November 5, 2025 • 41 mins
Werewolf horror collides with hunting gone wrong in a full-moon revenge tale that turns a quiet farmhouse into a home-invasion nightmare. Two friends take a shot in the dark woods and trigger a relentless payback—amber eyes at the window, claws at the door, and a family debt that must be paid before dawn.
Expect cinematic suspense, survival horror, and a sharp morality play about guilt, guns, and what stalks the tree line when the moon is high. This Weekly Spooky horror podcast episode delivers a tightly wound scary short story with werewolves, transformation, and folklore-tinged terror—perfect for fans of audio horror and creature features. Follow, rate, and share to keep the fear flowing—new nightmares every week on Weekly Spooky.
Gone Hunting — by Morgan Moore
Support the show AND get delicious coffee for a creepy night in at 25% off using code “SPOOKY”https://savorista.com/discount/SPOOKY
🎧 LISTEN NOW and subscribe for spine-tingling horror stories every week!
🎉 Unlock exclusive bonus episodes and support the show on Patreon!
👉 WeeklySpooky.com/Join
📬 Contact Us / Submit Your Horror Story!
🎵 Music by Ray Mattis 👉 Check out Ray’s incredible work here !
👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
🌐 Explore more terrifying tales at: WeeklySpooky.com
Expect cinematic suspense, survival horror, and a sharp morality play about guilt, guns, and what stalks the tree line when the moon is high. This Weekly Spooky horror podcast episode delivers a tightly wound scary short story with werewolves, transformation, and folklore-tinged terror—perfect for fans of audio horror and creature features. Follow, rate, and share to keep the fear flowing—new nightmares every week on Weekly Spooky.
Gone Hunting — by Morgan Moore
Support the show AND get delicious coffee for a creepy night in at 25% off using code “SPOOKY”https://savorista.com/discount/SPOOKY
🎧 LISTEN NOW and subscribe for spine-tingling horror stories every week!
🎉 Unlock exclusive bonus episodes and support the show on Patreon!
👉 WeeklySpooky.com/Join
📬 Contact Us / Submit Your Horror Story!
- Twitter: @WeeklySpooky
- Facebook: facebook.com/WeeklySpooky
- Email: WeeklySpooky@gmail.com
🎵 Music by Ray Mattis 👉 Check out Ray’s incredible work here !
👨💼 Executive Producers: Rob Fields, Bobbletopia.com
🎥 Produced by: Daniel Wilder
🌐 Explore more terrifying tales at: WeeklySpooky.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
A crack of gunfire splits the trees, something falls, something
that was a wolf and then it wasn't. By nightfall,
there's a knock at the door, a father asking for
(00:20):
his boy back. The moon is full and the woods
are listening.
Speaker 2 (00:26):
What's that You want to be scared to? Come with me.
You will experience tales over overall ghosts, and it is
not recommended for the weeded heart listeners. In the dark
(00:55):
park is more funny than Way Way Way. This is
Weekly Spooking.
Speaker 1 (01:09):
Hello, my Spookyes, it's Wednesday, and you know what that means.
It's time for a little spooky in your weekly I'm
your host and narrator, Enrique Kuto, and I hope you're
not experiencing too much of the post Halloween blues because
(01:30):
I'm here to make sure the Halloween spirit haunts us
all year long. And tonight we have a very hair
raising story to make sure you feel afraid to go
back into the woods. But before we get to that,
I want to say thank you all so much for
(01:51):
spending your October with me. It was an incredible experience
publishing thirty one shows in thirty one days. You may
have noticed that yesterday there was a brand new show
on the Weekly Spooky Feed. It's called This Week in
Horror History, and we'll be publishing it every Tuesday to
(02:12):
celebrate the history of horror movies, books, TV shows, video games,
as well as the people who create them. So make
sure you're subscribed on your favorite podcasting app, and while
you're at it, leave us a five star rating if
you haven't already, and a special thank you to save
Arista Coffee for supporting the program. They feature bold and
(02:37):
flavorful coffee in half calf and dcalf, but without sacrificing
flavor or complexity. If you head to Saveorista dot com
and use promo code Spooky at checkout, you get twenty
five percent off your order and it supports Weekly Spooky directly.
That's Saveorista dot Com promo code spooky. But now, as
(03:02):
for tonight, imagine the woods after sundown, where every branch
looks like a claw and every shadow breathes. Two hunters
take their shot, only to learn they weren't the only
predators in the wilderness. What if the thing you wounded
(03:24):
could wear a child's face. What if his family could
find your home and your child before dawn gone hunting
by Morgan Moore. The sounds of repeated cracks pierced through
(03:48):
the area. You hit it, RJ exclaimed emphatically. Mitchell McCormick
grinned as he looked at his friend. The sounds had
come from his rifle. Mitchell and R Jay were out
hunting and the day had been rather lackluster. It was
(04:09):
near twilight and they were close to leaving their hiding
spot when RJ spotted movement in the distance. It was
unclear what kind of animal it was, but it was
worth a shot. Mitchell had tracked the movement through his
scope while R Jay tried to follow more closely with
(04:31):
his binoculars. It had been a hard prize to track,
even with both of their eyes on it. Whatever it
was had moved quickly, almost inhumanly fast. What finally gave
it away was a small glimpse of fur. It wasn't much,
(04:52):
but it was all Mitchell needed. After all, hunting was
his family's pastime and he had learned it at an
early age. Let's go claim our prize, Mitchell said, and
the two hunters descended from their perch and headed towards
their kill. The two men approached the spot where they
(05:15):
determined the animal had been shot. To their surprise, it
wasn't there. Instead, they found a trail of blood. Must
have had enough strength left to try and escape. RJ said,
try is the key word. If those shots didn't get it,
(05:36):
the next one will, Mitchell said, as he playfully held
up his rifle. RJ chuckled. The duo headed down the
path of blood stained earth, with the amount of red
growing in volume. As they moved on, Mitchell noticed that
not only did the amount increase, but the way it
(05:59):
was lying on the ground became more and more sporadic.
Whatever he had hit must have in its escape thrashed
around on the ground. More than likely, he hadn't hit
any vital organs, and the animal was in agonizing pain.
