go
outside now. But when we do go outside, what the
Bailey gasps? Everything looks like what we saw in your
movie Mona. Ariel states, ah, man, you gotta be kidding me.
Mouse groans not again. We all look right at Mouse. Now,

(01:47:29):
do you know something about this? Ariel asks her. If
we are where I think we are, we're gonna be
in terrible danger. Fast. Mouse quickly answers. Just spit it out. Mouse,
I snap, we ain't in Strickfield. No more perspective, ariel mirn,

(01:47:52):
I give mouse wide eyes. Excuse me. I was really
hoping to never see this place ever again. Mouse groans.
Then she tells us we need to go back inside.
We go back inside the house. Then I get an
idea and turn on my smartphone. Flash, what in the

(01:48:13):
are you serious? Mona ads, no, we're not seeing things.
My house is trashed, and I mean trashed. Then I
point right at Mouse. Okay, start talking. Mouse springs up.
The night in October when she went to the Horror
Thon at the Strickfield Centennial Theater with her twin cousin

(01:48:34):
Aileen Carter Cross and Bella Tabon. They had watched a
screening of a film called The Portal. It was like
everything had changed. Places were trashed, much like my house.
Windows were mostly missing in the homes. It was night
all the time. But what was worse, everybody was a vampire.

(01:48:58):
The four of them barely escaped this place and made
it back to Strickfield. Mouse says, we're in an alternate
universe where it's all vampires. We're all in terrible danger.
She finishes any of those vampires sees us, they'll be
after us here. It's like Marvel zombies. After everybody suddenly

(01:49:20):
became vampires, they drank up all the living people they
could get their hands on. Now, like those zombies, after
a few days, they're out of food. Bailey quickly waves
her hands in front of her. Okay, okay, assuming Mouse
isn't making this stuff up here, how did we get here?
It had to have been that movie Mona brought over

(01:49:42):
Doorway to Horror. Mouse guesses. Mona points right at Mouse.
Oh no, you don't. You ain't blaming me for this,
you wicked little rodent. I raise my hand in front
of me. No, I think Mouse is right, Mona. Everything
we saw in that disc you brought over was much
like where we are. We are now. Nobody's blaming you
about this place, but you did bring that disc over.

(01:50:05):
Let's find the disc. Then, Mouse says, we can watch
it again and get back home. We had to rewatch
the portal to get back home. Two months ago. We
searched through everything. All the movies Mouse brought over are
still here, but the disc Mona brought is gone. Where
is it Mona shrieks, oh, wait, here it is. She

(01:50:27):
raises it up for us to see. I point to Mona,
keep hold of that. Now, we just have to find
something to watch it on. That'll be easier said than done.
Mouse says, powers a little hard to come by here.
They shattered every window, every mirror. I don't know how
they're keeping at night here, but they're doing it. Then

(01:50:49):
I see Bailey moved toward the kitchen. I follow her
and see her opening one of the two refrigerators. She
turns to me. Whatever food we've got, we're going to
have to ration it until we can find more. Without power,
the refrigerators aren't working. Also, we can't eat a single
bite of the food in either of them. I point
to the cupboards. We search them in the pantry and

(01:51:12):
find a few things we can take with us. We
head back out to the others. There's not much here,
maybe for a day two tops. I divide the food
evenly between all of us, including the cokes and what
was left of the pizzas. What are we doing? Mona asked,
you heard Mouse. I tell her we've got to find

(01:51:34):
something to play this disc to get back home. We're
going to have to leave and find some place. In fact,
I quickly unplug the Blu ray player and stuff it
in my backpack. We make a quick plan and agree
we need to go downtown. We stay together, everybody I
stress before we leave. Mouse hands everybody crosses she made.

(01:51:55):
Whatever you do, don't lose them. Mouse just gave me
an eye idea. We probably should stop by a church,
Bailey suggests. Mouse points to her good thinking. We all
wish each other good luck before we head out through
the front doors. Perspective, Madeline Donner, so much for us

(01:52:17):
going to churches. We hit a few in downtown village
and saw they were wrecked. The windows were all broken out,
pews were destroyed or overturned. Even the altars were busted up.
What was even worse were the skeletons with their religious
garbs still on. Only thing I can figure is whatever
happened to turn people into vampires didn't hit everybody. The

(01:52:41):
ones that weren't turned became food for the vamps. At least,
our trips to the two churches weren't total washouts. We
managed to find some holy wafers and even some holy
water itself. Sure would be nice if we had squirt
guns like in The Lost Boys, but all we found
were a few voss and bottles. We leave the second

(01:53:03):
church and sneak over to a few markets. We don't
find much in terms of food, just dry goods and
a few cans of soup. The refrigerators and freezers probably
haven't been working in a very long time, so the
food in him won't be any good. We duck in
back of Wylder's Market to work out another plan. Everybody

(01:53:25):
has ideas to bring to the table. Then Ariel suggests
heading out to Strickfield Town Center mall. Mona turns to her.
You do realize how far the mall is from downtown
village right and on foot? Who said anything about walking?
Ariel replies. Then she looks my way. We find a
car and get Mouse here to drive it. Mona gives

(01:53:48):
her a weird look. You have got to be kidding me,
Ariel shakes her head. Nope, you should have seen her
drive at the mall last weekend. Bailey size, Okay, let's
do it. There are plenty of cars outside. I would
imagine we can find one that works. Ariel slaps my arm.
You up for it, Mouse, I shrug, I guess I

(01:54:12):
ain't got a choice. Mona groans, Yeah, we're gonna die.
Bailey scoffs at Mona. Oh, have a little faith, will you?
Mona groans again. Then she notices something. You know, we've
seen a lot of Christmas stuff. You think all this
went down during the holidays. She looks sad. Now put

(01:54:36):
a time for something like a vampire apocalypse to happen.
The rest of us are sad for a moment. Then
we head out back to the parking lot, where there's
a nice selection of cars to choose from. We can't
be picky, you guys, Bailey says, just find one that's
got keys. I raise my finger. Just one thing. Once

(01:54:56):
we get a car started, if there's any vamps nearby,
they're gonna hear it. We gotta be ready for that.
And you know this how, Mona sneers. I don't want
to tell her how I know without giving away my
connection to Mary Worth and cousin Aleen's bff Bells, I
just know. Okay, Yeah, we're gonna die, Mona repeats. We

(01:55:20):
split up and look for cars. After some minutes, Mona
gets our attention. We come over to her. Keys are
in the ignition doors, are unlocked. When Ariel starts looking
it over, Bailey groans, come on, it's not going to
be a fancy limo you're used to being in. Ariel gasps, really, Bailey,
I'm checking the car to make sure it looks good,

(01:55:41):
you know, for flat tires and stuff. Okay, sorry, Bailey mutters,
looks good. Ariel says, Okay, Mouse, get behind the wheel
and hope this thing starts. Ah man, I squeak when
I open the door and get in. Now I feel
Ariel's hand on my shoulder. Are you actually scared? Mouse?

(01:56:04):
I glance over my shoulder. Ah please, which is a lie?
This little mousey is definitely scared. I just don't want
Ariels see in it on me. I turn the key
and perspective. Bailey downs the engine. Cranks and cranks and cranks.

(01:56:25):
You guys, look, Oh god, Mona shrieks. Vamps start the car. Mouse,
I'm trying. Mouse cries. The vampires are leaping from car
to car or they're running. It's when they're almost to
us that the car finally starts. Go mouse, go, Ariel yells.

(01:56:45):
Mouse has to study the controls. Okay, Hope and I
can do this. Never drove a stick. Now, I put
a hand on her shoulder. You're a gamer. Mouse. You're
not here with us right now. You're in Roth's rings,
playing a racing game with that. Okay, let's hope I
got this. Mouse stammers, just as the vamps are shattering

(01:57:07):
the windows. Mouse puts the car in gear and stutters
a little. Then she takes a deep breath and shifts again.
Finally we're moving away. We pull out of the parking
lot and out onto main street. Mouse hits the clutch
and shifts again. Looks like she's got the hang of
it now. There ain't no mirrors on this car. Mona says,

(01:57:29):
riding shotgun, you wouldn't see any vamps in the mirrors
even if we did have them. Mouse tells her no reflections.
The little Squeaker's right. Ariel says, looking out the back,
we got bats coming fast. I hate you. Mouse. Yeah yeah,
Mouse mutters, we good on gas. Mona asks Mouse, don't

(01:57:50):
know gas. Gage just shot from half a tank all
the way down to the big E fast. Hopefully we'll
be able to get to the mall. Then I'm having
second thoughts. I didn't think this through. Maybe the mall's
ravaged too. Everything's probably ravaged Bailey, Ariel says, but we
have to try and look for someplace that has power.

(01:58:10):
In fact, I think I have an idea. Ariel explains
that the hardware store in the mall should have gasoline
power generators. All we have to do is find one.
Then we would siphon the gas out of the cars
at the mall and power it from there. We find
a TV, hook up the Blu Ray player, and then
we're back home. That'll be easier said than done. I say,

(01:58:33):
but what else is there? Mouse keeps the car going.
Ariel and I are still seeing the bats flapping after us.
We have to get them off our backs. If we're
gonna make your plan work, Ariel, Mouse has something. I
got an idea for that. When we get to the mall,
I'll drive around to the under mall parking garage. I
won't pull inside, though, I'll drop you three off there,

(01:58:56):
and then hopefully the vamps will keep following me. How
will you make make it back? I ask, We can't
go home without you. Let me worry about that. You
guys work on getting Ariel's plan to work. I put
my hand on Mouse's shoulder. You just make sure you
get back to us and try not to get vamped
or eaten. Mona adds, hey, I want to go back

(01:59:19):
home too. We all got something to return to, right,
trust me, I'll make it back, Mouse promises. Ariel takes
a deep breath, then she just says it. Carter Cross
asked me out last weekend when we were at the mall.
I never did give him an answer. I turned to
her seriously. Mona turns around, no way, Then she bumps

(01:59:44):
Mouse's shoulder. Did you know you and Carter are bfs?
I know you tell each other everything. Mouse shakes her head.
Uh nope, but it's no secret in our group that
Carter and Ariel like each other. I hate you, MoU,
Ariel growls. Mouse shrugs. I'm just saying. Ariel bows her head,

(02:00:06):
looking sad. I'm just wishing I would have told him
i'd go out with him. She raises her head. That's
why I want to make it and get back home.
I'm sure you girls have something to return to too,
my family, I quickly say. Denoyer's grill. Mona gushes, I
don't want to be stuck here in some vampire universe,

(02:00:26):
and no Denoyer's grill or no coffee, Mouse adds, I
think it's safe to say we all loved our lives
in Strickfield before this happened. I say, then a thought.
Did you make it out this way when you were
here last Mouse? Nope, we got as far as Strickfield Academy.
Wish I could tell you more than what I already know. Okay,

(02:00:49):
we're here. Turn it in. Mouse turns us into a
mall entrance and floors it, making sure she shifts when
she needs to. Wow, I can't believe little Mouse learned
to dry playing all those racing video games. Honestly, I
thought she was an odd ball when Ariel invited her
to join our group. Mona and I didn't like her
for the longest time. However, Mouse grows on you after

(02:01:12):
a while. I'm just glad she's with us right now.
She's the reason we're all still alive. Get ready, Mouse
tells us. Mouse drifts us again as we round the
mall and head for the under mall parking garage. Before
we get there, she hits the brakes and swerves to
a stop. Go, Mouse belts out. Ariel, Mona and I

(02:01:33):
quickly get out of the car after we slam the
doors shut. Ariel belts back at Mouse. Go Mouse floors it.
As we're in the garage and hiding out of sight,
the bats are flying after mouse. I just hope they
don't see the three of us ain't in the car
with her. Even more so, I hope they don't get
mouse perspective. Mona abels the three of us wait for

(02:01:59):
a little bit. We ain't seeing no vamps in the sky.
I think we're good. They're all after mouse. We'd better
get a move on. Bailey says, we may be unborrowed.
Time As it is, we walk in the under mall
parking garage and come to the mall entrance. There. The
doors are ripped right off, so no worries on whether

(02:02:20):
that entrance was locked or not. We walk the corridor
and go up the steps. Soon we're in the food court,
coming out at the double doors besides Scotto's Pizza. Even
though it's dark all through the mall, we can see
enough to see there are Christmas decorations all over the place.
There's tinsel hanging off the ceilings, fully decorated Christmas trees

(02:02:41):
spread out, animatronic scenes though they're not working with no
electricity and there's the Santa's house not too far from
where we are. S Almo's Hardware is down by J. C. Penny.
Ariel says, oh, I sure, hope, so I groan, what
do you mean? Aerial demands. Mouse said, We're in a

(02:03:01):
parallel universe, right, how do we know things are gonna
be the same here as back home? I state, she's
got a point, Bailey tells Ariel, but we still need
to check mona. Ariel takes a deep breath. Okay, I'm
going to head out and look around. I'll signal when
the coast is clear. We should just go out together.

(02:03:23):
Bailey counters, you know, safety in numbers. Okay, fine, Ariel replies,
come on. We start walking away from Scotto's Pizza. We
can see the malls wrecked, but it doesn't look all
that bad. I mean, the gates look messed up and
some of the store signs are damaged. I don't know,
it's like someone's gone to lengths to try to make

(02:03:45):
this mall look nice again. Then I have a gut
feeling you guys, I don't think we're alone in here.
I tell them, then explain why I don't look for
this to be Ariel agrees, look out. Bailey suddenly shrieks.
We see someone flying right at us, and quickly get

(02:04:07):
out of the way. How dare you come into my mall?
A voice roars behind us. Then we make the mistake
of stopping and looking behind us. It's Harmony, Miron, my cousin.
Ariel gasps, she owns this mall, your cousin. I ask
the one who had you hanging decorations here last weekend.

