The Lone Candy House: A Spooky Halloween Horror Story of Vanishing Kids

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The house wasn't on any map, just a porch light
in the dark and a tray of perfect caramel apples.
One kid steps inside and never comes back. Tonight, a
group of friends will enter a place that only exists
on Halloween and hopes to keep them forever.

Speaker 2 (00:25):
There's a shiel in the air. Must befall Join me
for a tale of Halloween.

Speaker 3 (00:41):
You will experience tales of over ghosts and dam it
is not recommended for the week at Heart.

Speaker 2 (00:56):
Join me for a tale of foul.

Speaker 3 (01:04):
Is weekly Spooky?

Speaker 1 (01:14):
Hello, my Spooky's it's Wednesday. But of course there's something
scary every single day here in October, and tonight is
no different. As I bring you a special novella length
episode from our monstrous maestro, Rob Fields and takes place

(01:35):
in Strickfield, Ohio. I want to remind you tomorrow we'll
be back with another terrifying tale, this time from our
good buddy Charles Campbell, as we go back to nineteen
eighty three and the horrors of video rental. So make
sure you're subscribed, because you are not going to want
to miss that. I also have some exciting news because

(01:58):
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(02:23):
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(02:44):
percent off your first order and and help support our
show directly. You can find the link in our show notes.
Thank you savor Rista for your support. But as for tonight,
imagine a neighborhood where a cozy little home appears only
on Halloween night. The porchlight glows warm, the treats are

(03:05):
full size, and the hosts are oh so friendly. But
once you cross that threshold, the doors don't open, the
halls don't end, and the candy starts to taste like
bait and it won't let you go. We'll get to
the Sweet Sacrifice. Right after this the Legend of the

(03:34):
Lone Candy House by Rob Fields. Ah Man, you'd think
by now we'd finally get to settle down at my
place and finish Halloween night with horror movies and pizza. Okay,
let's backtrack a little so you know what's going on.

(03:54):
Halloween started off at Aerieal Mirn's mansion off Capitol Court
in the walled off Mirn Gated community. It was supposed
to be a Miron's only function, but Ariel saw mom
and me at Strickfield Town Center mall earlier in the
day and cornered me at Spirit Halloween to make me
come to her gathering. I never did ask Ariel what

(04:17):
the gathering was for anyway. Ariel wanted me there to
keep her sane, especially when she was tasked with keeping
an eye on her mischievous little cousin, Stuart. Ariel finally
escaped from the party when her mom got on her
after Stuart went on a rampage, taking me along with her.

(04:39):
We reached my house but ended up going to Carter
Cross's place next door. Ultimately, Mona Abels and Bailey Downs
found all of us together at Carter's. From there we
went trick or treating. After we were done, we went
out to Denoyer's Grill, where we met up with cousin
Aileen and Bella Tabon had some food. After our late dinner,

(05:03):
we went out to the cry Baby Bridge to investigate
it and see if the legend was real. Boy did
that ever come back to bite all of us on
our keysters when the ghost of Abigail Tomlin showed up
and started chasing us around. We also learned the fate
of Richie Horton, Brian Chunk, and Bill Chapman from last Halloween,

(05:26):
and I wanted to help him. Long story short, With
the help of Mary Worth, my ghostly companion, and Bells,
we defeated Abigail Tomlin and got her to release those
three guys back to the mortal realm. You'd have thought
our Halloween night was over then right wrong. As we

(05:48):
were leaving the area where the cry Baby Bridge was
and were walking our bikes along Indian Hollow Road, we
ended up discovering what used to be the Strickfield Carnival.
Mona Abels always has to get us in trouble by
wanting to investigate things that'll get us in deep, deep trouble.

(06:09):
Come to think of it, Mona was the one who
wanted us to go to the cry Baby Bridge earlier.
Our Halloween night got extended by a full week when
we went through this funhouse at the Carnival and found
ourselves back in nineteen fifty five. Come on, how do
you go through an old Carnival haunted house and end

(06:30):
up in another time and have the Strickfield Carnival open
and hoppin. I guess we really couldn't blame Mona for
this one, since she was feeling the pull from nineteen
fifty five and was summoned to the Carnivosh estate. Back then,
you'd never have thought that place was haunted like it

(06:51):
is now. Turns out Mona is actually a Carnivosh herself.
In fact, the fate of the family rested on her
should since she was tasked with learning who'd been stealing
the family's money. It all ended at Strickfield Carnival, where
we face down Ayvet Carnivosh, who originally summoned Mona. She

(07:14):
basically gave herself away when she revealed she had been
practicing Carnivoche magics. Mona revealed she was part of that
family when she rose to the occasion and stopped Vet
by using her family's magic herself. This Halloween night's getting
to be one. This little Mouseie ain't never gonna forget,

(07:36):
that's for sure. You'd think we'd finally be done right wrong.
Follow us along after dropping off Horton, Chapman, and Chunker
to their families. It's just back to be in the
five of us again. We hop on the bikes and ride. Okay,
can we finally just go to Mouse's house and watch

(07:59):
movies in order? Kitza like we planned, Ariel mir and groans.
Carter Cross raises his finger. Hey, we're not that far
from downtown Village. We got across through there anyway to
get back to our houses. So why don't we make
a quick stop at Strickfield Video. I lightly slap Carter's arm.