(06:20):
It wouldn't have to suffer much longer, though, he thought
to himself. Their path soon came to an end, and
what they saw caught them off guard. It was not
at all what they had expected to find. What was
lying on the ground, quivering and writhing in pain was
(06:43):
and in human sight, but also human. Dear God, RJ began,
before stopping to vomit. God has nothing to do with this,
Mitchell continued. Prey was something that looked like an average wolf,
(07:04):
which wouldn't be too out of place. After all, the
hunting grounds were located in a forest, which made it
plausible that a wolf could wander in and become a trophy.
But this dying beast was not an average wolf. While
it had wolf like features, it was also clearly something
(07:28):
akin to a human, and it was becoming more so
as the seconds passed. R J and Mitchell watched in
disgusted horror as the creature morphed into a more human shape,
a smaller shape. What lay before them now was a
(07:51):
child of no more than ten years old, whimpering, naked
and bleeding out What the actual hell is that? R
J exclaimed, I couldn't tell you, Mitchell responded hoarsely, how
does what I? R J couldn't find the words. Mitchell
(08:18):
just stared at the sight before him. The child continued
to whimper. Mitchell gulped hard and turned his head away.
R J looked at him, eyes wide in disbelief, knowing
what was coming cracks. The whimpering stopped. Let's get this
(08:43):
to the truck. We can handle it when we get
back to my place, Mitchell instructed coldly, He slung the
strap of his rifle over his shoulder and approached the body.
R Jay moved and took hold of the feet, Mitchell
taking hold under the arms. They hoisted it up and
(09:05):
carried it to Mitchell's truck, throwing it in the bed
with their gear. Mitchell then took a tarp he had
lying in the corner of the bed and draped it
over the body. The pair got in the pickup and
drove off, leaving the hunting grounds behind them in a
(09:25):
cloud of dust. An hour later, Mitchell pulled into his driveway.
R J and he looked around the area before getting
out of the truck and picking up the body. Cautiously.
They carried it into a shed and laid it on
the ground. What now, r J asked, solemnly. We leave
(09:52):
it here for now we go in have dinner, and
when Jude and Sam go to sleep, we bury. Mitchell explained,
bury it where RJ questioned, anywhere worry about it later,
Mitchell said, Before leaving the shed, RJ looked at the
(10:15):
tarp covered body and then followed his friend out. The
sun was only a soft pink glow as the mccormicks
and r J sat down at the dinner table, Mitchell
ate his food slowly and quietly, only speaking when his wife, Jude,
(10:41):
asked him the occasional question. RJ picked at his food,
the image of the dead boy still fresh in his mind.
His stomach reacted in disgust. Jude began to notice as
dinner went on. Everything all right, Jude asked, Oh, yeah,
(11:04):
just kinda not all that hungry, I guess, r J said,
with barely any thought or attachment to the conversation. Is
something wrong. I've never seen you barely eat, especially when
it's something I make, She said, don't mind him. He
(11:26):
fell into a deer while we were out, Mitchell explained.
He glanced at RJ to keep him in line. Yeah,
I fell into some deer that had been eaten away.
Had to wash up at a pond nearby, RJ added.
Sam the mccormicks four year old pushed his face into
(11:50):
his plate. When he brought his head back up, it
was covered in the group's dinner. Fell like that, he asked.
The adults laughed at the child, Yeah, something like that,
RJ told the tike, his spirits rising a little for
(12:11):
the moment. Their laughter was interrupted by a thunderous knock
at the door. The table went quiet as they listened,
the knock coming in intervals of five. R J turned
(12:33):
to look at Mitchell. Mitchell sat there quietly and sternly.
The knocking continued. Well, since nobody else wants to get it,
Jude finally said, breaking the silence, Jude leaves the table
and heads to the front door in the other room.
(12:56):
From their seats, Mitchell and RJ hear her open the
door and speak with whoever is there. Their words were
too quiet to hear, but the voice Jude spoke to
was clearly masculine. Mitchell, somebody wants to see you, she
called from the other room. Who is it, he asked,
(13:21):
A mister Holloway. He says it's something hunting related, Jude replied.
Mitchell and r J looked at each other. The duo
slowly stood up from their seats and made their way
to the living room. When they reached the door, Jude
left them standing. There was a tall, muscular man, dressed
(13:46):
as if he had just walked out of a classic Western.
His skin was tanned and his features were dark the eyes, though,
Something about his eyes made the two men feel like
they were being set ablaze. May I help you, Mitchell
(14:06):
asked the man. Indeed, my name is Thomas. Earlier today
you two were out hunting. You shot something you shouldn't have,
Thomas explained. And just what would that be? Mitchell questioned,
My boy, Thomas said bluntly. The two men look at
(14:30):
their visitor. Mitchell stands cool and collected, and he shock
that he had was well hidden. R J, however, was
struggling to keep it together. Thoughts of what might happen
played out in his head. Sweat flowed from his pores,
and his body began to shake. He looked over at
(14:54):
Mitchell and found him staring back. Disgusted, RJ's eyes drifted
to the stranger he was staring him down. Don't pay
any attention to my friend here. He's got a stomach bug,
Mitchell explained. Thomas scoffed at the explanation. Is that so, yeah,
(15:19):
had a bad burrito off a food truck earlier? RJ
stammered out. Sure. Back to the matter at hand, my
boy give him back, Thomas commands. Now, exactly why do
you think we have him? Mitchell asked. Thomas stepped up
(15:41):
into Mitchell and RJ's faces. Look, I know what you did.
You shot my boy dead, then you brought him back
here and hit him. This is your last chance to
do the right thing. Give me my son or else.
His words were direct and filled with threatening menace. R
(16:05):
J felt himself shrink at them, and found that he
was no longer filled with anxiety about being found out,
but instead with fear of what this man was going
to do. The complete opposite of him was Mitchell. He
smirked a little and stared down at Thomas. You don't
(16:28):
scare me. You have nothing anyway. If you did, you
would have brought the police with you. But by all means,
keep threatening me, my friend and my family. I have
your boy. You say you think I have his dead
little body hidden somewhere, then by all means look for it.
(16:48):
He won't find anything, and then I'll have you arrested
for harassment. Better yet, I'll shoot you dead for your threats,
and everybody will say I simply stood my ground your call.
The two men continued staring each other down, neither wanting
(17:08):
to give an inch. R J stood there watching as
the two carried on, waiting and praying that someone, something,
would put an end to this. He got his wish daddy,
can we play? Sam ran up to his father and
(17:31):
locked his arms around Mitchell's legs. The child then looked
up at Thomas, the stranger staring down at him. Mitchell
looked from his son to the man who was threatening
himself and his family. Who are you, Sam asked a friend.