(02:04:29):
Ariel nods quickly, yeah, except she wasn't all vamped out
like this Harmony is. Then Harmony sniffs our way. Her
human face suddenly shifts into one that looks like the Joker,
only with lots and lots of sharp teeth food. I'm
ready to turn and run, but Ariel quickly stops me.

(02:04:52):
We can't outrun her. Use your head or better yet,
Ariel pulls out her cross that mousemade just as Harmony
flying our way. She shrieks and suddenly drops to the floor.
Bailey and I join her and keep Harmony down start
walking back. Ariel tells us. We do what Ariel says
and start moving in the direction of J. C. Penny.

(02:05:14):
Harmony gets back to her feet, but advances very slowly.
You really think you're going to be safe from me?
Harmony hisses. The last mortals who came into my mall
made a very tasty candlelit dinner. She points a very
long finger at us. I think I'll have you three

(02:05:37):
by candlelight as well. She laughs, a horrible laughter, especially
since today is Christmas. Yeah, we don't plan on staying.
Bailey tells her, I don't care about your plans. Harmony yells,
I only care about my home. Here at my mall,
other vampires and mortals tried to take what was mine,

(02:06:00):
but I showed them the error of their ways. Nobody
takes what's mine. Nobody. Oh, we're not here to take
anything from you, Ariel says, we actually just want to
visit your beautiful mall, dear cousin, and I must say
you've done very well with the Christmas decorations. Harmony growls

(02:06:21):
a dangerous growl. Then she howls at us. The next
thing we know, she's suddenly gone health. She's got me.
Oh no, she warped right behind Bailey. Harmony suddenly pulls
Bailey to her and leaps back with her. Drop those crosses,
or I promise you I'll drink this one up for

(02:06:41):
some early Christmas Day punch right here. And now, don't
do it. Bailey yells, she'll drink me anyway. Ariel holds
out her hand. Just stop, Harmony. We're not here to
take anything from your mall. We just want to go home,
but we need a few things in your mall to
help us get there. Then Ariel moves her arm around

(02:07:05):
like I said, you've really made this place look great.
I mean, your Christmas decorations are so lovely. She raises
her finger. But what if we could really brighten up
the place? I mean, what if we could light up
the Christmas trees and stuff. Harmony growls again. Then she
grabs Bailey's head and cocks it to expose her neck.

(02:07:29):
She raises her head ready to lower it to bite her.
Stop what do you want, Harmony, Ariel cries, I already
have you. You are mortals. You are food. Harmony yells,
and today you are Christmas dinner. Ariel puts her cross down. Okay, look,

(02:07:52):
see no cross. Now I'm going to come to you.
I'll switch places with Bailey. Okay, then you can have me. Suddenly,
Harmony appears right behind Ariel and snatches her up. Weren't
you listening, mortal? I already have you. She points right
at me, as for your pathetic crosses. My cross suddenly

(02:08:15):
catches fire. I cry out and drop it. The other
crosses are on fire too. Harmony moves her mouth to
Ariel's ear, and exactly how will you light up my
Christmas display when there's no power? She seems to calm
down a little bit. I would love to see Christmas
lights one more time. There hasn't been a Christmas since

(02:08:40):
the plague came years ago. I'm so very hungry, but
I would forsake my hunger just to see my mal
brightly lit for Christmas one more time. We can talk, then,
Ariel asks Harmony lets her go, then morphs her face
back to normal. I would hear you. She points to

(02:09:03):
a table in the food court. Sit. We reluctantly move
to the table and sit with Harmony. As Ariel's digging
into her backpack, Harmony quickly snatches her wrist. Do not
try and trick me, and especially do not play on
my generosity. Ariel pulls out a coke. I just needed

(02:09:24):
something to drink. Harmony nods. After Ariel has her drink
She explains to Harmony that we can't get the power
back on completely. However, Ifslmo's Hardware still has a gas
power generator, we can siphon gas from the cars. Then
we can connect extension cords to the Christmas trees and

(02:09:45):
the animatronics to get them working at least for a
little while. Harmony considers Ariel, then she says, my parents
were too greedy to install backup generators when they build
this mall. I wish I'd have thought to correct that
mistake in life. Okay, I'll take you to Solmo's Hardware.

(02:10:09):
One wrong move and it's dinner time. I won't worry
about Christmas Day candlelight. We leave the food court and
walk to the hardware store. Using our smartphone lights. We
look around until we find what we're looking for perspective
aerial mirror. We find only four gas power generators still

(02:10:32):
in the box. We're probably not going to be able
to light up your whole mall, Harmony, I just want
the Christmas lights, the big tree, and the displays around
the food court powered Harmony replies, I point to Mona,
grab all the extension cords. I point to Bailey gas
cans and a rubber hose to siphon the fuel. Harmony

(02:10:53):
and I start ripping open the boxes and getting the
generators ready. When my girls return, we talk. I piled
up all the extension chords at the store's entrance. Mona says.
I also piled up as many gas cans as I
could find, which wasn't much. Bailey adds, then she glares
at me. I suppose Mona and I get to siphon

(02:11:15):
the gas. Now I get where Bailey's coming from. No,
I'll go out and do it. We don't have time
for this. Bailey quickly puts a hand on my shoulder. No,
you're right, I'm sorry. Go get the generators and the
extension chord set up. I'll go out and get the gas.
I ain't letting you go out there by yourself. Mona snaps,

(02:11:37):
you know what, let's all go get the gas. I suggest.
At least it'll be one thing we won't have to
do later. Harmony suddenly appears. Do not even think about escaping.
I am too resolved for things such as that. I
tell Harmony, we're just going down to the parking garage
to siphon gas from the cars there. Maybe you could

(02:11:58):
come with us. You can say were your slaves if
any other vampires show up. When she's still not sure,
I groan, Harmony, come on, where are we going to go?
Harmony accompanies us to the parking garage and watches us
fill the gas cans. Since she doesn't breathe, she can't
really help us. She can warp the cans back into

(02:12:20):
the mall and bring us more to fill, until we
filled every single container we were able to find. All
I have to say is that mouse better still be
making tracks. Yuck. I'll never get that taste of gasoline
out of my mouth. Eugh. We go back into the
mall and work to connect as many extension cords as
we can to the generators to show Harmony my plan

(02:12:43):
will work. We gas up a generator and plug some
stuff in. I fire it up. You should have seen
the bright smile on Harmony's face when she sees a
few Christmas trees and some lights and a few animatronic
displays come to life. Then the big tree and the
Santa House lights burst into life. Yes, Harmony breathes like

(02:13:06):
she's a little girl seeing her first Christmas all over again.
It takes us some more time, but we get everything
we're able to get hooked up connected when the generators
are all running, Harmony's very happy. At one point, she's
kneeling down in front of the very big Christmas tree
next to Santa's house. For the record, this tree is

(02:13:28):
not in our mall back home, unless our Harmony put
it in just after she banned us all from the
mall last weekend. It surprises me that this particular vampire
seems more interested in Christmas than in drinking our blood.
I mean, you should see how Harmony's eyes are glowing,
not literally glowing. I mean, I don't know. Christmas must

(02:13:51):
hold some special value in her undead heart somewhere. If
our Harmony holds Christmas in the same regard, she certainly
never showed it the way this one does.

Speaker 4 (02:14:04):
It's been so very long, she whispers. It feels like
I've waited a lifetime just to experience Christmas Day like
this again.

Speaker 1 (02:14:16):
She slowly turns to look at me. And many of
us died so long ago when we were suddenly turned
into vampires. Mona and Bailey slowly approach. Is everything okay?
Mona asks, we got all we could started up for you, Harmony,

(02:14:37):
Bailey ads sorry, we couldn't get it all working. We
just didn't have enough generators. Harmony stands up. Now she's
crying human tears. I heard the ones back home cried blood. Anyway,
I never thought vampires were even capable of crying. Of course,

(02:15:00):
I recall meeting my first real vampire last weekend. Harmony
puts gentle hands on both Mona and Bailey's shoulders. You
gave me enough, then I have a burning question.

Speaker 3 (02:15:15):
Do you.

Speaker 1 (02:15:17):
Who did this to you? Harmony's still crying softly. I
can't say for sure how it all began, but I
do know our esteemed mayor was heavily involved. Mayor Patrick
Gunter and a few of his converts tried to take
my mall, but I drove them out. Before Harmony can

(02:15:40):
finish her story, we hear fluttering noises coming. Harmony hisses
in the direction and looks at us. It's Mayor Gunter again.
He and his army must know you three are in here.
She says, you are my Christmas dinner mine. He can't
have you. Mona gulps are still gonna kill us after

(02:16:01):
what we did for you. Harmony vamps out again, making
a shriek and raises her claws. He can't have you.
She snatches up, Bailey, you belong to me. Now, she
sounds really crazy. I quickly reach into my pack and
slap one of the Holy Wafers on the back of

(02:16:22):
my hand. Harmony shrieks, causing her to drop Bailey. Then
she holds her hand as she falls to her knees
and cries again. I hate being this way, she chokes out.
I've consumed so many mortals just to satisfy my never
ending hunger. I hate being so hungry all the time.
I hate that it drives me to this insanity. I

(02:16:46):
don't want to kill you, but I'm so very hungry.
You won't have the chance to satisfy your hunger, Harmony mirring.
A new voice calls out. We all turn and face
Mayor Patrick Gunter and his army of the living dead.
I think it's safe to say we've never been so

(02:17:07):
scared in all our lives. Mona quickly leans in and
whispers that the Blu ray player is set up and ready.
Then Bailey nods to one of the monitors in the
food court. The movie Doorway to Horror is playing. Now
soon we may be able to return home. But now
I'm feeling despair, just like Harmony Mouse. I choke out.

(02:17:32):
We can't leave her here, We can't, you guys, she's
our friend, she's one of us. Bailey nods quickly, but
Mona doesn't look so sure. I'm ready to smack her
arm and tell her to just grow up, but then
she explains her. Look, if Mouse was gonna find her
way back here, she would have done it already, right,

(02:17:54):
Mona shakes her head. Those vamps probably got her. Don't
you think Mouse would want us to go back. That's
why she dropped us off here and sped off herself.
Mayor Gunter points right at us. You foolish children think
I can't hear what you're saying. You will end that
movie immediately. He waves his hand. Two of his vampires

(02:18:18):
bring Mouse out. No, these vampires were the bats chasing us.
They did catch up to Mouse. What happened to you?
I ask her? Car ran out of gas? She mutters,
I said the gas gage was busted. I was hoping
he got away and made it back home. By now,

(02:18:38):
Mayor Gunter suddenly grabs Mouse and lifts her up to him.
You will stop the movie now, or I satisfy my
hunger with this little morsel. Decide fast. I quickly raise
my hands out in front of me. Okay, okay, stop,
we surrender perspective. Bailey downs. Mayor Gunter's still holding Mouse

(02:19:07):
up to him. He arches her neck and is ready
to bite her. No way, Mona sneers, I ain't giving
myself up for a little rodent. Go ahead and eat her.
Look at her, Mayor, just look at her. There ain't
no meat on her bones. She won't have nearly enough
blood to satisfy you. She probably don't even have half
the blood the rest of us have. Bailey turns to her,

(02:19:30):
what are you doing? Mona ignores her. Don't you see
she's just a troublesome little rodent. She don't belong with us,
she never did, so go ahead put her out of
her misery. Mouse tightens her jaw and glares right at Mona.
She doesn't say anything, but if looks could kill. I

(02:19:52):
think this is as close to madd as I've ever
seen little Madeline Donnerly get. Then I see the first
signs of flickering near the TV and see what looks
like a portal starting to form. Mayor Gunter roars with anger.
I sent that disk to your universe and hope one
of you mortals would find it and bring more food

(02:20:14):
back to us, proving our latest experiment to success. But
none of you are returning to your universe last time.
Stop playing the movie, or I make a quick snack
out of your friend here, then I'll claim the rest
take her. Then Mona goads him on. Then she tells Mouse,

(02:20:37):
I never did like you. Now I'll finally be rid
of you. In fact, why don't you have a drink
of this before you become vampire chow? Mona throws Mouse
a bottle of water. Then my spirit lifts. Mouse catches
the bottle and quickly opens it. She splashes the water
in Mayor Gunter's face, which sizzles and burns immediately. Once

(02:20:59):
he drops Mouth, she immediately comes to us. He really
had me going there. Mouse tells Mona, what oops, I
guess I gave you the wrong bottle. Mona snaps, yeah.
Mona never likes to show how she really feels to Mouse.
But Mona's not moving to shove Mouse back to the vampires,
so I know she truly meant to save her. I

(02:21:22):
do know my best friend Mayor Gunter points to all
of us, kill them. Then he really vamps out. I mean,
if this is a head vampire and he's got an
ultimate form, this must be it. He's much bigger now,
he looks much uglier. He looks like a scary bat

(02:21:42):
like creature, but with clothes on. He turns and focuses
on the movie. The portal's not ready yet, but if
he destroys the TV or the player, we're never going home.
I'm pulling out my holy water and wafers and am
ready to make a last stand. Ariel sees what I'm
doing and is joining me. Just as Mona's digging into

(02:22:03):
her pack, Harmony Miron suddenly flies right onto Mayor Gunter's back.
She's clawing with rage at him. Unfortunately, Harmony's just too
small and not nearly powerful enough to win against Mayor Gunter.
Now he's holding her up by her throat. Winning the
office of mayor was so easy, he brags, bringing this

(02:22:27):
vampire existence to our world was even easier. But destroying you,
I'm going to enjoy this.