(08:21):
Good thinking, buddy, I gotta pick up a movie I
ordered from there. So the five of us head into
downtown Village and park our bikes at Strickfield Video. There's
this new girl working there when we walk in, dressed
like a biker, I don't think she's wearing a costume.
If that's her motorcycle parked outside. Lenny, the owner said

(08:44):
he was going to hire somebody. One of the last time's.
Dad and me came in here. When we approached the counter,
the biker girl just popped in the original Fright Night
to show on the TVs. She turns to us. Now,
her name, says Charlie. Can I help you? She asks.

(09:06):
Carter speaks up. Yeah, you got Veranda Queen of the
Night in. Lenny said he'd be getting more copies in today.
Charlie size. We did get a bunch of copies in,
in fact, double what we originally had. They all went
out faster than I could put them out. We've gotten

(09:27):
a few copies back in, but they went back out
just as fast. Carter groans, thanks anyway, no sweat, buddy.
I tell him I should have a copy back there
that I ordered. What's your name? Charlie asks. After I
tell her, she finds my copy and completes the transaction.

(09:50):
Now I got my very own copy of Veranda, Queen
of the Night on limited edition four K. Carter groans, again,
you were right, Madeline. I should have just ordered a
copy when you did. I tried to tell you, buddy,
I say, but you wanted to wait for streaming. Don't worry,

(10:10):
we can watch this at my house. But we got
to wait a little bit while Mona and Bailey find
movies they want to rent. We end up taking a
small stack of them back to my place. We're getting
off the bikes to go inside when Ariel borrows Carter's
smartphone to order pizzas since she dropped hers in a
creek earlier tonight. I think Ariel's mom is gonna massacre

(10:35):
her when she gets home. Suddenly my phone rings. I
pull it out of my back pocket and look at
the screen. I ain't recognizing this number. Ariel's over my shoulder.
Then her mouth opens wide. That's mom. What's she doing
calling your phone? Mouse? I shrug. I don't know, but

(11:00):
to talk to her. Ariel sighs and takes my phone.
Then she sets it to speaker. What do you want
you think? I don't know. You've been out trick or
treating with your friends, little one, Adrian Miron says, menacingly.
Ariel groans, look, Mom, I'm not coming home until i'm

(11:23):
good and ready. You never let me have any fun
on Halloween, and I don't want you to come home yet.
Adrian interrupts, excuse me, Ariel asks, in surprise, you need
to have your friends help you find Stuart. Adrian says
he must have seen you and Madeline leaving the garage

(11:45):
earlier tonight and decided to make an escape of his own. Well,
I've been with my friends since we jail broke, Ariel
tells her, so far none of us have seen that
little goober running around out here. Then I'll make it
easy for you to locate him, little one, Adrian says,

(12:06):
My phone gets a link. Ariel opens it to reveal
one of those programs that lets parents track their kids
through phones. That's Stuart's current location. Adrian says, you need
to go and get him right now. Ariel growls and
looks ready to crush my phone in her hand. I

(12:27):
know she ain't strong enough to do that, but she's real.
Mad You are the one who had that little goober
at the house, mom, Ariel snaps, Why should I be
the one who has to go and find him, because
if you don't, you can stay with your friends from
now on. Adrian replies, as in, you don't ever have

(12:50):
to bother coming home? Do I make myself clear? Little one?

Speaker 4 (12:56):
Oh?

Speaker 1 (12:56):
You you then Ariel belts out one of her blood
curdling screams. When she calms down, she yells, fine, I'll
go and look for that rotten goober, even though I'm
not his mother. Aunt Margaret, I know you're listening. Before
Adrian can say anything more, and hands me back my phone. Madeline,

(13:21):
let me see that pick Ariel's mom sent, Carter says,
holding out his hand. When I hand him my phone,
he looks at the app. WHOA, what is it, Carter,
Mona asks. Carter gives me my phone back and pulls
his out. Just seeing where Stuart's located made me think

(13:41):
of something I saw on Strickfield University's website earlier, and
it's not good. Believe it or not. Strickfield University gets
lots of hits. It's on their website. Sure people are

(14:02):
planning to go to college there, but they got a
whole separate area where lots of local and area legends
are posted. It started out as something for a folklore
class originally, but somebody got on that part of the
site and word got around fast. Before you knew it,
Strickfield University ended up opening the local legends part of

(14:25):
the site up to anybody who wanted to see it
or add to it funny. That's how we learned about
the legend of cry Baby Bridge. Right here, Carter says.
Another local legend here in Strickfield. Even though trigger treating's
over for the year, they're supposed to be this house

(14:46):
not too far from where the bikers all live. That's
the wrong part of Strickfield, Carter. Ariel mentions, what isn't
the wrong part of Strickfield. Bailey mutters, she's got a point, Air,
I agree. Ariel growls at me, I hate you mouse.