(17:53):
Thomas replied he looked over his shoulder and watched as
the son started to see. Just remember you had your
chance with that. Thomas turned around and left. Daddy. Sam asked, Yeah, Samo,
(18:16):
we'll play. I'll meet you out back, Mitchell told him.
Sam ran off, squealing in delight. Mitchell closes the front
door and turns to look at RJ. What are we
going to do? He asked. You're going to stay here
(18:36):
tonight and we're gonna wait for this asshole to show up,
Mitchell explained. Crickets chirped as night drifted along. Inside the
McCormick's living room, sat Mitchell and RJ, each with a
(18:57):
cup of coffee and ale. After their visitor had left,
the duo took care of the body, burying it far
out in a field behind the McCormick's house. They planned
to simply wait and see if Thomas would show up
and make good on his threat. If he did, Mitchell
(19:22):
planned on dealing with it. RJ, though, was uneasy about
the whole thing. To him, they should have simply confessed
their crime to haul away, and whatever would happen would
simply happen. But Mitchell wouldn't allow it. He wanted the thing,
(19:45):
the situation, everything to be buried and long gone so
everyone could move on. R J knew Mitchell would easily
get on with life. He wouldn't, though the sight he
saw earlier in the day would stay with him forever.
(20:08):
RJ couldn't get the image of the boy, the thing
out of his head. He never would. Guilt flowed through him,
and as the night went on, he felt an overwhelming
desire to either run or turn the rifle on himself.
(20:29):
He felt disgusted with what they had done and told
himself that when he went home, his friendship with Mitchell,
his association with the mccormicks were done. A wall clock
ticked away, and r J found himself looking at it.
Its hands told him that it was half past one
(20:52):
in the morning. Sunrise was still a while off, and
he hoped that that might be the end of the situation.
Whether or not Holloway would come back, he decided would
not be his problem. Once morning came and he was
able to distance himself from Mitchell. Are you awake, Mitchell
(21:15):
asked his friend, catching him staring at the clock in
a trance. Yeah, just see in what time it is.
RJ replied, you better not fall asleep. His friend said,
Mitchell wasn't just telling him, he was commanding him Mitchell,
(21:37):
r J said, Yeah, what are you going to do
if he doesn't come tonight? Forget about the whole thing
and move on. What I mean is, how do you
know if he doesn't come tonight that he won't keep
it up? He could try to start something whenever or
(22:00):
wherever I'll be ready, Mitchell responded coldly. RJ sighed, is
it really going to be that simple? Though? We don't
even know? He stopped midward as a cry tore through
the house. The two men stood up. R J wanted
(22:22):
to ask where it came from, but had no chance
before Mitchell raced out of the living room and was
bee lining to the stairs. R J followed after him
and did so until the duo were in Sam's room.
The window was smashed open and Sam's bed was empty,
(22:46):
with his blanket and sheets thrown about. Jude came running
up behind them and pushed her way into the room.
At the sight of the empty bed and smashed window,
her face twisted into horror and her knees shook until
they gave out. The distraught mother fell, unable to scream
(23:11):
for how terrible the situation was. R Jay went to
lay a hand on Jude's shoulder to try and comfort her,
but was whisked away by Mitchell, the latter dragging the
former back down the stairs and out the front door.
Where are we going? R Jay asked after them. Mitchell replied,
(23:36):
and while tempted to question who exactly they were, r
J knew he meant Holloway and Sam. The two stopped
once outside and listened for any sign of where to
go next. Their answer came from a scream, and in
(23:57):
an instant, Mitchell was sprinting off behind the house and
into the countryside. R J looked to his friend and
then to the truck they used earlier in the day.
Two thoughts entered his head. Take the truck and get
the hell out, or use it to cover more ground.
(24:20):
As much as he wanted to leave, Mitchell and distance
himself from the whole affair. It was Sam who was
in danger, Little Samo, whom r Jay had known since
he was born and was a surrogate uncle too. He
returned to the house and got the keys to the truck,
(24:41):
then raced like a madman to it. Inside he turned
the key and brought the vehicle to life, before speeding
off into the darkness of the country. Mitchell charged through
(25:01):
the country in pursuit of Sam, his son, the scream
being his only guide as to what direction to go.
He had to give Holloway credit for not only making
good on his threat, but for the extremity of how
he was going about it. Unfortunately for him, however, his
(25:24):
only reward would be a bullet or two punching through
his head. Mitchell looked briefly at the full moon in
the sky before another scream directed his attention to a
line of trees. His brain didn't have to do much work,
and before he knew it, his legs were carrying him
(25:47):
to the tree line, passed it, and forward deeper into
the wilderness. Soon he found himself in a small clearing
encircled by trees, the sky clear as day above. Those
details were trivial, though most important to Mitchell was that
(26:11):
in the clearing with him was Holloway. There you are,
you son of a bitch. He greeted his enemy harshly
and raised his rifle and set aim. It might be night,
but I have a scope to help me see you
in the dark. I've been waiting for you, McCormick, Holloway said, calmly.
(26:37):
He was shirtless. He also noticed no sign of the boy.
Where's my son? Mitchell demanded. It isn't important, Holloway answered,
I beg to differ, asshole. You broke into my home
and took my kid. Where the fuck is he? Mitchell
(26:58):
fired back. Holloway scoffed, I seem to remember you not
wanting to be quick to answer questions like that when
I first visited you. What's your point? The point is
you know what I want, so I'll ask you again.
Where is my son's body? Holloway demanded, and something in
(27:23):
his voice sent shivers down Mitchell's spine. I told you,
I don't know what you're talking about. Mitchell was determined
not to say what happened, even if it killed him.
(27:45):
Holloway sighed, it appears we're at an impasse. Then I'll
ask you one more time, and your answer is going
to be what decides how the rest of your night goes.
So I suggest you think long and carefully about how
you answer, where is my son's body? Mitchell believed what
(28:08):
Holloway said. Something in the air hunter's instinct if you
will told him that something was about to happen. Internally,
he found himself at a crossroads of either owning up
to the hunting accident, which was now surely going to
(28:28):
look like murder due to his actions, or continuing to
deny it happened at all. The only problem was Sam
wasn't accounted for. If Mitchell continued to hide the truth,
knowing where or how his boy was was going to
(28:49):
be nigh impossible. Holloway made that much clear, but maybe
there was a middle ground he could use to his advantage.