Speaker 3 (02:22:37):
You have been.

Speaker 1 (02:22:38):
Nothing but a thorn in my side, Harmony Miren. You
fought to keep me out of office. You even failed
to stop me from conquering this world, and you will
fail to save your new friends. But suddenly, Harmony's face
starts to burn. What gives? Then her mouth practically irrupts

(02:22:59):
when she blasts something into his face. Holy yeah, that's it,
holy water. She must have found our bottles in our packs,
and she's really trying to help us get home. Mayor
Gunter and Harmony both fall. Harmony's face looks just awful,
but you should see Mayor Gunter, Harmony got him good.

(02:23:21):
Now the other vampires start coming at us. Just as
the portal is finally open, Harmony forces herself to her feet.
Now she looks just hideous. I don't think she's going
to heal up from this. She grabs us and turns
us to the portal. Get out of here, go back
to your home you live. What about you? Ariel yells,

(02:23:45):
you'll die if you stay here. I can't come to
your universe with you, Harmony tells her, anticipating what Ariel's thinking.
I'm so tainted. I've devoured mortals before, and I'll want
to devour your people to satisfy my hunger. I'll stay
here and see that you all get home. Safely go. Now,

(02:24:12):
the four of us turn and run to the portal.
Harmony's pushing us along, Move faster, closer, closer, so close,
almost there. When we finally reach the portal, I'm wondering
if this is going to truly take us back home
or we'll end up in some other universe. I'll destroy

(02:24:33):
the disc. Once you're through, Harmony promises us, thank you
for giving me Christmas again, even if just for a
few short minutes. Now I give you your freedom and return
Merry Christmas. Before we can say anything in the way

(02:24:54):
of thanks, Harmony grabs each of us with her vampire
speed and shoves us through the portal. All we see
are many flashes of different colored lights, kind of Christmasy.
Before the four of us will find out if we
made it home or not. Perspective Mona abels I gasp

(02:25:17):
and suddenly sit up to see I'm in Ariel's living room.
I'm seeing everybody else is awake now too. Bailey gets
off her couch and comes to us, Are you guys
all right? The rest of us nod quickly. There's enough
light in here to tell it's probably morning. In fact,

(02:25:37):
Ariel goes right to the curtains and opens them. Warm
light comes in. Then Ariel goes right to Mouse. You
weren't turned. Mouse shakes her head quickly. Once they got me,
I really thought i'd had it. All I thought about
was hoping you guys got home. Yeah, I'm lucky, all right.
I'm actually surprised when Ariel pulls Mouse into her arms

(02:26:00):
and hugs her. Then Mouse hugs her back. Eventually they
come apart. I always wondered what Ariel saw in that
wicked little rodent. I mean, she totally clashes with the
rest of us. She's just a nerd. Seriously, why does
Ariel like her so much? Mouse quickly picks up her smartphone.

(02:26:23):
It's almost ten. The rest of us go to our phones.
I can see my watch is working right again. Looks
like we're really home, you guys, Bailey says. I can
even feel how nice and warm it is here compared
to when we woke up in that vampire universe. Then
Mouse has a thought and checks something. Yep, looks like

(02:26:47):
both your Blu ray player and that disc mona Brot
are gone. Ariel. She sighs, I really don't care about
that right now. Then she looks at her phone. Hey,
it's not Christmas like was there. We're still in the
second weekend of December, like before we went to that
other universe. Then she puts her phone down and claps

(02:27:09):
her hands together. You guys don't have to come with me,
but I'm going out to the mall. But we're banned
from there. Mouse reminds her. I don't care, Mouse, I
have to know. Mouse shrugs, Okay, but I'm coming with you.
Bailey and I decide to tag along too, Like Ariel said,

(02:27:33):
we gotta know. Ariel calls us an uber and takes
us out to Strickfield Town Center Mall. Once we get
dropped off, we waste no time going in. It's just
like any other December weekend in Strickfield, packed with people
and nearly every store filled and open. Our mall only

(02:27:53):
gets like this around November and December. The rest of
the year, there are many vacancies. People sometimes say them
all's going to close for good eventually, but it never does. Yeah,
all the decorations are still up, Ariel says, looks like
we really made it back home. Bailey replies, it's daylight

(02:28:15):
and we never saw anybody burning up when they were outside.
Then Ariel stops us. Hey, let's go into caffeine Junction
for breakfast. My treat Mouse, I'm going to buy you
the biggest coffee they got. Go on in, you, guys.
I think Ariel's just glad we're back home and we're
all safe. True to her words, she lets us order

(02:28:36):
whatever we want. When Bailey and Ariel both got their orders,
they head off to a booth. Now it just leaves
Mouse and me to wait for our stuff. Mouse kind
of gives me a look that says she ain't sure
about me. Just so you know, I wouldn't have really
let you die back there. I tell her, I don't

(02:28:57):
know what Ariel's season you or what Bailey's you, But
why do you hate me so much? Mona Mouse asks,
I don't hate you. I tell her, I just don't
feel like you belong with us. You're just so so weird.
Maybe to me you might be the weird one. She says,

(02:29:21):
you ever thought about that? We just look at each other.
When Ariel and Bailey ain't looking, I extend my hand.
Truce Mouse shakes my hand. Truce. I lean in and say,
you say anything about this, and I'll deny it fair enough.

(02:29:41):
When we get our food, we join the others at
the booth. Surprisingly, we make it through the whole length
of the mall. Just after Ariel's called us another uber
Harmony Miron is right there. She points to Ariel and Mouse.
Last I checked. You two are banned from my mall.
Tell me now why I shouldn't bring you to my

(02:30:01):
office and have you both arrested. Ariel and Mouse look
at each other. Then Ariel digs into her purse and
pulls out receipts. She hands them to her and says,
because I wanted to treat my girls to some of
your fine establishments. We all ended up having a near
death experience, and I just wanted us to celebrate that

(02:30:21):
we're still alive for another Christmas season. This mall has
been our hangout place for a long time. You want
to call the police, you go right ahead. But we
didn't cause any trouble here. Besides, I thought you like
the idea of people spending money at your mall. Harmony's
still holding Ariel's receipts and keeps looking sour at us. Finally,

(02:30:45):
she hands back the receipts. Okay, you two can come back,
she says. Then she points sharply at them. You're on probation.
In other words, if I ever see cousin Stewart back
in here with you again, we're all going to be
permanently banned. Do we understand each other? We all quickly

(02:31:06):
tell her we do. Then Harmony nods once. Okay, then,
but remember, I'll be watching. Like Santa Claus. I'm always
watching now that we have our arrangement out of my sight.
I guess money really does talk, Ariel says, and snickers.
When we're far enough away from Harmony, that means you

(02:31:30):
ain't bringing Stuart here ever again. Mouse replies. Then I
quickly smack Ariel's arm. What was that for? She demands? Look.
I tell her. We see Ariel's mom and her aunt
together with Stuart. When they see us. Ariel's mom points
right at her. Run you, guys, Ariel yells. Aunt Margaret

(02:31:52):
wants to hand Stuart off to me. We turn and
run for all we're worth. Boy, do we ever hear
Ariel's mom and aunt yelling at her, He runs straight
past Harmony, miron and write out them all Entrance. We
could tell she was about to call out to us,
but when she sees Ariel's mom and aunt and Stuart.
She starts going off on both of them. Now as

(02:32:13):
soon as we're outside the ubers right there, we quickly
climb in go, Ariel orders him. As soon as the
driver pulls away. That's when Ariel's mom and aunt are outside,
Ariel rolls down her window and waves to them, have
fun with Stuart, you two. Ariel's Mom's going to let
her have it when they're both home later, but Ariel

(02:32:34):
really doesn't care about that. Right now, we needed this,
you guys, Ariel says. I know it's not quite the
day yet, but after everything we've been through, well, Merry Christmas,
we don't hesitate and wish her the same. I think
this is why I'm glad we have our group. I

(02:32:57):
still don't think Mouse belongs in it, but Ariel wants
her around. She's definitely grown on Bailey. I guess I
tolerate her because she don't cause trouble. To be fair,
she did risk her life for us both on Halloween
night and last night. In light of that, I'll keep
the truce with Mouse. Like I said, I'll deny it

(02:33:19):
if she says anything about it. Besides, Ariel's right, we've
all been through the absolute most horrifying experience together to date.
I can tell you one thing, It'll be one sleepover.
None of us we'll ever forget. But Ariel's right, at
least we have another Christmas. Deep down, I'm hoping the

(02:33:41):
Harmony mirror of that other universe succeeded in destroying that disk,
because if she didn't, No, I don't even want to
think about that. It's going to be Christmas soon. Speaking
of soon, that's when you'll see us again, and with
a new adventure in the meantime. Merry Christmas, Home Sweet

(02:34:09):
Horror by Rob Fields Part one Bailey Downs. I can't
believe I totally messed up on the dates. Good thing, Missus.
Emma Gibson from Home Sweet Home Orphanage over in Pendleton
called me to confirm. After confirming the date, I realized
the upcoming event was for the day before you see.

(02:34:32):
Missus Gibson called me at home a few months back
and asked if I wouldn't mind coming to the orphanage
in December to help out with the big Christmas event there.
At first I didn't want to. However, after really thinking
about it, I reconsidered Mom and Dad were more than
willing to take me to Pendleton for the event, except
now there's a problem. The event is going to be

(02:34:55):
on December sixteenth, which is a Saturday. I thought it
was on Sunday, the seventeenth. When I told my parents
about the mix up, they told me they wouldn't be
able to take me on the sixteenth because they'll both
be too busy. Dad's working mandatory overtime at Strickfield Automotive
and Mom's got to deliver mail and won't be done

(02:35:15):
until later in the afternoon. If you can find another
way there, Bailey, then you can go ahead and go
to Pendleton. Mom told me. Otherwise, you better call missus
Gibson back and clear things up. Like I said, I
really don't want to do the event, but two things,
it's a Christmas celebration, so it would be morally wrong
to back out. And two and only a select few

(02:35:39):
people know I was adopted. I don't know the circumstances
to where I ended up at Home, Sweet Home, but
I do know I was there from when I was
a baby and only known as Bailey. I grew up
in the orphanage until the day came when Monty and
Vera downs came in looking to adopt a daughter. I
was seven years old at the time, by the way,

(02:36:01):
but they took one look at me and the rest
was history. I ended up leaving to go to Strickfield
with them one week later and officially became Bailey Downs.
I actually laughed last night when we watched a Christmas
horror story at Ariel Mirr and Slumber Party funny thing.
The town in that movie and in Ginger Snaps are

(02:36:22):
called Bailey Downs. Lucky me, believe it or not. I'm
probably one of the few cases where being in orphanage
care actually wasn't bad. I was never mistreated in any way.
It was nice to have other kids to play with
and everything, and Missus Gibson and the rest of the
staff were very motherly to all of us. I suppose

(02:36:43):
I agreed to come back to the orphanage because Missus
Gibson kept in touch with me after I was adopted.
In a way, I'd kind of like to visit there
again and see how things are there now. So I'm
sitting here in the living room and racking my brain
trying to think of a way I can get a
to Pendleton. At first, I thought about calling a ride service.

(02:37:04):
But after hearing Mona Abels tell me how expensive an
uber was for her and her mom to get to
North Ridgeway a few months ago, I decided not to
go that route, and then a rather risky idea hit me.
Getting a car wouldn't be a problem. It's the driver

(02:37:24):
that I'll have to do some convincing on. I sigh
and pull out my smartphone. I open the texting app
and tap my thread with Mouse. I message her and
ask if she can call me. When I don't get
an answer after several minutes, I'm thinking she's probably busy
doing something and not looking at her phone. Then I

(02:37:45):
know exactly where she's likely to be. I get out
of the recliner and put my coat on. I open
the door to Roth's Rings, a twenty four hour donut
shop and video game arcade in downtown village. I see
Mouse sitting behind the wheel of a full sized driving
cabinet for the brand new Grand Turismo game. Her real

(02:38:08):
name is Madeline Donnerley, and she's just a happy, go
lucky kind of girl. I mean, nothing ever really bothers her.
The reason people call her Mouse is because she's short, skinny,
and has a mousey voice. She's also a geek with
all the stuff she's into video games and horror movies.
You wouldn't think she was a geek when you'd see

(02:38:30):
her wearing her beret and scarf like she's a cultured person.
I never really asked her why she wears them, but
nobody really gives her a hard time about it. Plus
she drinks coffee the same way her mom does. Let's
just say she's very mature for a seventh grader. I
know you're probably thinking I've got a screw loose somewhere,

(02:38:51):
but Mouse is the only shot I got. Like I said,
she's a fellow seventh grader at Strickfield Junior High, But
that little squeaker can actually drive a car. You should
have seen Mouse on Halloween night when we were checking
out the legend of cry Baby Bridge and found the
legend to be true. When Abigail Tomlin's ghost was chasing

(02:39:13):
us down, Mouse found this beat up car and ended
up driving it to save all of us. Okay, we
didn't quite get away since the tire blew out, but
she really surprised me that day with how well she
was driving. This is going to take some real convincing
on my part, but I think I can do it.

(02:39:34):
I wait until Mouse finishes and wins a race. Then
she reaches out for her cup of coffee on the
stand next to the game and sees me standing there.
Oh hey, Bailey, how you doing? She asks? What brings
you in here? Then she looks out where's Mona and
ariel I'm here alone? Actually, I tell her I was

(02:39:58):
wondering if I could talk to you for a little bit.
Mouse comes out of the game. You okay, is something wrong?
You in trouble? I quickly shake my head. No, no,
nothing like that. I mean, okay, Yes, I'm I'm kind
of in trouble. I quickly raise my hands in front
of me. Don't worry, it's nothing real bad. I'm just

(02:40:20):
in a bit of a bind and need your help.
So can we talk? Mouse points to a table in
the far corner. That good. I nod. Before I sit
down with Mouse, I order a peppermint hot chocolate. I
don't want the girl behind the counter to think I'm loitering.
After I get my drink, I sit down with Mouse
and tell her my problem. Mouse has this weird look

(02:40:42):
on her face when I'm done, so you're saying you
want me to drive your dad's old SUV de Pendleton.
You do understand I was only driving that night because
of I quickly raise a hand in front of me.
I know, Mouse, believe me. I remember. I sigh and
lower my hand, and you're really my only hope here.

(02:41:03):
It's a Christmas celebration at the Orphanage, and I really
want to help out there. I know asking you is
a long shot, but you're the only one I can
turn to. I can pay you money to drive if
that's what you want. Oh, it ain't that, Bailey. If
I recall you did tell me in the car Halloween
night that we ain't old enough to drive. What if

(02:41:23):
something happens and we get pulled over? You really want
to face your parents after the cops bust us? I
know I don't want to be explaining to mom and
dad why I was driving a car and got arrested.
For a long moment, the two of us look at
each other. Then Mouse sighs. But I'm gonna do it, Bailey.
I'll take you to Pendleton. My heart's skipping several beats. Okay,

(02:41:49):
but what made you decide to do it? After all?
Mouse I've been kind of itching to drive a real
car again after Halloween night, Mouse admits, But you're willing
to trust me now. Hugh and Bailey weren't too trusted
to me that night. You know, like I said, you're
my only hope. I'm willing to do a big favor

(02:42:10):
for you or give you money if that's what you want.
Mouse and I talk about it some more. Ultimately she's willing,
and we make a plan. I can't believe what we're
going to do. We're really doing it sounds crazy, right,
but I'm just not willing to let Home Sweet Home
Orphanage down. It's Friday at school. I'm walking the halls

(02:42:33):
with my very best friend, Mona Abels and telling her
about what's going down. I expected Mona to give me
her odd look. I know I could have kept this quiet,
Like I said, Mona's my dearest friend. Though, Little Mouse
is going to drive you to Pendleton, she asked for
the fifth time. Yes, already, you want me to write

(02:42:54):
it on your palm? I snap, I'm desperate here. Mona sighs.
I can't believe I'm gonna say this, but I'm coming
with you. You don't have to, I tell her somebody's
got to look out for you in case that wicked
little rodent crashes the car. She raises her finger. Not
up for debate, Bailey, I smile, okay, okay, you can come.

(02:43:19):
Then I see the worried look on Mona's face. Uh oh,
things just got bad. Turn around, I do, and we
both see a very angry Ariel Miran coming right at us.
Where is he? Who? Mona asks? Who do you think
Carter cross? Ariel yells last I saw him. He was

(02:43:43):
sitting in the cafeteria with Horton, Chapman and Chunker, I say.
Ariel quickly pulls out her smartphone. Look what Carter just
posted on Facebook. Look at it. Mona and I both
see a video of Ariel and her little cousin Stewart,
at Roth's rings. She bought him a slice of pie
and a soft drink. Little Stuart was in a really
foul mood, since he ended up throwing both the pie

(02:44:06):
and the soda at Ariel. The soda was the worst,
since it exploded all over. Carter had to have been
there since he recorded it. The comment said, little Stewie
treats Princess Ariel to a coke Ariel growls. Then we
carefully follow her when she marches right to the cafeteria.
Sure enough, Ariel finds Carter right where I said. Soon

(02:44:29):
as he sees a very angry Ariel coming, he quickly
gets up and moves to keep a table in between
him and her. Ariel points right at him. You are
so dead, Carter cross. Carter raises his hands in front
of him. Hey, princess, it ain't my fault. You'd rather
wear your coke instead of drink it. What did you
do tell the kid he couldn't come to your royal

(02:44:51):
palace anymore? Then, Ariel gives him an evil grin. I
should just drop that little goober off at your house.
Then I can post on social media how he runs
around and destroys everything while you're losing your mind. Carter laughs,
I don't think your little cousin would like being among
us peasants. Now. Ariel looks at Richie Horton, Bill Chapman

(02:45:16):
and Brian Chunk. What are you three snickering about? You
think this is all funny? She points right at them.
Remember you're in my school. You three will know your
place here. I don't see your name out there on
the sign, Chapman says, last I checked, it says Strickfield
Junior High School. He's the rough looking guy with the

(02:45:38):
buzz haircut. Yeah, there ain't no school named after any
mirrors in Strickfield. Last I checked. Horton ads he's the
skinny toothpick of a kid with circular lensed glasses. Then
Carter points at her. But you could probably buy the
sign and rename it to Princess Ariel Miron's Royal Peasant Camp.

(02:45:58):
Ariel suddenly points right at him, Oh you you. Everybody
puts their hands to their ears when Ariel belts out
her infamous scream that can be heard throughout the whole
building and could probably wake the dead. Ariel and Carter
are both circling each other. Now I'm trying to get
their attention, but neither of them are wanting to look

(02:46:20):
my way. Hey, we got company. Chunker calls out, helping me.
He's the heavy set guy who's always wearing cargo shorts
and the open Hawaiian shirt over a T shirt. When
Ariel and Carter both look at Chunker, he nods in
the direction before Ariel and Carter know it. Principal Benjamin
Van dist is right there, you two again, He demands,

(02:46:44):
what is it this time? Then he raises his hand
and shakes his head. You know what, I really don't
want to know. He points to Ariel. Get to class.
Ariel's face is really red now. Then she points to Carter.
You just wait. Ariel storms out of the cafeteria. Then

(02:47:04):
Principal van dest waits for Carter to leave. Next, he
looks at the rest of us but doesn't say anything.
After a little bit, he leaves and goes back to
the office. I'm sorry you guys had to see that,
I tell them. Chapman waves me off. Yeah, we're used
to Ariel mirran By now. Yeah, we've known her for years,

(02:47:27):
Chunker says, even before we disappeared last year. Mona and
I both nod quickly. She's your friend, we get it.
Horton says, in his squeaky, nerdy voice. Anyway, we've dealt
with way worse people. I know, Abigail Tomlin, right, I ask,
Then I wink. Chunker was in the middle of drinking

(02:47:49):
his pop when he spits it out. What ah, come on, Bailey, Yeah,
that ain't nothing to be joking about. Chapman agrees, then
gives me that look again. Really, I smirk a little. Okay,
I take it back, my bad. Something on your mind, Bailey.

(02:48:10):
Chapman asks, you kinda got that look. Mona and I
have been hanging out with these guys since all of
us rescued them from Abigail Tomlin on Halloween. They're really
good guys. Yeah, Chunker likes to eat, same as Mona,
but he's really gentle in a way. I think he's
kind of cute, like a teddy bear. Mona and I

(02:48:32):
sit down with the guys and tell them what's going on.
You should see the looks on their faces when I
tell the mouse is driving us tomorrow. You realize how
crazy that sounds, right, Horton asks Madeline Donnerly, I know right.
Mona agrees, Man. I'd love to see her drive a car,
Chunker says. Chapman turns to him, Seriously, you've been eating

(02:48:56):
too much of Denoyer's sweet Potato pie again, haven't you what?
You wouldn't want to see Madeline Donnerley driving a car?
Horton cuts in. I've seen her playing those car games
at Roth's rings. I really think she could do it.
Chapman gives his buddies his evil eyes. Then he gives
them to me. How about you let us tag along

(02:49:17):
and see for ourselves. At first, I'm not keen on
the idea, but then I figure missus Gibson would love
to have the extra help at the Orphanage, so I
tell them that's the only way they can come along.
I'd have expected them to scoff and say no way,
but they're all quick to agree. So it's gonna be
the six of us going to Pendleton tomorrow with Mouse driving.

(02:49:45):
Part two. The next morning, Saturday, the six of us
are at my house. We're packing in the old suv.
Mouse is sitting in the driver's seat and looking over everything.
Then I hand her the keys. You sure you're going
to be able to drive this thing, Mona asks her.
I think I can get us there, okay, Mouse says confidently.

(02:50:09):
Of course, I didn't know all of you were tagging along.
We're all gonna work at the orphanage. Chapman tells her,
you gonna help too, Mouse makes her usual shrug. Why not?
I mean, we're all going to Pendleton, right, I know,
I don't want to be sitting here in the car
all day. Once we're all seated and ready to go.

(02:50:30):
Mouse starts the car. Yeah, we're all gonna die. Mona mutters, Oh,
we already did that. Mona, don't you remember, Mouse says,
I really did crash the car on Halloween night. Now
we're hanging out here in the afterlife together. We all
jeer Mouse as she snickers. Even I have to admit

(02:50:51):
little Mouse can be funny when she wants to be. Anyway,
it's us girls in the front and the guys in
the back. Mouse finally starts the car and takes a
deep breath before she shifts the gears. Then we're moving
forward until we're out on the road itself. So far,
so good. Just please don't get us pulled over mouse,

(02:51:12):
Mona says, shakingly. Don't worry. I've been studying up since
Bailey asked me to drive today. Mouse replies, I know
what I'm doing. I think everybody was worried, especially when
a few police cars passed us. We really panic when
a police car suddenly turns around with its flashers on.
We probably thought they recognized Mouse and that was it. Nope,

(02:51:37):
Mouse does pull over, only for the police car to
pass right by us on the way to an emergency.
We all breathe big sighs of relief. Then Mouse starts
driving again. We're all feeling better when we finally leave
Strickfield and are en route to Pendleton. We only have
to make one stop to put gas in the car.

(02:51:58):
We get some weird looks from people, but nobody asks
and nobody turns us in. We get back on the
road and eventually make it to Pendleton. From there, I
give Mouse the directions to the home, Sweet Home, Orphanage.
Mouse finally pulls us into the parking lot and backs
into a spot. Nice and neat. Wow, we really made it.

(02:52:20):
Mona says, we're still alive. Yeah, I really thought those
people at the gas station were gonna call the police,
Horton admits. Then Mona looks at Mouse. You did good.
Mouse turns off the motor. Not bad for my second time. Huh.
Like Mona said you did good, Mouse, I say, I

(02:52:41):
owe you one. Mouse waves me off. Nah. We get
out and head into the Orphanage. Sure enough, Missus Gibson
is at the front door waiting for us. Believe it
or not, she doesn't even ask who brought us here. Hey,
don't ask, don't tell, right, Missus Gibson and I hug.
She's kind of my third grandma when you think about it.

(02:53:04):
Missus Gibson invites us inside and takes us for a
tour around the orphanage, which is all decorated for the holidays.
There are plenty of kids around here. I don't recognize
a single one from back when I was here. I'm
pretty sure they've all been adopted, because Home Sweet Home
doesn't pass their kids off to other orphanages. When Missus
Gibson takes us into the kitchen, I remember the head

(02:53:26):
cook immediately. She remembers me too. Oh Bailey, it's so
good to see you. Back when Emma told us you
were coming to help with today's celebration, I was overjoyed.
I go and hug Miss Barrett. I'm glad to see
you too. We talk for a little bit. Then Miss
Barrett asks Missus Gibson if she can keep me in

(02:53:48):
the kitchen. I could use an extra hand with all
the preparations for our big Christmas dinner. I'm afraid I'm
going to need Bailey with me today. Missus Gibson says,
I need her to help me with the other kids here.
But maybe you can have one of these others. Miss
Barrett immediately points to Mouse. How about you, young lady,

(02:54:09):
Could I have you help me here in the kitchen? Sure?
Why not? Mouse says. When Mouse goes to her, Miss
Barrett quickly gives her an apron. Looks like mouse may
get lost in the shuffle here. I know what it's
like helping out in the kitchen. Mouse'll be in good hands.
After missus Gibson finishes our tour of the orphanage, she

(02:54:29):
brings us into the living room. Looking over all the
kids here, it looks like some of them might be
easy going. I can already see the sneers on the
three boys that are kind of rough looking. Even when
I was here, we had a few such kids. Then
I remember Ariel and how she calls her little troublesome
cousin Stewart a goober. Well, I don't feel threatened, knowing

(02:54:51):
I've got Mona and the guys here. But it's the
next woman here I've got to tell you about. The
second she comes in, It's like the room gets cold
and quiet fast. You ever see that movie The Goonies.
If you did, I'm sure you remember Mama for Telly. Well,
picture her, but with longer hair and skinny like mouse

(02:55:12):
and Horton. Okay, that alone probably won't scare you, But
that glare and that scowl she's showing now, this is
miss Stanlan, missus Gibson says. She's my assistant director here
at Home, Sweet Home. I know Miss Stanlan wasn't working
here when I was here. Missus Gibson must have hired
her at some point after I was long gone and

(02:55:33):
living in Strickfield. I told you we didn't need extra
help here, Emma, She practically growls, Oh nonsense. Missus Gibson replies,
it's Christmas time, Helga. We've got more children here in
the last couple of years, and it would be nice
to have these kids interact with our children. Besides, we've
got a lot going on for the big Christmas celebration today, Helga.

(02:55:56):
Stanlan grunts and looks ready to raise one of her
bony face. I'm almost wondering if she's going to roar
or cackle like a witch. She doesn't, though, come on, Bailey,
you're imagining things. Maybe Abigail Tomlin's still somewhere in the
back of your mind. Miss Stanlin can't be any worse
than the ghost of the cry, Baby Bridge back in Strickfield.