What would you say to a compromise, Mitchell asked, Oh,
Holloway replied, I think you and I both know what
(29:12):
happened earlier today, and that means you and I know
how unique this situation is. Let's stop pretending that we don't.
So I tell you what. If you tell me where
my boy is, I'll tell you where yours is. We
both get what we want without any bullshit. Sound like
(29:34):
a deal. Crickets chirped in the night, as the only
breakers of the silence between the two men. Through the scope,
Mitchell could see that Holloway was putting some thought into
the offer. A small smirk formed across his lips, and
(29:55):
Mitchell became suddenly aware of the area growing quiet, it
animals seeming to evacuate the scene. McCormick, I must admit
you're dumber than I thought. Trying to phrase what I've
been telling you as if it was your idea, just
(30:15):
because of how unique the situation is shows just how
little you actually know of it, and just how bad
off you are. Nature seemingly ceased then, and everything was
still deathly still. Mitchell had lived through moments like this
(30:37):
when out on a hunt. There were moments when one
would become hyper aware and it was as if they
had slowed time and everything else normally. Mitchell had experienced
that when in the position of the hunter. Now he
felt as if he was being hunted. Through the scope,
(31:01):
he saw a glimmer in Holloway's eyes that confused him.
He lowered the rifle and saw the amber glimmer clear
as day in the eyes of the man in front
of him. Then another set appeared behind Holloway, and before
(31:22):
he knew it, there were glimmers of amber all around him.
But that wasn't what horrified Mitchell. It definitely caught him
off guard, confused him, and had him cornered. No, what
petrified him was the change he witnessed happening to Holloway.
(31:48):
The hairs on his arms seemed to grow out of
the flesh that was becoming darker in tone, until it
looked as if he had fur warmers on his arm.
Hair growth wasn't just on his arms, though, it was
rapidly happening over his chest and face. Yet what caused
(32:11):
Mitchell's stomach to fall further into a pit of unease
was the physical shifting of the man. The muscles across
his body grew in inhuman size, and the sound of
bones cracking and popping in and out of sockets as
the limbs and fingers extended. Such was the physical growth
(32:37):
that what clothing Holloway still had on was ripping at
the seams before becoming tatters. The boots he wore lost
their toes as Holloway's digits pierced through the leather, but
most shocking was his face. It morphed into an elongated
(32:59):
shape that was an unholy combination of man and animal, teeth,
growing to shocking and sharp lengths, akin to a saber tooth.
And then he or it roared and Mitchell felt his
(33:19):
bladder release in response. Transformation complete, Holloway started towards Mitchell. Instinctively,
he began to fire at whatever it was he was facing,
but no matter where he aimed, the bullets caused little
to know damage. Mitchell knew he couldn't waste all of
(33:43):
the AMMO in his magazine. Hell, he didn't even have
another one on him. The only other weapon he had
was a hunting knife, and something told him it wouldn't
do much good. Suddenly, Holloway stopped his movements towards his
(34:05):
prey and made a sound that Mitchell could only liken
to a demented laugh. He was confused by the laugh
and the stopping of pursuit that quickly changed as Mitchell
saw the other amber glimmers move out of the tree
(34:26):
lines and into view. Each set of amber belonged to
a creature akin to Holloway. Now it wasn't just his
bladder that emptied, but also his bowels. Mitchell understood before
when he saw the Gleams that he was in trouble.
(34:48):
When Holloway morphed into the being in front of him,
he knew he was out of his league. Now, though
Mitchell knew just how grave the city situation truly was.
(35:11):
RJ sped through the country when he heard the sounds
of gunshots. At first, they were steadily paced, and then
there was silence. The gunfire sounded frantic until it ceased,
and a blanket of quiet covered the night. It wasn't
(35:36):
one of calm, though. RJ figured the gunfire had to
be from Mitchell. But that left the question of why
it went from steady to hectic, and just what exactly
was going on that and why RJ had a feeling
(35:57):
in his gut that his friend was dead. It was
these thoughts that caused him to nearly miss the silhouette
of a human as he drove. Luckily, RJ braked and
maneuvered the truck to where the headlights could illuminate the shape.
(36:19):
Oh Christ Samo. He exclaimed it was indeed Sam, and
though he looked startled. He didn't appear to be harmed
at all. Scared, witless and pale, with dark circles under
his eyes, but not hurt. Get in, Samo, I'm getting
(36:43):
you back home to your mom. RJ told him. What
about Dad? The boy asked. R J felt the sting
of uncertainty as to what to say. His gut told
him one thing, but he knew in his heart he
had to tell the boy something more optimistic and for
(37:07):
all he knew, maybe Mitchell was alive and the crazed
gunfire was him cutting loose on the man who had
terrorized his family. Once I get you dropped off, I'm
going to pick him up and bring him home. He
went out into the woods to find you. Sam nodded
(37:28):
and walked to the truck and hopped in. RJ turned
the vehicle back in the direction he had come and
sped off towards the McCormick home. He prayed he was
wrong about his friend. Oh. He still planned to cut most,
if not all, contact with Mitchell, but concern for somebody
(37:53):
you care about is eternal, and he wouldn't wish Sam
to grow up without a father. R J thought of
nothing but getting the child home and then finding his friend.
The thoughts kept him centered and tunnel visioned on his goal,
(38:14):
so much so that he didn't notice or pay attention
to the odd amber gleam in Sam's eyes. And even
if he saw the boy from behind, he most likely
wouldn't have given much thought to the marks from animal
(38:34):
claws or the bite marks at the base of his neck.
He would have only assumed they came from his kidnapping.
But Sam knew darn well where they came from and
why they were there. Thinking about it, he started to
(38:58):
laugh in the song a child normally does, and looked
at the man he had known since he was a baby,
the man oblivious to it all, including the growl beginning
to mingle with the laughter, and that, my spookies, is
(39:26):
why you never assume the woods will keep your secrets.
If you're heading out under a full moon tonight, count
your shots, mind your footsteps, and don't answer the knock
unless you're sure it's human. I also want to let
you guys know this Friday, I'm sitting down with Andrew Shearer,
(39:48):
arts and culture reporter at Athens Banner Herald and online
Athens dot com, as well as a good buddy of
mine for a special retrospective on six years of Weekly Spooky.
So if you want to peek behind the veil, that
show is just for you. So make sure you're subscribed
on your favorite podcasting app. And if you love what
(40:09):
we're doing here at Weekly Spooky and want to support
us in a very direct way, just head on over
to Weeklyspooky dot com slash join for as little as
one dollar a month. You get two bonus episodes every
single month, as well as my undying gratitude. And I
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(40:31):
more to hear their names at the end of the show,
and they are Johnny Nicks, Kate and Lulu, Jessica Fuller,
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And if you want to hear your name at the
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now is the perfect time. I would consider it an
early Christmas present, But now it's time for me to
(41:16):
get back to work. So many more scares as we
head into the holidays, So for myself, for my executive
producers Rob Fields and Bobbletopia dot Com, my producer Dan Wilder,
and of course my creepy composer Ray Mattis. I'll talk
at you next time.
Speaker 2 (41:32):
Thank you for listening. Make sure to find your way
back next week. But for now you are safe, trust me.
A crack of gunfire splits the trees, something falls, something
that was a wolf and then it wasn't. By nightfall,
there's a knock at the door, a father asking for
(00:20):
his boy back. The moon is full and the woods
are listening.
Speaker 2 (00:26):
What's that You want to be scared to? Come with me.
You will experience tales over overall ghosts, and it is
not recommended for the weeded heart listeners. In the dark
(00:55):
park is more funny than Way Way Way. This is
Weekly Spooking.
Speaker 1 (01:09):
Hello, my Spookyes, it's Wednesday, and you know what that means.
It's time for a little spooky in your weekly I'm
your host and narrator, Enrique Kuto, and I hope you're
not experiencing too much of the post Halloween blues because
(01:30):
I'm here to make sure the Halloween spirit haunts us
all year long. And tonight we have a very hair
raising story to make sure you feel afraid to go
back into the woods. But before we get to that,
I want to say thank you all so much for
(01:51):
spending your October with me. It was an incredible experience
publishing thirty one shows in thirty one days. You may
have noticed that yesterday there was a brand new show
on the Weekly Spooky Feed. It's called This Week in
Horror History, and we'll be publishing it every Tuesday to
(02:12):
celebrate the history of horror movies, books, TV shows, video games,
as well as the people who create them. So make
sure you're subscribed on your favorite podcasting app, and while
you're at it, leave us a five star rating if
you haven't already, and a special thank you to save
Arista Coffee for supporting the program. They feature bold and
(02:37):
flavorful coffee in half calf and dcalf, but without sacrificing
flavor or complexity. If you head to Saveorista dot com
and use promo code Spooky at checkout, you get twenty
five percent off your order and it supports Weekly Spooky directly.
That's Saveorista dot Com promo code spooky. But now, as
(03:02):
for tonight, imagine the woods after sundown, where every branch
looks like a claw and every shadow breathes. Two hunters
take their shot, only to learn they weren't the only
predators in the wilderness. What if the thing you wounded
(03:24):
could wear a child's face. What if his family could
find your home and your child before dawn gone hunting
by Morgan Moore. The sounds of repeated cracks pierced through
(03:48):
the area. You hit it, RJ exclaimed emphatically. Mitchell McCormick
grinned as he looked at his friend. The sounds had
come from his rifle. Mitchell and R Jay were out
hunting and the day had been rather lackluster. It was
(04:09):
near twilight and they were close to leaving their hiding
spot when RJ spotted movement in the distance. It was
unclear what kind of animal it was, but it was
worth a shot. Mitchell had tracked the movement through his
scope while R Jay tried to follow more closely with
(04:31):
his binoculars. It had been a hard prize to track,
even with both of their eyes on it. Whatever it
was had moved quickly, almost inhumanly fast. What finally gave
it away was a small glimpse of fur. It wasn't much,
(04:52):
but it was all Mitchell needed. After all, hunting was
his family's pastime and he had learned it at an
early age. Let's go claim our prize, Mitchell said, and
the two hunters descended from their perch and headed towards
their kill. The two men approached the spot where they
(05:15):
determined the animal had been shot. To their surprise, it
wasn't there. Instead, they found a trail of blood. Must
have had enough strength left to try and escape. RJ said,
try is the key word. If those shots didn't get it,
(05:36):
the next one will, Mitchell said, as he playfully held
up his rifle. RJ chuckled. The duo headed down the
path of blood stained earth, with the amount of red
growing in volume. As they moved on, Mitchell noticed that
not only did the amount increase, but the way it
(05:59):
was lying on the ground became more and more sporadic.
Whatever he had hit must have in its escape thrashed
around on the ground. More than likely, he hadn't hit
any vital organs, and the animal was in agonizing pain.
(06:20):
It wouldn't have to suffer much longer, though, he thought
to himself. Their path soon came to an end, and
what they saw caught them off guard. It was not
at all what they had expected to find. What was
lying on the ground, quivering and writhing in pain was
(06:43):
and in human sight, but also human. Dear God, RJ began,
before stopping to vomit. God has nothing to do with this,
Mitchell continued. Prey was something that looked like an average wolf,
(07:04):
which wouldn't be too out of place. After all, the
hunting grounds were located in a forest, which made it
plausible that a wolf could wander in and become a trophy.
But this dying beast was not an average wolf. While
it had wolf like features, it was also clearly something
(07:28):
akin to a human, and it was becoming more so
as the seconds passed. R J and Mitchell watched in
disgusted horror as the creature morphed into a more human shape,
a smaller shape. What lay before them now was a
(07:51):
child of no more than ten years old, whimpering, naked
and bleeding out What the actual hell is that? R
J exclaimed, I couldn't tell you, Mitchell responded hoarsely, how
does what I? R J couldn't find the words. Mitchell
(08:18):
just stared at the sight before him. The child continued
to whimper. Mitchell gulped hard and turned his head away.
R J looked at him, eyes wide in disbelief, knowing
what was coming cracks. The whimpering stopped. Let's get this
(08:43):
to the truck. We can handle it when we get
back to my place, Mitchell instructed coldly, He slung the
strap of his rifle over his shoulder and approached the body.
R Jay moved and took hold of the feet, Mitchell
taking hold under the arms. They hoisted it up and
(09:05):
carried it to Mitchell's truck, throwing it in the bed
with their gear. Mitchell then took a tarp he had
lying in the corner of the bed and draped it
over the body. The pair got in the pickup and
drove off, leaving the hunting grounds behind them in a
(09:25):
cloud of dust. An hour later, Mitchell pulled into his driveway.