(02:56:19):
Still something doesn't feel right about her. When she turns
and storms off, Missus Gibson takes the five of us
into her office and tells us what she needs us
to do. She reminds us she wants us to interact
with the other kids here. We're supposed to help serve
the big turkey dinner later on. Then we're going to
help hand out presents. Chunker raises his hand when Missus

(02:56:42):
Gibson points to him. He asks her, how come you're
celebrating Christmas here today instead of actually on Christmas Day.
Missus Gibson doesn't even blink. We actually celebrate two Christmases here, Brian.
Of course, we have the real celebration on Christmas Day itself.
The children will get more presents and an even better

(02:57:03):
holiday feast. As for today, Mayor Eloise Parkhurst will be
visiting here later. She often drops by home, sweet home,
and make sure everything's good here. She's been a true
friend of the orphanage for many years, even after she
was elected the village mayor. Sounds good to me, Chunker says, satisfied.

(02:57:24):
Missus Gibson points to me. Mayor Parkhurst also wants to
see you again, Bailey. Ah, I think I now understand
why missus Gibson asked me to come here and help.
But that's okay. Like I said, this place was a
good home until mom and Dad adopted me and took
me home to live with them. Suddenly we hear a loud,

(02:57:45):
screaming noise. What the chapman mutters. The rest of us
follow Missus Gibson through a couple of doors until she
goes into an office. Miss Stanlin, what is going on
in here? We hear her say. We can see that
Miss Stanyn's got what appears to be shaving cream all
over her hands. I don't know about the others, but

(02:58:06):
I can see it in the desk drawer, which she
must have been going into. Miss Stanlan points outside. It
was those blasted monsters. Again, we didn't do anything. Horton
pipes up. Missus Gibson sees us. Richie is right, Helga.
These children have been with me the entire time, well
except for Madeline, who's with Miss Barrett in the kitchen.

(02:58:29):
I see Miss Stanlan's face turn really red. Now I'm
not talking about these brats. She points right at missus Gibson,
you know what brats I'm talking about. Suddenly we hear
another cry just by us. We turn to see Chapman
with one of those mean looking goober kids in a
hammer lock. Chapman, I call out, what are you doing?

(02:58:52):
Chapman looks over his shoulder. Look on the floor there.
Look what this little whimp just tried to do to me.
We all see the canon shaving cream there. Chapman turns
him around. Yeah, thought you'd come up behind me and
lather me up. Huh. I gotta hang you upside down
from the upstairs banister for that. When Missus Gibson tells
Chapman to let the kid go, he does. She turns

(02:59:15):
the kid around. Butch, were you three giving Miss Stanlin
a hard time again? Butch doesn't even try hiding it.
That old hag deserves it. All she does is yell
at us and make us all do the dirtiest jobs
around here. We're sick of cleaning the bathrooms every day.
Missus Gibson nods, I see stan Joe, you boys come

(02:59:38):
out here too. The lead Goober's two pals come out.
They both have shaving cream cans in their hands too.
Makes me wonder where and how they got them. Just
as they're about to reach missus Gibson, Miss Stanlan screams
and comes right out of the office. You rotten little devils,
she yells, grabbing one of the other kids. I'm gonna

(03:00:00):
make your bottom so red you'll never sit down ever again.
Before she can make good on her promise, missus Gibson
quickly gets in between them, Miss Stanlin, you stop this
right now, Miss Stanlin points past her. Those wretched little
monsters never appreciate anything they get here. They have a
roof over their heads and three squares a day, and

(03:00:21):
all they do is run rampant and play their mean
tricks on the other kids and on me. Seriously, Emma,
either you do something about those boys or I will.
And just then, the one called Butch has this wicked
little smile on his face. When Miss Stanlin goes back

(03:00:42):
in her office, he throws these little white paper wads
at her. They make these popping noises when they hit
the floor, startling her. Then her hands end up back
in the desk door filled with the shaving cream. She
gasps and trips over her chair to fall onto her side.
Mona and I quickly go into the office to help
her up, but she's grabbing things that fell on the

(03:01:03):
floor and throwing them at us. We quickly back off
and get out of the office. We see Miss Stanlan's
all right. When she gets back up, with her hands
slickened with shaving cream, she nearly slips on the desktop
and falls again. She doesn't though. When Miss Stanlan sees
those three goobers pointing at her and laughing it up,
she points right back at them. You just wait, you

(03:01:26):
rotten brats. You're going to regret the day you ever
started messing with me. Yeah, whatever, you old hag. Butcher
returns now. Missus Gibson is upset and points to the
three goobers go into the main living room right now.
When they don't obey her, Chapman moves up to Butch.
Since you got rocks in your head, let me tell

(03:01:47):
you what she means. He shoves Butch. Move it. Butch
and his two friends, No, Chapman means business and do
what he says. Seeing the looks on their faces, they're
planning something else possible. On Chapman, I'm going to have
faith at him. Since he doesn't let even Ariel Miron
get to him. I notice the look on Mona's face,

(03:02:08):
not because of what Chapman's doing, but because we both
feel something real bad's going to go down. Yeah, you'd
expect that justin Strickfield, right. Truth is, there have been
other things going on here in Feltner County. All you
have to do is go to the Strickfield University website
and click on the local legends tab. Then I get

(03:02:29):
a shiver down my back when I remember how one
of those actually came true back in October, back when
some of us went and explored the myth of the
cry Baby Bridge. Anyway, Mona and I both feel something
really bad's about to go down. When Horton and Chunker
look at us, I sigh. Then the four of us

(03:02:50):
go into the living room to meet up with Chapman
and Missus Gibson. Part three. Helga Stanlein had just finished
washing all the shaving cream off of her hands. She
had just finished cleaning out her desk drawer prior. Helga

(03:03:12):
wasn't always the menacing figure the children assumed she was.
What few people knew was that Helga herself had grown
up at the Home Sweet Home orphanage, and fortunately for her,
no potential parents would ever adopt her. As she got older,
it was clear that she would still be an orphan
going into adulthood. Helga never let being an orphan bother her,

(03:03:35):
since she had a warm place to live and three
meals a day. Even the other kids who were there
with her at the time never gave her any problems.
In fact, they were her friends and family. But the
years went by and many of them had been adopted
or had grown to adulthood and ended up leaving. Helga

(03:03:56):
was given the opportunity to work at a sister location
of Home Sweet Home over in Ridgeway Heights and went
there to train and live, which would explain how she
had missed out on seeing Bailey Downs when she was
an orphan in Pendleton. Then Edith Hensley retired from her
assistant director position in Pendleton only a few years ago,

(03:04:18):
and Helga had the opportunity to return to her home
if she wanted to. Helga accepted the position and became
Missus Gibson's assistant. When she got there, these new kids
were nothing like the ones she had grown up with.
To her, many of them seemed to feel entitled, didn't
want to be around others, didn't want to be there

(03:04:38):
at all, or were just simply bad seeds. From the
moment she had met Butch, Joe and Stan, they started
playing mean tricks on her. A joke or too was
okay every once in a blue moon, but enough was enough.
When Missus Gibson refused to give them severe punishments for
the cruel pranks the boy's play he or some of

(03:05:01):
the other children, she started to turn sour. This place
had been her home and these kids and her boss
were ruining it. Finally, Helga had reached the point to
where she would give the kids tasks to do. If
they didn't do them, she would punish them severely. No,
she couldn't give them the kinds of punishments the children

(03:05:22):
of her generation received back in her day, but she
could take things they valued away from them or lock
them in other rooms. The more Helga would take away
from Butch, Joe and Stan, the more dirty tricks they
would play on her. Although she wouldn't admit it, she
almost smiled when she had seen Bill Chapman put Butch

(03:05:43):
in his place just the same. She was upset with
Bill because this junior high brat could get away with
the things she herself wanted to do. She could have
easily returned to Ridgeway Heights, but this location in Pendleton
was her home. She would not give it up to
these little hooligans. She would get rid of each and

(03:06:05):
every last one of them first. Just then the front
doorbell rang, Helga, could you please get that missus, Gibson
called out. Helga growled in disgusted and marched right out
of the bathroom. She stormed through the downstairs hallway and
was soon at the front door. She opened it to
see a postal carrier in his late forties to early

(03:06:27):
fifties standing there with a beautifully gift wrapped package in
his hands. I have a very special delivery for a
Helga Stanlin, the man said, pleasantly. Helga looked at his
name tag E. Tinker. That would be me, Helga told him,
But I have no idea who would send me a

(03:06:49):
Christmas gift. You must be mistaken, mister Tinker. Tinker smiled, Now, no,
your name is clearly marked on the card, ma'am. Of course,
I can't force you to accept it if you don't
want to. Helga groaned, Fine, where do I sign? Tinker
handed her the electronic clipboard and stylus pen. Once she

(03:07:11):
had signed it, she traded him for the package. This
thing sure is heavy, Helga observed, upon taking the package.
I'm sure everything will be all right, ma'am. Then he
gave her a pleasant nod. Isley Tinker at your service.
Good day to you, and have a very merry Christmas.

(03:07:31):
Helga growled and slammed the door. Eisley Tinker turned away
and looked up at the sky. I do so love
being a shopkeeper. It's even better when I can branch
out into delivery, he chuckled. No, you most certainly did
not order what I've given you, Helga Stanlenn, But you

(03:07:53):
shall most certainly be thankful for the contents. Once you
have come to accept its power, then you shall have
your heart's desire. The college girl who wielded it in
the previous Christmas Eve chose to throw that power away.
But I believe that you shall become the perfect vessel.

(03:08:15):
Isley Tinker got into his mail truck and drove away.
He would return to Strickfield Town Center Mall and manage
his store there again. It would only be a matter
of time before someone would enter his shop and look
for something that would change their lives literally. Helga took

(03:08:38):
the package up to her room and closed the door.
She sat at her desk and opened it up. She
kept wondering who would possibly send her a Christmas gift.
When she had finished removing the wrapping paper, she worked
off the top of the box and looked inside. Oh,
she gasped. She reached inside the box and removed a

(03:09:02):
large snow globe. She was right about it being heavy.
It was a full foot from the top of the
glass to the bottom of the rocky pedestal. She put
it down and stared at it. The artificial snow inside
it began to fall within the contained water. Now, who
would send you to me? Helga murmured. The figure inside

(03:09:27):
the globe made her smile. It was Crampus, sitting upon
his wintry throne and holding a scepter. The figure looked
every bit like the story she and her former childhood
friends had grown up with and shared with each other
around this time of year. The figure had big, curly horns,

(03:09:50):
brown to graying fur, bright red eyes, and cloven hoofs
for feet. Those bright red eyes glowed hot as she
looked at them. Helga didn't know why but she just
couldn't seem to take her own eyes off of them.
Well what are you waiting for? She heard in her mind.

(03:10:12):
You know you wish to make those little trouble makers
pay for their sins. They've been very naughty? Have they
not accept my power and claim what is yours? Helga
looked around but didn't see anyone. Who's there? It better

(03:10:33):
not be you kids playing your cruel pranks again. When
I get a hold of you, I'll have your breeches
down and tan you good. She darted right out of
her room, but didn't see anybody. Then a little girl
came out of one of the bedrooms and just looked
at her. Helga wanted to make good on her promise,

(03:10:55):
but she knew the little girl well enough to know
she wouldn't have heard a fly. After a little bit,
the little girl moved and made her way downstairs. A
little bit later, she made her way back downstairs herself.
Then she remembered that the rest of the mail was

(03:11:16):
likely still in the mailbox. She knew she only had
to go to the end of the walkway to get it,
so she didn't bother putting on her coat. She opened
the front door and stepped outside. When Helga reached the mailbox,
she opened it and pulled out the short stack of envelopes.
Then she saw the car pulling out of the parking

(03:11:37):
lot and knew it was Miss Barrett. She also saw
the mousey junior high girl who came with those other
kids sitting in the passenger seat. Probably ran out of something.
Helga muttered, Emma should have fired her a long time ago.
Helga turned and made her way back to the door.

(03:11:58):
She had the door halfway opened when she suddenly felt
it being pushed hard against her and slammed shut. The
lock clicked Shortly after, she dug into her pocket for
her keys. When she couldn't find them, she knew she
had left them upstairs in her room. Helga started pushing
on the doorbell button, but no sound was heard inside,

(03:12:22):
at least not the one she was listening for. A
few moments later, she heard some tapping on one of
the windows and saw Butch, Joe, and Stan looking out
at her. They gave her their mischievous looks as they
waved at her. Open this door right now, you rotten
little brats, Helga yelled in response. The three boys were

(03:12:46):
making even worse faces at her. Then Butch opened the window.
You stay outside, you old witch. Yeah, Joe added, go away,
We don't want you here. Stand further. Then the boys
started pushing clothes out of the window. Helga immediately knew

(03:13:07):
they were hers. You little monsters. You just wait till
I get back inside. The last thing the mischievous boys
throughout was the snow globe she had just received. When
I get back inside, I'm going to see to it.
You never leave your bedrooms ever again. Helga yelled, yeah,
but you ain't never getting back inside, Butch teased. Suddenly

(03:13:31):
the front door opened up. Helga rushed right in and
saw Brian Chunk standing there. Then she grabbed him, You
rotten little boy, she yelled, I'm gonna tan your hide.
What I didn't do nothing, Brian returned as he broke
loose from her. I just came by and heard yelling outside,

(03:13:52):
so I opened the door to see what was up.
Just then, Butch appeared and saw Helga had been let
back in. Then he put it to Brian, this ain't
none of your business, fat stuff. He looked back at
Helga and made a hideous face. You wanna fight, Come
and get me The ugly old bat. Helga turned and

(03:14:12):
went straight after Butch. As she was about to grab him,
the other two boys sprung out of their hiding places
and came together to make Helga trip over their backs
and hit the floor hard. Then the three troublesome boys
came together, pointed down at Helga and laughed. Brian Chunk
pushed right past them and went to help Helga up.