R J and he looked around the area before getting
out of the truck and picking up the body. Cautiously.
They carried it into a shed and laid it on
the ground. What now, r J asked, solemnly. We leave
(09:52):
it here for now we go in have dinner, and
when Jude and Sam go to sleep, we bury. Mitchell explained,
bury it where RJ questioned, anywhere worry about it later,
Mitchell said, Before leaving the shed, RJ looked at the
(10:15):
tarp covered body and then followed his friend out. The
sun was only a soft pink glow as the mccormicks
and r J sat down at the dinner table, Mitchell
ate his food slowly and quietly, only speaking when his wife, Jude,
(10:41):
asked him the occasional question. RJ picked at his food,
the image of the dead boy still fresh in his mind.
His stomach reacted in disgust. Jude began to notice as
dinner went on. Everything all right, Jude asked, Oh, yeah,
(11:04):
just kinda not all that hungry, I guess, r J said,
with barely any thought or attachment to the conversation. Is
something wrong. I've never seen you barely eat, especially when
it's something I make, She said, don't mind him. He
(11:26):
fell into a deer while we were out, Mitchell explained.
He glanced at RJ to keep him in line. Yeah,
I fell into some deer that had been eaten away.
Had to wash up at a pond nearby, RJ added.
Sam the mccormicks four year old pushed his face into
(11:50):
his plate. When he brought his head back up, it
was covered in the group's dinner. Fell like that, he asked.
The adults laughed at the child, Yeah, something like that,
RJ told the tike, his spirits rising a little for
(12:11):
the moment. Their laughter was interrupted by a thunderous knock
at the door. The table went quiet as they listened,
the knock coming in intervals of five. R J turned
(12:33):
to look at Mitchell. Mitchell sat there quietly and sternly.
The knocking continued. Well, since nobody else wants to get it,
Jude finally said, breaking the silence, Jude leaves the table
and heads to the front door in the other room.
(12:56):
From their seats, Mitchell and RJ hear her open the
door and speak with whoever is there. Their words were
too quiet to hear, but the voice Jude spoke to
was clearly masculine. Mitchell, somebody wants to see you, she
called from the other room. Who is it, he asked,
(13:21):
A mister Holloway. He says it's something hunting related, Jude replied.
Mitchell and r J looked at each other. The duo
slowly stood up from their seats and made their way
to the living room. When they reached the door, Jude
left them standing. There was a tall, muscular man, dressed
(13:46):
as if he had just walked out of a classic Western.
His skin was tanned and his features were dark the eyes, though,
Something about his eyes made the two men feel like
they were being set ablaze. May I help you, Mitchell
(14:06):
asked the man. Indeed, my name is Thomas. Earlier today
you two were out hunting. You shot something you shouldn't have,
Thomas explained. And just what would that be? Mitchell questioned,
My boy, Thomas said bluntly. The two men look at
(14:30):
their visitor. Mitchell stands cool and collected, and he shock
that he had was well hidden. R J, however, was
struggling to keep it together. Thoughts of what might happen
played out in his head. Sweat flowed from his pores,
and his body began to shake. He looked over at
(14:54):
Mitchell and found him staring back. Disgusted, RJ's eyes drifted
to the stranger he was staring him down. Don't pay
any attention to my friend here. He's got a stomach bug,
Mitchell explained. Thomas scoffed at the explanation. Is that so, yeah,
(15:19):
had a bad burrito off a food truck earlier? RJ
stammered out. Sure. Back to the matter at hand, my
boy give him back, Thomas commands. Now, exactly why do
you think we have him? Mitchell asked. Thomas stepped up
(15:41):
into Mitchell and RJ's faces. Look, I know what you did.
You shot my boy dead, then you brought him back
here and hit him. This is your last chance to
do the right thing. Give me my son or else.
His words were direct and filled with threatening menace. R
(16:05):
J felt himself shrink at them, and found that he
was no longer filled with anxiety about being found out,
but instead with fear of what this man was going
to do. The complete opposite of him was Mitchell. He
smirked a little and stared down at Thomas. You don't
(16:28):
scare me. You have nothing anyway. If you did, you
would have brought the police with you. But by all means,
keep threatening me, my friend and my family. I have
your boy. You say you think I have his dead
little body hidden somewhere, then by all means look for it.
(16:48):
He won't find anything, and then I'll have you arrested
for harassment. Better yet, I'll shoot you dead for your threats,
and everybody will say I simply stood my ground your call.
The two men continued staring each other down, neither wanting
(17:08):
to give an inch. R J stood there watching as
the two carried on, waiting and praying that someone, something,
would put an end to this. He got his wish daddy,
can we play? Sam ran up to his father and
(17:31):
locked his arms around Mitchell's legs. The child then looked
up at Thomas, the stranger staring down at him. Mitchell
looked from his son to the man who was threatening
himself and his family. Who are you, Sam asked a friend.
(17:53):
Thomas replied he looked over his shoulder and watched as
the son started to see. Just remember you had your
chance with that. Thomas turned around and left. Daddy. Sam asked, Yeah, Samo,
(18:16):
we'll play. I'll meet you out back, Mitchell told him.
Sam ran off, squealing in delight. Mitchell closes the front
door and turns to look at RJ. What are we
going to do? He asked. You're going to stay here
(18:36):
tonight and we're gonna wait for this asshole to show up,
Mitchell explained. Crickets chirped as night drifted along. Inside the
McCormick's living room, sat Mitchell and RJ, each with a
(18:57):
cup of coffee and ale. After their visitor had left,
the duo took care of the body, burying it far
out in a field behind the McCormick's house. They planned
to simply wait and see if Thomas would show up
and make good on his threat. If he did, Mitchell
(19:22):
planned on dealing with it. RJ, though, was uneasy about
the whole thing. To him, they should have simply confessed
their crime to haul away, and whatever would happen would
simply happen. But Mitchell wouldn't allow it. He wanted the thing,
(19:45):
the situation, everything to be buried and long gone so
everyone could move on. R J knew Mitchell would easily
get on with life. He wouldn't, though the sight he
saw earlier in the day would stay with him forever.
(20:08):
RJ couldn't get the image of the boy, the thing
out of his head. He never would. Guilt flowed through him,
and as the night went on, he felt an overwhelming
desire to either run or turn the rifle on himself.
(20:29):
He felt disgusted with what they had done and told
himself that when he went home, his friendship with Mitchell,
his association with the mccormicks were done. A wall clock
ticked away, and r J found himself looking at it.
Its hands told him that it was half past one
(20:52):
in the morning. Sunrise was still a while off, and
he hoped that that might be the end of the situation.
Whether or not Holloway would come back, he decided would
not be his problem. Once morning came and he was
able to distance himself from Mitchell. Are you awake, Mitchell
(21:15):
asked his friend, catching him staring at the clock in
a trance. Yeah, just see in what time it is.
RJ replied, you better not fall asleep. His friend said,
Mitchell wasn't just telling him, he was commanding him Mitchell,
(21:37):
r J said, Yeah, what are you going to do
if he doesn't come tonight? Forget about the whole thing
and move on. What I mean is, how do you
know if he doesn't come tonight that he won't keep
it up? He could try to start something whenever or
(22:00):
wherever I'll be ready, Mitchell responded coldly. RJ sighed, is
it really going to be that simple? Though? We don't
even know? He stopped midward as a cry tore through
the house. The two men stood up. R J wanted
(22:22):
to ask where it came from, but had no chance
before Mitchell raced out of the living room and was
bee lining to the stairs. R J followed after him
and did so until the duo were in Sam's room.
The window was smashed open and Sam's bed was empty,
(22:46):
with his blanket and sheets thrown about. Jude came running
up behind them and pushed her way into the room.
At the sight of the empty bed and smashed window,
her face twisted into horror and her knees shook until
they gave out. The distraught mother fell, unable to scream
(23:11):
for how terrible the situation was. R Jay went to
lay a hand on Jude's shoulder to try and comfort her,
but was whisked away by Mitchell, the latter dragging the
former back down the stairs and out the front door.
Where are we going? R Jay asked after them. Mitchell replied,
(23:36):
and while tempted to question who exactly they were, r
J knew he meant Holloway and Sam. The two stopped
once outside and listened for any sign of where to
go next. Their answer came from a scream, and in
(23:57):
an instant, Mitchell was sprinting off behind the house and
into the countryside. R J looked to his friend and
then to the truck they used earlier in the day.
Two thoughts entered his head. Take the truck and get
the hell out, or use it to cover more ground.
(24:20):
As much as he wanted to leave, Mitchell and distance
himself from the whole affair. It was Sam who was
in danger, Little Samo, whom r Jay had known since
he was born and was a surrogate uncle too. He
returned to the house and got the keys to the truck,
(24:41):
then raced like a madman to it. Inside he turned
the key and brought the vehicle to life, before speeding
off into the darkness of the country. Mitchell charged through
(25:01):
the country in pursuit of Sam, his son, the scream
being his only guide as to what direction to go.
He had to give Holloway credit for not only making
good on his threat, but for the extremity of how
he was going about it. Unfortunately for him, however, his
(25:24):
only reward would be a bullet or two punching through
his head. Mitchell looked briefly at the full moon in
the sky before another scream directed his attention to a
line of trees. His brain didn't have to do much work,
and before he knew it, his legs were carrying him
(25:47):
to the tree line, passed it, and forward deeper into
the wilderness. Soon he found himself in a small clearing
encircled by trees, the sky clear as day above. Those
details were trivial, though most important to Mitchell was that
(26:11):
in the clearing with him was Holloway. There you are,
you son of a bitch. He greeted his enemy harshly
and raised his rifle and set aim. It might be night,
but I have a scope to help me see you
in the dark. I've been waiting for you, McCormick, Holloway said, calmly.
(26:37):
He was shirtless. He also noticed no sign of the boy.
Where's my son? Mitchell demanded. It isn't important, Holloway answered,
I beg to differ, asshole. You broke into my home
and took my kid. Where the fuck is he? Mitchell
(26:58):
fired back. Holloway scoffed, I seem to remember you not
wanting to be quick to answer questions like that when
I first visited you. What's your point? The point is
you know what I want, so I'll ask you again.
Where is my son's body? Holloway demanded, and something in
(27:23):
his voice sent shivers down Mitchell's spine. I told you,
I don't know what you're talking about. Mitchell was determined
not to say what happened, even if it killed him.
(27:45):
Holloway sighed, it appears we're at an impasse. Then I'll
ask you one more time, and your answer is going
to be what decides how the rest of your night goes.
So I suggest you think long and carefully about how
you answer, where is my son's body? Mitchell believed what
(28:08):
Holloway said. Something in the air hunter's instinct if you
will told him that something was about to happen. Internally,
he found himself at a crossroads of either owning up
to the hunting accident, which was now surely going to
(28:28):
look like murder due to his actions, or continuing to
deny it happened at all. The only problem was Sam
wasn't accounted for. If Mitchell continued to hide the truth,
knowing where or how his boy was was going to
(28:49):
be nigh impossible. Holloway made that much clear, but maybe
there was a middle ground he could use to his advantage.
What would you say to a compromise, Mitchell asked, Oh,
Holloway replied, I think you and I both know what
(29:12):
happened earlier today, and that means you and I know
how unique this situation is. Let's stop pretending that we don't.
So I tell you what. If you tell me where
my boy is, I'll tell you where yours is. We
both get what we want without any bullshit. Sound like
(29:34):
a deal. Crickets chirped in the night, as the only
breakers of the silence between the two men. Through the scope,
Mitchell could see that Holloway was putting some thought into
the offer. A small smirk formed across his lips, and
(29:55):
Mitchell became suddenly aware of the area growing quiet, it
animals seeming to evacuate the scene. McCormick, I must admit
you're dumber than I thought. Trying to phrase what I've
been telling you as if it was your idea, just
(30:15):
because of how unique the situation is shows just how
little you actually know of it, and just how bad
off you are. Nature seemingly ceased then, and everything was
still deathly still. Mitchell had lived through moments like this
(30:37):
when out on a hunt. There were moments when one
would become hyper aware and it was as if they
had slowed time and everything else normally. Mitchell had experienced
that when in the position of the hunter. Now he
felt as if he was being hunted. Through the scope,
(31:01):
he saw a glimmer in Holloway's eyes that confused him.
He lowered the rifle and saw the amber glimmer clear
as day in the eyes of the man in front
of him. Then another set appeared behind Holloway, and before
(31:22):
he knew it, there were glimmers of amber all around him.