(03:14:35):
That was when the boys moved and jumped him from behind. However,
they had greatly underestimated Brian. Not only was he taller
than all of them, but he was also strong. True
he looked overweight on the account of loving to eat,
but he also exercised and lifted weights. Brian had no
problem getting the troublesome boys off of him before Butch

(03:14:58):
and his pals could come at Brian again. His friends
came to his aid when they saw Bill Chapman, they
knew they didn't want to tangle with him again. Miss Stanlan,
are you all right, missus Gibson asked when she finally
arrived on the scene. Brian Chunk and Mona Abels were
trying to help Helga up, but she shoved them away

(03:15:19):
when she was almost to her feet. She pointed right
at missus Gibson. That's the last straw I have had
it with these little brats, Miss Stanlan, we do not
call them that here at Missus Gibson started to say,
but they are. Every last one of these rotten children
here are just that rotten, especially those three little boys.

(03:15:42):
Then she heard the voice in her mind again. Come
back outside and pick me up, accept my power, and
you shall have your revenge. Helga marched to the front
door and opened it, not wanting to waste an opportunity,
but quickly moved up behind her and shoved her back outside.

(03:16:04):
Everybody could hear Helga fall down the front steps. Then
Butch closed the door and locked it. When Helga was
picking herself up off the snowy ground, she saw something
glowing nearby and went to it. She found and picked
up the snow globe. As before, the crampest figure's eyes

(03:16:25):
glowed brightly. As she looked into them. She could hear
the voice in her mind one more time. Those children
deserve to be punished. There are no good children in
that house. All you have to do is accept me
and invite me in use my power. Helga Stanlen, Yes,

(03:16:53):
Helga replied quickly yes. Then Helga's own eyes began to
glow brightly as she felt the incredible surge of energy
flowing from the snow globe and into her body. It
was then when she started to feel herself transforming. She
groaned with pain when her muscles started to burn as

(03:17:14):
they swelled, her bones began to grow, Her skin turned white,
and she was growing two very large horns out of
the top of her head. Gray fur was starting to form,
and her feet were transforming into hoofs. Her eyes were
now just as red as the figures in the snow
globe and were glowing. She looked at her hands and

(03:17:37):
saw they were now clawlike. When the transformation was complete,
she was still holding the snow globe. She moved to
a nearby tree and reached up to break off the
branch that she wanted. Then she put one end of
the branch to the bottom of the snow globe and

(03:17:57):
watched them fuse together to make her staff. Crampis turned
and looked at the home, Sweet Home Orphanage as a whole.

Speaker 2 (03:18:07):
Those naughty children shall pay for their sins soon enough,
But first Crampus raised the staff to the sky. Moments later,
wintery storm clouds came together fast. Soon the winds were
blowing hard and heavy snow was coming down fast. Crampis

(03:18:30):
knew that eventually traveling would be next to impossible.

Speaker 1 (03:18:34):
Everybody would be trapped inside the orphanage. She wanted to
burst through the front door, but she decided to wait
until everything was just right before she would make those
children pay for their sins. She wanted to take them
back to her layer and make them stay in her
many cages there forever and ever. You shall pay for

(03:19:00):
your sins as well, Emma Gibson. You've let those monsters
get away with everything for far too long. Then she
saw a car turning into the parking lot and knew
who it was immediately. Ah, seems the Mayor of Pendleton
has arrived. This night shall prove to be most interesting.

(03:19:25):
Get comfortable, Mayor, because you shall never be leaving. You
and everyone else shall soon belong to Crumpus. Part four
perspective Bailey downs. Missus Gibson has those three goobers sitting
down in the main living room. Listening to her. It

(03:19:47):
sounds like Butch, Joe and Stan have been nothing but trouble.
Joe and Stan both came here a month apart a
few years ago and seemed to be distant from everybody.
As soon as Butch came along, he ended up getting
with those two. Since then, he's been their fearless leader,
and together they've been causing all kinds of problems here.

(03:20:10):
Looking at them, they don't seem to have any remorse
for what they've done, especially to Miss Stanley. Yeah, they're
making their wicked little smiles. Go figure. They're probably around nine,
maybe ten or eleven, and they act like they run
the orphanage. When Missus Gibson emphasizes how they've driven many
potential parents away, she tells them she really doesn't know

(03:20:32):
how much longer she'll be able to keep them there,
can't hear you, old lady, Butch says, not listening, Joe
ads forget it, stand further ads. A moment later, an
important looking middle aged woman walks into the living room.
When Missus Gibson sees her, she points to the boys,

(03:20:54):
you three will stay right here and not move a
muscle whatever. Butch says defiantly, Who'll do whatever we want?
But when they try getting off the couch, Chunker, Mona
and Chapman are right there to make them reconsider. Those
goobers only scowl at my friends, but they can't really
do much to them, since they're bigger and stronger. The

(03:21:16):
important looking woman is definitely younger than any of the
staff women we've seen working here. She's about my mom's age.
In fact, I know her. Then I realize something. Hey
have you guys seen miss Barrett or Mouse? I ask?
Missus Gibson raises her finger. Oh dear, I'm so sorry.

(03:21:37):
I should have told you all. They just left here.
Miss Barrett went to Strickfield to pick up some things
and took your friend with her. The important looking woman
takes off her coat. I hope they'll be all right, Emma.
The weather just got really nasty all of the sudden.
Are you serious, Eloise, missus Gibson asked, It wasn't that

(03:21:58):
bad when I looked outside a while ago. When I
pulled in here, it was snowing really hard with heavy winds.
Eloise points to a nearby window. See for yourself. Missus
Gibson goes and looks outside. Oh my, She turns back
to Eloise. It wasn't supposed to be like this, The

(03:22:19):
news said. It was supposed to be a clear day.
I can't believe how dark it looks outside. You'd think
it was night and it's only going on one. She
sighs and turns around. Guess you can't always trust the weatherman.
Then Eloise looks at all of us. Are these your
helpers for today? Yes, missus Gibson answers cheerfully and introduces us.

(03:22:42):
Then she tells us kids, this is Mayor Eloise Parkhurst,
a huge supporter of Home, Sweet Home. She's been the
driving force behind us keeping our doors open. Indeed, Mayor
Parkhurst degrees, my husband and I have adopted and are
raising two children from here. Then she points to me

(03:23:02):
and I do remember you, Bailey? Come here. I go
to her so he can hug. It's nice to see
you again, I say. Indeed, she replies, you've really grown
since I last saw you the day you left here
with your new parents. When we finish our hug, Horton
goes and looks outside. Geez, you were right, Missus Gibson.

(03:23:25):
He turns to look at us. It really does look
like it's night outside. Mona hugs herself and shivers. Why
do I get the feeling things are gonna be bad?
I put my hand on Mona's shoulder. Hey, it's okay.
We're all here together. Only now I'm a little scared myself.

(03:23:47):
I hope Miss Barrett and Mouse make it back here safely.
Then Chunker turns and moves to the window to see
for himself. Aw man, how to become night all? A
sudden Horton shrugs. Your guess is as good as mine.
As Chunker turns back around, the window seemingly explodes right

(03:24:09):
behind him, and these two hideous claw like hands grab him.
Come to me, you little porker. Chunker screams and fights
to lean forward. Hell. Then he screams again. We scream
ourselves and quickly move to help Chunker. We grab hold
of him and pull back with our combined weight. There's

(03:24:31):
no use trying to help your friend. He belongs to Crampus.
Now I'll place him in my sack and take him
back to my lair with me. You shall be caged
up forever and ever. All of you shall soon belong
to Crampus. Chunker screams again, get your hands off me.

(03:24:52):
I ain't goin nowhere with you. Then Mona makes a
very bold move and slips him between that thing and Chunker.
Let him go, you ugly monster. She growls and kicks
that thing right in the face, making it finally let
go of Chunker. We all cry out and fall on
the floor. Snow and heavy winds are blowing into the orphanage.

(03:25:14):
Looking at those three goobers, they're not looking as cool
as they thought they were. When the thing reappears in
the broken out window. We're all screaming now. Then she
points to the three goobers on the couch. Just give
me those boys right there, and you may get to
enjoy your Christmas after all. What are you, missus, Gibson stammers,

(03:25:37):
Then she makes this weird look. Helga, is that you
the thing? Laughs?

Speaker 3 (03:25:46):
There is no more Helga Stanlen. Now there is only Crampus,
and I want those mischievous boys. You can either give
them to me, or I'll just have to come in
there and claim them myself. Why are you doing this, Helga,

(03:26:06):
missus Gibson demands. The goobers quickly stand up on the couch.
Then they move over the top and stand behind it.
Next thing we know, they turn and run away, screaming
because you refuse to punish them. Emma, how many times
have you let those brats practically get away with whatever
they wanted to here she raises her hand. Well, now

(03:26:30):
you don't have to do anything. Crampush shall do what
you were unwilling to do. Crampis laughs a long, horrible,
evil laugh before she comes in through the window. We
all scream again and scatter in different directions. Horton and
I run down one of the downstairs hallways into another
living room area. Hey, this place is big enough to

(03:26:52):
have three of them.

Speaker 1 (03:26:54):
Oh man, oh man, oh man, oh man, oh man,
oh man, oh man. Horton practically breathes out why things
like this keep happening? Before I can answer him, Crampis
is suddenly coming in behind us. She points at us
and says, your souls belong to Crampis now. Horton and
I both scream again and run into another hallway. It

(03:27:16):
seems like Crampis is practically floating after us. We both
have the same idea and start pulling stuff to the
floor to try making the monster stagger. You two naughties
might as well just jump into my sack. No way,
I yell, get away from us. We make our way
back around into the previous living room. When we get there,

(03:27:37):
I quickly grab a glass sculpture off of a table
and throw it at Crampus. She's got this devilish smile
on her face when she catches it and easily crumbles
it in her hands. Then Horton starts grabbing books off
the shelf and heaving a matter, what a shame. A
mind is a terrible thing to waste, she teases, knock

(03:28:00):
the books away. Suddenly someone comes running from out of
nowhere and tackles Crampis Chunker. Horton cries excitedly. He quickly
gets off the monster and comes to us. I can't
believe it just did that, run, I yell. The three
of us keep moving through the orphanage. Then we've only
got one choice available and do the one horror movie

(03:28:23):
thing you should never do. We head upstairs. It surprises
me how Chunker can keep up with us, being a
little on the portly side, and all we can hear
Crampis following us on up Help me, Chunker yells. At first,
I'm thinking he's in trouble. When I turn around, Horton's

(03:28:44):
moving to Chunker to help him push a big, heavy
shelf down the stairs. I quickly move to help them.
You really need to just stop. The demon groans. We
get the shelf to tumble down the stairs at Crampis,
it slams into her and makes her hit the wall
all hard. We turn and keep running. Where are we

(03:29:04):
going to run to? Up here? Horton yells, follow me.
I tell them I know my way around this place.
I lead Horton and Chunker down to the end of
this hallway so we can take a quick left and
keep moving. I would imagine since miss stanlin Is Crampis now,
she probably knows where we're heading. Still, we can't let
her just trap us up here. We make it to

(03:29:26):
the other stairway and start heading back down. Suddenly Crampis
is right there. We all scream and turn back around.
Face it. You'll never escape me, and believe me when
I say, no naughty escapes me. How are we naughty?
Chunker calls back, what did we do? None of you

(03:29:47):
are ever satisfied with anything you've been given, especially those
three rotten brats. You're trying to protect them, so that
makes you sinful and naughty. Then the absolute weirdest thing
happens when we reach the stairway we came up. Chunker
trips on a bunched up part of the hallway carpet

(03:30:08):
and is diving at the stairs in trying to stop Chunker.
I fall onto his back and we start sliding down
the stairs together. Then I feel skinny little Horton land
on top of me, and he's sliding with us as
a triple decker sandwich. We reach the bottom, separate and
quickly get up in time to see Crampis at the

(03:30:28):
top of the stairs and getting ready to jump. We
scream and run again, talk about needing that stroke of
luck again as Crampis lands on the floor hard and
falls right through it to land in the basement. Hey over,
hear you, guys. We turned to see Chapman called out
to us and motioning for us to come to the kitchen.

(03:30:51):
We turn down that hallway and move until we're all
in the kitchen. Missus Gibson, Mayor Parkhurst, and all the
other kids and our other two friends are all in there.
Chapman and Mona work to slide the big metal door shut.
Of course, I quickly say, realizing I should have remembered
this orphanage uses the kitchen as a tornado shelter. I

(03:31:13):
really have been away from here for too long. What
you want to come live here again? Mona cracks. I
laugh a little and gently slap her shoulder. Then I
noticed those three goobers ain't in here with us. Chapman
sees the look on my face. Yeah, they ended up
going into the pantry over there and locking it behind them.

(03:31:34):
They got most of the food in there and won't
open up. Mona walks to the door and punches and
kicks it. Open up, you stupid little goobers. No, you're
all stupid. Stan jeers from behind the door. Yeah, that
think you get all of you, butch Ads, we ain't
opening up. Chapman slams his fist into the door. Yeah, clearly,

(03:31:57):
you dummies ain't thinking things through. If if that monster
gets all of us, how long do you think it'll
be before she'll be coming right through this door to
get you, Especially when it's you three she wants, Horton adds.
Then we hear butch making mocking noises at us, kind
of like those squeakers tend to do if you run
into any when you're playing video games online. Now, a

(03:32:20):
little girl comes up to me and holds onto me.
I'm scared. I squat down to give her, a gentle hug. Hey,
I'm scared too, we all are, but we've got to
be strong if we're going to get through this. Chunker
asks Missus Gibson. Any ideas what we can do? She
gives Chunker a confused look. I can't believe any of

(03:32:43):
this is real. You and me both, Mayor Parkhurst tells her.
Mona turns to them. Yeah, be glad neither of you
live in Strickfield. This sort of thing tends to happen
all the time there. She looks at me. Now, I'd
rather have to deal with seeing Bloody Mary again then
face down Crampis. I nod quickly. At least Bloody Mary

(03:33:06):
only scared us. Then I'm looking around for Mouse and
the cook, And then remember, at least Mouse and Misbarrett
are safe. They won't be if they end up coming
back here, Horton says. Suddenly, we hear a huge thud
at the metal door. You really think this door will
keep Crampus out, foolish Mortals. All I want are those

(03:33:29):
three rotten little boys. Just give them to me and
I'll leave you here in peace. Yeah, like we're stupid
enough to believe that she was just chasing chunker Horton
in me, she's going to try and grab all of
us before she's through here. Then Mona states the obvious.
We got two choices here the way I see it.

(03:33:51):
One we either try and tough it out in here.
Two we gotta try and get out of here before
missus Gibson can say anything, raises her hand up in
front of her. I know, I know it's easier said
than done with that nasty weather out there. Thud, boom
bang crash. Then I have an idea. What about using

(03:34:15):
the bus outside? Even if we could get everybody there,
there's no guarantee the bus will start or that we'll
be able to get away. Missus Gibson counters, well, we
can't just stay here, Missus Gibson. Chapman states boldly, how
long do you think that door's gonna hold out? Okay, yeah,
we're between a rock and a hard place here, but

(03:34:36):
we gotta do something. Crash, boom, bang, slam h If
only mouse we're here to drive, Mona groans, Missus Gibson,
can you drive the bus? I ask her. When she's
still looking scared and confused, I slap her on the arm.
Missus Gibson snap out of it. She finally does and

(03:34:58):
looks right at me. I'm sorry, sorry, what Bailey? Can
you drive the bus if we can get it started?
I repeat, Oh, yes, yes I can. But how will
you get out there to start it? She returns. Horton
raises his finger. I think you just answered your own question, Lady.
Chapman steps up next to him. Horton's right, ma'am. You

(03:35:20):
got the keys. We can go out there and see
if we can fire it up. But what if miss Stanlin.
The five of us suddenly all have the same idea
and quickly point to the door, which is starting to
dent pretty good. Now. Oh yes, yes, missus Gibson's quick
to agree, I see what you mean. We would have
thought she would need to go to the office or something,

(03:35:41):
but it turns out there's a board next to the
sliding metal door with many key rings on it. She
suddenly takes the one she knows has the key for
the bus on it. There are two buses outside, Missus
Gibson says, handing me the keys. I nod once get
ready to open up. I'm going for it. Chunker comes
over to me. You ain't going there by yourself, Bailey,

(03:36:04):
I'm coming with you, me too. Mayor Parkhurst quickly says, Hugh,
kids can't drive the bus. Missus Gibson quickly agrees, Yes,
you go with them, Eloise. My place is here. I
need to be with the children. Mayor Parkhurst nods in agreement. Hey,
if mouse can drive, why can't we. Mona disagrees because

(03:36:27):
we don't play driving games religiously like mouse does I return? Okay,
Mayor Parkhurst, it's you, Chunker and me and me. Mona states,
you're my best friend, Bailey. No way I'm leaving you
like that. No way I'm arguing with Mona on this,
especially when I do the same thing for her. Mona
was the first real friend I made since leaving the

(03:36:49):
Home Sweet Home Orphanage and coming to Strickfield. As Bailey downs,
Mona and I have been through thick and thin with
each other, even before we came to meet Ariel mir
and Carter Cross and Madeline Honorly, it doesn't take me
long to remember we screamed through Bloody Mary together and
survived Abigail Tomlin this last Halloween. I quickly hug Mona.

(03:37:10):
She hugs me back. Then we look at each other
we're really doing this, Mona states. I nod quickly right.
Then I point to Chapman. Can you stand at the
back door? You got it, Bailey, He gestures around the kitchen.
But at least arm yourselves first, right, I repeat. We

(03:37:31):
each open drawers and grab something to take out with
us when we're ready. Chapman stands at the back door. Unfortunately,
our jackets are in the walk in coat closet near
the main living room, so we're going to have to
brave the blowing winds and snow wearing just the clothes
on our backs alone. I look at Mayor Parkhurst, Mona
and Chunker. You guys ready, Chunker scoffs, you kidding? How

(03:37:55):
would we be ready for crampis? Oh? Shut up? Mona
groans really scared. Chunker looks at Chapman. Open up, buddy.
Chapman nods once on three. He unlocks the door, makes
the count, then pulls hard. The blowing snow and wind
blast right into the kitchen, but the four of us
shoot right outside and are running for it. We hear

(03:38:17):
Chapman yelling for Horton and some of the other kids
to come and help him slide the door shut again.
It seems like a long long way to get to
the buses. It gets even longer when we hear Crampis's
horrible laughter echoing in the darkness. I can tell you
right now, I have never been as scared as I
am right now. We're all scared, but we gotta save

(03:38:41):
the orphanage. Also, I know I want to see my
adopted mom and dad again and have Christmas with them.
Part five. The four of us are powering our way
through the winds and snow. Chunker's leading the way, so
we just follow him. It's actually pretty easy to see
the bright colors on his Hawaiian shirt. I can't see anything,

(03:39:04):
Mayor Parkhurst says, I can. Chunker tells her we're almost there.
In the back of my mind, I keep hoping and
praying that Crampis isn't anticipating what we're doing. If she
shows up back here, we can plan on spending the
next several holiday seasons in some dark place where we'll
never see the light of day ever again. Bailey, give

(03:39:27):
me those keys, Chunker says. When we reach the bus here,
I hand them to him. He takes them and tries
to push open the bus door. Locked. Chunker works through
the key ring quickly, wouldn't you know it. It's gotta
be the last key that finally works. Chunker unlocks the
bus and pushes the door open. Once we're in, Mayor

(03:39:48):
Parkhurst closes the door. Chunker hands her the keys and again,
it's gotta be the last one, she uses. But the
Mayor slips the key in and turns it. As the
rest of us are crossing our fingers, the bus makes
a few weak cranks. Oh, come on, come on, Mayor
Parkhurst groans. The Mayor of Pendleton takes a deep breath

(03:40:09):
and turns the key one more time. It's another weak crank,
then it finally fires up. Yes, Mona shrieks, Yes, is
right Mona. Mayor Parkers degrees sharply. Okay, you kids, sit down.
We get this mobile fortress up by the door, Get
everybody on and get out of here. The Mayor puts

(03:40:29):
the bus in gear. At first, it seems like we're
spinning our tires on the snow covered parking lot, but
the bus does finally move along. Then we start cheering.
Mayor Parkers drives the bus towards the building, turning it.
When we're near the back door, she stops and opens
the bus doors. Chunker and I climb off the bus

(03:40:50):
and knock on the back door. Chapman opens up. Come on,
let's load up, Chunker tells him. Chapman glances over his shoulder.
We can get out of here. Let's go. But Horton's
kind of being a Debbie downer with good reason. We
still got those what did you call them, Bailey goobers.

(03:41:10):
I tell him. I march right inside and go right
to the locked pantry door. We're getting out of here,
you little goobers. I mean it. Crampis is almost in here.
Last chance you don't come. You can send us all
postcards from Crampis's layer each and every Christmas, of course,
butch has to talk in that stupid idiotic voice. Oh okay,

(03:41:33):
then his two friends are making their stupid idiotic noises again.
Chapman quickly taps my shoulder. We gotta go, Bailey. A
few more hits, and Crampis is coming in again. Those
idiots won't stop with their stupid noises. Okay, goobers, we're leaving.
I tell them one last time, goodbye forever. Chapman and

(03:41:54):
Horton and I are the last ones out Chapman and
I are just sliding the back door shut when Crampus
finally comes through the other one. She's really mad and
her eyes are glowing red hot. Come on, we gotta
get out of here, Chunker calls out. Suddenly, those little
goobers burst out of the pantry, screaming their brains out.

(03:42:14):
Guess they finally realized we weren't stooping to their level.
After all, they can't get out through the back door
and get on the bus fast enough. Crampis snarls and
points her staff with some snow globe on it at us.
You truly underestimate my power. I shall have those naughty boys.
I shall have you all. I barely comprehend things when

(03:42:35):
Crampis is almost on me. I shriek when I feel
myself being lifted off my feet and am draping over
Chapman's shoulder. He's literally carrying me in a fireman's carry
out the back door. Close it, Chunker, he yells. Chunker
quickly slides the back door shut. Then I feel Chapman
shaking me. Hey you okay, Bailey. I quickly look around

(03:42:58):
and see I'm on a very crowded bus. Mayor parkerst
is pulling away from the back door and driving across
the parking lot to get us to the road. I
look back at Chapman and nod quickly. Yeah, I'm okay,
I'm I'm sorry. I really thought cramp has had me.
That's how close she got. Thank you for saving me.

(03:43:18):
Chapman nods back. We're getting out of here. Go faster, stupid,
Butch tells the mayor. Chapman grabs him and plants him
in a seat. Fact check. The roads are dangerous out
here right now. One wrong move and we'll turn onto
our side. Where would we go then again? Butch makes
with the dorky noises. He quickly shuts up when Chapman

(03:43:39):
gives him a mean look. At last, Mayor Parkers pulls
out onto the road. Then I remember I have my
smartphone and pull it out. Ah no, I mutter, no signal.
The storm must have knocked out the cell towers. I
can't text Mouse and Warner to stay away from the orphanage. Suddenly,
Horton's got this weird look on his face. What the

(03:44:03):
He scurries to the back of the bus and looks
out the window. Uh, guys, we have a huge problem.
The other kids who see what Horton's seeing are screaming. Now.
Mona quickly comes up behind him. Then she turns to
look our way. He's right. Crampis has a sleigh and
some zombie looking reindeer pulling it. I can't drive any faster,

(03:44:25):
Mayor Parkhurst groans, I'm barely keeping this bus on the
road as it is. When the goobers start doing their
stupid stuff again, I quickly say maybe we should take
these three and throw them out the back. I'll bet
Crampis would finally leave us alone. That definitely shut those
goobers up, and I mean fast. This road ends up ahead,

(03:44:47):
eluise missus. Gibson mourns her. You'll have to turn the bus.
I'm aware of that, Emma. The mayor quickly replies, hang on.
When we reach the intersection where this road ends, Mayor
parkers to try and turn. Unfortunately, the roads are too
snow covered for her to make the turn at the
speed she's driving. We end up going through the intersection

(03:45:08):
and over the curb. The Mayor hits the gas and
drives right across the open area. Do you know where
you're going? I ask her. Little lady I'm the mayor
of Pendleton, she replies, I know this village like I
know my own house. Don't worry, I don't plan on
getting us caught. You want to get back to your
parents in Strickfield, and I want to get back to

(03:45:29):
my husband and my kids. Hang on, look, Chunker yells,
pointing straight ahead. The mayor gasps when Crampis's sleigh and
zombie reindeer pull across the way to block us. The
Mayor's still keeping her lead foot on the gas I
get it. Trying to stop the bus might cause us
to turn sharply and make us flip onto one side.

(03:45:49):
On the other hand, Crampis is going to have to
move or be moved or not. Crampis hops off the
sleigh and quickly stops the bus dead in its track.
Before any of us can think of what to do next,
Crampis pulls off the hood like it's a cardboard top.
Then she reaches in and rips the huge motor clean

(03:46:09):
out so she can toss it over her shoulder like
an empty soda can. End of the road. Everybody out,
Crampis jeers. She walks to the bus doors and rips
them off. She looks in and points right at Butch.
You belong to me, you little naughty. Then Crampis sees
the bus as getting more and more empty, turns out.

(03:46:30):
Horton open the emergency door in the back is Mona
and missus Gibson got everybody to go out. Now all
the kids are running for their lives. No, I shall
not be robbed of my prizes, Crampis declares. Suddenly, Crampis
drops her staff and walks to tip the bus onto
its left side. I have a gut feeling about that staff.

(03:46:51):
Without even thinking of whatever repercussions may result, I dive
right out of the bus entrance and hit the snow.
Then I get up and grab Crampis's staff. I just
turn in a direction and run for all I'm worth,
you dare. Crampis roars so loudly that the force actually
knocks me down. I quickly get back up, still holding

(03:47:13):
the staff. You want those goobers or me, Crampis. Crampis
comes after me. Now give me my staff, you little
naughty I shall have your soul for this. Bailey downs.
I'm still holding onto the staff. When I turn and
run again, I hear Crampis roaring behind me. The next
thing I know, I get clipped and I'm being shoved

(03:47:34):
into the snow face first. Crampis is incredibly strong as
she holds me down while trying to take her staff back.
Let go, she demands. No, I yell back. Suddenly Crampis
lifts me right off the ground and slams me onto
my back. I groan when I feel the wind get
knocked out of me. I can't move. Just as Crampis

(03:47:56):
grabs her staff, she gets taken down for the second
time today by Chunker. He quickly gets off her and
grabs the staff. Then I feel Chapman lifting me up
into a fireman's carry. Let's go, Chunker. Chapman yells, I'm going.
I'm going. He yells back. Chapman's running with me like
I'm a pillow. I know he works out like Chunker,

(03:48:16):
but he doesn't look as strong as Carter Cross. Yeah,
I ain't complaining. He got me far away from Crampis. Man.
It's really freezing out here. I hear Chunker groan. You
think Chapman returns, Just keep running, You're gonna be okay, Bailey.
Then I'm starting to feel I can move again as
I'm getting my wind back. The guys managed to make

(03:48:39):
it to a nearby building and move by the loading docks.
You can put me down now, Chapman, I tell him,
I'm okay. Chapman, does you sure you're okay? I nod, yeah,
I'm fine. Now what do we do with this thing?
Chunker asked me. You went after it for a reason, Bailey,

(03:49:00):
Chapman gets it. I'm thinking without this, Crampis doesn't have
any power. You're right, Chapman, that is what I think.
I agree. Crampis'll come for us before she goes after
the others, even those goobers. Suddenly, Crampis drops right down
in front of us. I'll take that now. I leap
at Crampis and let her catch me. Run, Chunker, run.