But that wasn't what horrified Mitchell. It definitely caught him
off guard, confused him, and had him cornered. No, what
petrified him was the change he witnessed happening to Holloway.
(31:48):
The hairs on his arms seemed to grow out of
the flesh that was becoming darker in tone, until it
looked as if he had fur warmers on his arm.
Hair growth wasn't just on his arms, though, it was
rapidly happening over his chest and face. Yet what caused
(32:11):
Mitchell's stomach to fall further into a pit of unease
was the physical shifting of the man. The muscles across
his body grew in inhuman size, and the sound of
bones cracking and popping in and out of sockets as
the limbs and fingers extended. Such was the physical growth
(32:37):
that what clothing Holloway still had on was ripping at
the seams before becoming tatters. The boots he wore lost
their toes as Holloway's digits pierced through the leather, but
most shocking was his face. It morphed into an elongated
(32:59):
shape that was an unholy combination of man and animal, teeth,
growing to shocking and sharp lengths, akin to a saber tooth.
And then he or it roared and Mitchell felt his
(33:19):
bladder release in response. Transformation complete, Holloway started towards Mitchell. Instinctively,
he began to fire at whatever it was he was facing,
but no matter where he aimed, the bullets caused little
to know damage. Mitchell knew he couldn't waste all of
(33:43):
the AMMO in his magazine. Hell, he didn't even have
another one on him. The only other weapon he had
was a hunting knife, and something told him it wouldn't
do much good. Suddenly, Holloway stopped his movements towards his
(34:05):
prey and made a sound that Mitchell could only liken
to a demented laugh. He was confused by the laugh
and the stopping of pursuit that quickly changed as Mitchell
saw the other amber glimmers move out of the tree
(34:26):
lines and into view. Each set of amber belonged to
a creature akin to Holloway. Now it wasn't just his
bladder that emptied, but also his bowels. Mitchell understood before
when he saw the Gleams that he was in trouble.
(34:48):
When Holloway morphed into the being in front of him,
he knew he was out of his league. Now, though
Mitchell knew just how grave the city situation truly was.
(35:11):
RJ sped through the country when he heard the sounds
of gunshots. At first, they were steadily paced, and then
there was silence. The gunfire sounded frantic until it ceased,
and a blanket of quiet covered the night. It wasn't
(35:36):
one of calm, though. RJ figured the gunfire had to
be from Mitchell. But that left the question of why
it went from steady to hectic, and just what exactly
was going on that and why RJ had a feeling
(35:57):
in his gut that his friend was dead. It was
these thoughts that caused him to nearly miss the silhouette
of a human as he drove. Luckily, RJ braked and
maneuvered the truck to where the headlights could illuminate the shape.
(36:19):
Oh Christ Samo. He exclaimed it was indeed Sam, and
though he looked startled. He didn't appear to be harmed
at all. Scared, witless and pale, with dark circles under
his eyes, but not hurt. Get in, Samo, I'm getting
(36:43):
you back home to your mom. RJ told him. What
about Dad? The boy asked. R J felt the sting
of uncertainty as to what to say. His gut told
him one thing, but he knew in his heart he
had to tell the boy something more optimistic and for
(37:07):
all he knew, maybe Mitchell was alive and the crazed
gunfire was him cutting loose on the man who had
terrorized his family. Once I get you dropped off, I'm
going to pick him up and bring him home. He
went out into the woods to find you. Sam nodded
(37:28):
and walked to the truck and hopped in. RJ turned
the vehicle back in the direction he had come and
sped off towards the McCormick home. He prayed he was
wrong about his friend. Oh. He still planned to cut most,
if not all, contact with Mitchell, but concern for somebody
(37:53):
you care about is eternal, and he wouldn't wish Sam
to grow up without a father. R J thought of
nothing but getting the child home and then finding his friend.
The thoughts kept him centered and tunnel visioned on his goal,
(38:14):
so much so that he didn't notice or pay attention
to the odd amber gleam in Sam's eyes. And even
if he saw the boy from behind, he most likely
wouldn't have given much thought to the marks from animal
(38:34):
claws or the bite marks at the base of his neck.
He would have only assumed they came from his kidnapping.
But Sam knew darn well where they came from and
why they were there. Thinking about it, he started to
(38:58):
laugh in the song a child normally does, and looked
at the man he had known since he was a baby,
the man oblivious to it all, including the growl beginning
to mingle with the laughter, and that, my spookies, is
(39:26):
why you never assume the woods will keep your secrets.
If you're heading out under a full moon tonight, count
your shots, mind your footsteps, and don't answer the knock
unless you're sure it's human. I also want to let
you guys know this Friday, I'm sitting down with Andrew Shearer,
(39:48):
arts and culture reporter at Athens Banner Herald and online
Athens dot com, as well as a good buddy of
mine for a special retrospective on six years of Weekly Spooky.
So if you want to peek behind the veil, that
show is just for you. So make sure you're subscribed
on your favorite podcasting app. And if you love what
(40:09):
we're doing here at Weekly Spooky and want to support
us in a very direct way, just head on over
to Weeklyspooky dot com slash join for as little as
one dollar a month. You get two bonus episodes every
single month, as well as my undying gratitude. And I
want to say an extra special thank you to our
Patreon podcast boosters, folks who pay just a little bit
(40:31):
more to hear their names at the end of the show,
and they are Johnny Nicks, Kate and Lulu, Jessica Fuller,
Mike A. Skewey, Jenny Green, Amber Hansford, Karen we Met,
Jack Kerr, and Craig Cohen. Thank you all so much,
And if you want to hear your name at the
end of every episode of Weekly Spooky, just head to
Weeklyspooky dot com slash join and sign up at fifteen
(40:54):
dollars a month or hire. You'll also get your two
bonus episodes every month and over five five years of
exclusive audiobooks and creepy pasta readings. That's at Weeklyspooky dot
com slash Join. Ninety other spookies have signed up and
now is the perfect time. I would consider it an
early Christmas present, But now it's time for me to
(41:16):
get back to work. So many more scares as we
head into the holidays, So for myself, for my executive
producers Rob Fields and Bobbletopia dot Com, my producer Dan Wilder,
and of course my creepy composer Ray Mattis. I'll talk
at you next time.
Speaker 2 (41:32):
Thank you for listening. Make sure to find your way
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