(03:49:23):
Chapman and Chunker both turn and run. I hold on
to Crampis's face, hoping to blind her so she can't
see where the guys ran off to. Crampis eventually proves
too strong and grabs hold of me. She lifts me
high into the air and throws me really far. I
land on snowy ground and feel the wind get knocked
out of me again. No, I can't move, but I

(03:49:47):
groan and grit my teeth. I won't let Crampis win.
I push to sit up with all the determination I
can muster. Then I feel myself finally sitting up. I
use more will power and force myself to get to
my feet. I fall to my knees, but I force
myself to stand again. I can only manage short trots

(03:50:10):
as I'm trying to run. Before long, I have my
wind back again, and I run to find Crampis. When
I get back to the loading docks, I see the
cloven hoof prints and know where to follow. Soon I
see she's caught up to Chunker and Chapman. She's about
to take the staff away from Chunker when I run
to them and snatch it up myself. Na, Na can't

(03:50:34):
catch me. I jeer at Crampis. I know I can't
outrun that monster. If she easily caught up to me first,
then the guys she'll catch up to me again. I
have one last ditch idea I can try. I'm scared
for my life, but I'm also determined. I never forgot
what happened on Halloween night when Bloody Mary showed up

(03:50:55):
to save us from Abigail Tomlin. Just seeing that it
made me want to be a better person. I stop
trying to be more like Ariel. I've been trying so
hard to be nice to others. Well, now's my big
chance to really do some good. I can keep Crampis
here with me and make sure she doesn't get the others.

(03:51:17):
What do you think you're doing? Child? Give me back
my staff, or I shall rip it from your hands,
along with your very soul. I tighten my hands on
the staff. You can't have it. Really, all of this
because of three rotten little kids who don't know any better.
Give me a break. We've all done stupid things in

(03:51:38):
our lives. I know I have, you know what. I
may be doing something really stupid right now, but I'm
doing it. I feel my anger. Now you ain't getting
this staff back, Helga. Crampis roars at me and knocks
me down again. Then I feel myself being lifted up
along with the staff. Now I'm looking Crampis right in

(03:51:59):
the face as I'm hanging off the staff like a
pull bar at a gym. You are mine, Bailey Downs.
You shall never return to your family again. I growl
with anger and determination as I hold onto the staff
and push my feet to kick off her stomach. Then
I come back into her while still holding the staff

(03:52:19):
and give her a kick real hard in the gut.
She's momentarily stunned, but she drops me and the staff.
I pick myself up and hold onto that staff tight.
Crampis comes for me again, but I lash out and
hit her with the snow globe. I can't believe how
fast Crampis goes down. Chapman and I were on the
same page. This snow globe is the source of Crampis's power.

(03:52:44):
Without it, she can be beaten. When Crampis gets up again,
I step up to bat and swing. I connect with
Crampis again and knock her down fast. As she's getting
back up, Chunker tackles her one more time. He gets
up and gets away from her. When Crampis gets up again,
this time Chapman tackles her. I know we can't just

(03:53:05):
keep hitting her. Then I have an idea. I move
to the side of the building and swing the snow
globe to try and shatter it. I swing with all
my strength again and again, but the globe just will
not shatter. I scream at the top of my lungs
and hit the building one more time. Yes, okay, I

(03:53:27):
still couldn't shatter the snow globe, but I made it
come off the wooden staff. I quickly pick it up. Think, Bailey,
Think what can I do to stop crampis? Okay? What
would mouse do? Of course, I'll just think outside the
box here, and then I have an idea. I turn
the snow globe and look at the Crampis figure sitting

(03:53:49):
on its throne. Its eyes are glowing red hot. Take me,
I tell it. I'll give myself to save the others.
Take me. I know I'm flawed. I know I've been
a bad person and was mean to others at school,
but I've been trying to do right. Take me. Take
my soul if you've gotta have one, But I'm begging

(03:54:10):
you to let the others go. Suddenly, the snow globe
begins to glow brightly. Take me. I hold onto the
globe tightly as the light illuminates the entire area. Suddenly,
the very bright light is all I can see. I
don't know where I am now, but I still won't

(03:54:32):
let go of the Crampis snow glow. I can even
feel the light shooting out of my own eyes. Take me,
I say weekly, and then the light dims and slowly
turns to darkness. If this is truly the end for me,
then I pray that if there is a higher power

(03:54:54):
I have to answer to that I'll be judged fairly.
I gave it my best shot in life. I just
hope and pray beyond all hope that the others are saved.
Epilogue perspective. Bailey downs Mouse can't believe the story I'm

(03:55:21):
telling everybody. As she's driving us back to Strickfield. Wow,
you really met up with crampis? She gawks. She's telling
the truth. Mattie Horton says, backing me up. Yeah, why
would we lie about something like that? Chunker ads never

(03:55:41):
said you guys did? Mouse replies, And I wouldn't call
you a liar, Bailey. Not after our meeting up with
Abigail Tomlin on Halloween and Bloody Mary back in September
at Ariel Mirrn's sleepover, Mona adds I finished the story
with a little help from Chapman and Chunker. Turns out,
after I passed out, the disastrous winter weather suddenly just

(03:56:05):
stop dead. When Mayor Parkhurst and missus Gibson found us,
they found me unconscious with the crampist snow globe in
my hands. Not too far away, they found Helga Stanlein
back to normal and lying in the snow. Mayor Parkhurst
took care of everything since cell signal was miraculously restored.

(03:56:28):
Only thing I can figure was that Crampis got pulled
out of Helga and back into the snow globe. Also,
the night that happened during the afternoon ended up becoming
daylight again. We ended up getting the orphanage cleaned up
and still having the Christmas celebration. It was a little late,
but better late than never. As for the three Goobers,

(03:56:52):
they were given a choice. Either they could help clean
up or they could be shipped off to another orphanage.
Both Mayor Parkhurst and Missus Gibson put their feet down
on them. The Goobers realized they had it better at
Home Sweet Home and helped clean up. And you know what,

(03:57:13):
they actually did a good job. They were even good
boys when potential parents came to Home Sweet Home looking
to adopt, Butch's little gang may end up being broken up.
Both Joe and stan are likely going to be adopted.
I think the two of them know they're better off
having parents and a real home than staying in the

(03:57:35):
orphanage system. Don't get me wrong, Home Sweet Home wasn't
a bad place to be again. I was glad I
had a roof over my head, good food to eat,
and people who really cared about us. Deep down, I'm
very thankful for the man and woman who came to
Home Sweet Home and adopted me. I'm hoping Joe and

(03:57:58):
stan will think so too when they go to their
new homes with their new parents. And here's the really
messed up part about all of this. That Crampis snow
globe just disappeared. We looked all over the Orphanage for it,
but it was nowhere to be found. We had to

(03:58:18):
give it up for lost and head back to Strickfield
without it. This Saturday turned out to be quite the eventful.
One mouse ended up missing out on Crampis, but it
was for the best. I tried and tried to remember
what I could before I passed out, but there wasn't
anything else. Like I said, I was found and brought

(03:58:41):
back to the Orphanage. I was revived and everything was
back to normal again. As for Helga Stanlan, she was
fired from the Orphanage, she was told on no uncertain
terms by Missus Gibson to pack up and leave. Helga
didn't need to be told twice. What's more, those goobers

(03:59:02):
even tried to apologize to her for what they did,
but she wouldn't even acknowledge them. He got to hand
it to him, though. They tried to make things right,
but Helga wasn't going to be redeemed. On a much
brighter note, nobody got hurt or killed. When it came
to the big celebration dinner, Miss Barrett and Mouse prepared.

(03:59:25):
It was definitely a nice turkey dinner with all the trimmings.
I don't think we're going to want to eat anything
until tomorrow, even Chunker ate good. Turns out, Miss Barrett
and Mouse went all the way to Denoyer's grill to
get dessert pies, including Chunker's favorite sweet potato pie. The
truck that was supposed to deliver the dessert pies to

(03:59:46):
the Orphanage broke down coming from North Ridgeway, so Miss
Barrett took Mouse and made their emergency run to Denoyer's
grill back in Strickfield go figure. To end the day,
Mouse would get us back to Strickfield just fine. I
can't believe how well she can drive, for all of
us being in seventh grade. She even managed to put

(04:00:07):
the suv right back where it was. From there, we
got out and set our goodbyes before parting ways. Of course,
I thanked Mouse again and told her I owed her
one again. Mouse just waved me off. Nah, we're good, Bailey.
We did it for a good cause. See you at

(04:00:28):
school on Monday. Yeah, have a good one, Mouse, Thanks again.
Mom and Dad eventually came home. They never did find
out about our little adventure with the suv. I hated
to do it, but I told them a little white
lie and said Mona and I took an uber and

(04:00:49):
that was the end of that. We went through our
final week of school before we went on Christmas vacation.
Then we ended up having another adventure just before Christmas Day. Horton, Chapman,
and Chunker weren't part of this one, but let's just
say it was another one where we barely made it
by the skins of our teeth. Of all the things

(04:01:12):
that could come and cause trouble for us, it was
an old school VR video game console that was possessed
by some really advanced code that came to life, and
that's all I'm going to say.

Speaker 3 (04:01:24):
On that.

Speaker 1 (04:01:26):
Christmas Day finally came, I would have a wonderful dinner
with the man and woman who adopted me, whom I
gladly call Mom and Dad. I've been told by my
friends that our home is a small one, but Mom
and Dad made more than enough room for me. I
excused myself from the table and went to my room

(04:01:46):
for a little bit. I felt so emotional about my
life and my adoptive parents. I cried for a little while.
I've been trying to be the best daughter to my
adoptive parents that I can be. Believe me when I
say say, I'm very thankful for everything I have. That
was the biggest lesson I took away from the Home

(04:02:07):
Sweet Home, Orphanage then and now. I finished crying for
joy and returned to the table. After dinner, we sat
down in the living room and watched some Hallmark Christmas
movies on TV. Later on, Mona came over and we
hung out. My parents never care that Mona comes over.

(04:02:28):
I'm also very thankful for Mona. Like I said, she
was my first real friend that I made since being Bailey. Downs.
Mom and Dad got me wonderful presents like they always do.
But Mona and my parents continue to be the very
best gifts that keep on giving. I know I'll always
have my parents, but when it comes to Mona, I

(04:02:51):
truly hope we never lose touch with one another, even
when we move into adulthood and go our separate ways
overthinking things, ain't I No, I better stick to the
here and now. Mona and I are lying on my
bed and watching a few Christmas horror movies together and
guess what, right, we're actually watching Crampus. Yeah, I know,

(04:03:16):
call us crazy. Afterwards, we watch a Christmas horror story again.
I already told you we watched this one at one
of Ariel's Friday night sleepovers earlier this month, but Mona
and I wanted to see it again. Like I said,
it's one of the few horror movies where the town
is the same name as mine, and this one does
have a few stories about Crampus in it. Even though

(04:03:38):
we went through that horrible ordeal with the real thing,
we're still here and doing the things we love with
each other. When it comes to the Home, Sweet Home orphanage,
I actually found myself missing that place. When we left,
Missus Gibson and Mayor Parkhurst both asked us if we'd
consider coming back next holiday season to help out for

(04:03:59):
their big celebration. We all promised we would. Mouse said
she'd even drive us to Pendleton again as long as
we could get a hold of another car. I really
am happy and thankful for everyone and everything in my life.
I love Halloween and Christmas just the same, and always
look forward to celebrating them both, even if we've got

(04:04:20):
ghosts and demons chasing us down. Speaking of which I
have the feeling this won't be the last time we're
going to be dealing with such things. Mona and I
are going to finish Christmas together, enjoy the rest of
our holiday break with the rest of our circle of friends,
and then return to school. And you just know we're

(04:04:41):
going to be heading into some other wild adventures down
the road. In other words, we're going to be back
again in the meantime. Merry Christmas. And that is three
holiday horror novella's Down My Spookies, Three big heavy gifts,

(04:05:07):
ripped open and scattered across the snow. If you made
it to the end, congratulations you survive. The marathon. Your
reward is sleep, or at least the idea of it.
But before you go, the holidays love a grand finale.

(04:05:31):
They love one last surprise, one last package under the
tree that you swear wasn't there an hour ago. So
if you check the weekly spooky Feed tomorrow and Monday
and Tuesday and Wednesday, you'll find something new and scary

(04:05:52):
to enjoy. Don't overthink it, just unwrap it, and no
one thing this holiday season. Some gifts are meant to
be opened, and some gifts open you. Merry Christmas, my spookies.
Keep the lights on unless you don't want to.

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