(15:06):
Then she points right at Carter. We are not checking
out another local legend. We went to that bridge earlier.
Then there was that carnival. She puts her finger right
in Carter's face. No, no, no, no no. When Carter
snatches Ariel's wrist, they can't stop looking at each other again.

(15:30):
Like I said before, these two really like each other.
They don't want to admit it, but we girls know better.
It ain't long before Mona, Bailey and me start laughing
it up again. Carter don't say anything, but Ariel turns
to us with her fist tightened. That's right, keep laughing,

(15:51):
she points right at us. You just wait when you
find boys you like, I'm going to laugh it up.
After we finish our laughing'. I get serious and ask Carter, so,
what about this house you were looking up? No, Carter,
Ariel snaps, Yes, Ariel Mona says, I want to hear it.

(16:16):
Carter glances at his phone. Then he looks at Ariel.
This legend's right out of your family tree. Princess, what,
Ariel snaps, let me see that. Carter hands her the phone.
After a bit, she hands it back. Then she tells us,

(16:36):
I don't know anything about this legend. I don't know
everything my family does. Then she looks at Carter. Fine,
go ahead and read it. Carter tells us. The legend
of the Candy House like the cry Baby Bridge and
the Strickfield Carnival, it's another Strickfield local legend. It's to

(17:00):
be another haunted house, kind of like grim Manor in
the backwoods or the Carnivosh estate on the other end
of downtown village. While those two are fixtures in Strickfield,
the Candy House only seems to come around every Halloween night.
There was this couple, Zachary and Ava Hame. They lived

(17:23):
in a lone house around the southeast side of Strickfield.
Like Ariel said, that's supposed to be the wrong part
of town. I never knew if it was because bikers
lived there or what. Anyway, there was a lone house there.
The Hames kept mostly to themselves. The only time they

(17:44):
ever opened up their home was on Halloween night. Of course,
it was only one night back then, it's a full
week now. At first, there weren't too many people who
went to the Hames house to trick or treat. Word
got around through the years about the kind of treats
they gave. One year, they gave caramel apples they had

(18:08):
made themselves. Ava would hand them out as Zachary prepared him.
They even bought apples from Redmont Orchards just down the road.
Another year they handed out name candies, full sized. Then
came more candies and more caramel apples. As time went on,

(18:29):
people came to trick or treat at what people called
the Candy House. But you just knew something was gonna
go wrong, right, otherwise it wouldn't be on Strickfield University's website.
Back in the nineteen seventies, this one popular kid from

(18:50):
Strickfield Elementary disappeared. It was said Jason Miren went tricker
treating out at the Haym's house with friends and he
was never seen again. Jason's friends looked everywhere for him.
Finally his friends had to tell his parents. Keep in mind,

(19:14):
there was never any proof the Hames were responsible, but
all it took was for Jason Miren's friends to point
their way. But the police couldn't do nothing to the
Hames on account of no proof. When Halloween came the
following year, people got together and torched the Hames's house.

(19:36):
It was said that Jason's parents organized it. All it
took was a bunch of torches to make the house
go up then come down. It was said the following
Halloween night, the Candy House was somehow miraculously back up
like the torching never happened. The lights were on and

(20:00):
suposedly Zachary and Ava were handing out name candies and
caramel apples just like before. Some have even said they
trick or treated there. What's more, one child always turned
up missing. After that disappearance was reported, the police would

(20:31):
go to the Hayms place to investigate, only it wasn't there.
It was like the candy House only came back for
Halloween night and then disappeared right after the holiday was
officially over. Carter finishes, then he looks up at everybody.

(20:52):
According to the university's website, it's when Halloween ends at
midnight in Pacific time, which means three our time here
in Ohio. Ariel's eyes are a little wide now, and
Mom says, Stuart went down that way. But how would
that little guy even know to go there, Bailey asks.

(21:16):
Ariel gives us a weird look. I've heard Aunt Margaret
telling Stuart's stories off the strickfield you website before he'd
go to bed. If he really is out by that
candy house, he probably heard that particular story from her.
Carter and me look at each other. Then he says, okay,

(21:39):
we'll head on out there. Ariel gives Carter a gentle smile.
Are you sure? He gives her a gentle pat on
her shoulder. He's your cousin, Ariel. Your mom put it
on you to find him, so we'll help. At least
Madeline and me will. Mona lashes out and shoves Carter

(22:00):
a little and what are Bailey and me supposed to do?
Just stay here? At one of your houses till you
get back. You're not ditching us. Mona and me are
coming too. With that being settled, I head to my
house to take our movies inside. Then Mona quickly catches
up with me. Could I could I get you to um?

(22:26):
She hems and haws. I can tell she wants me
to put her spell book from the nineteen fifty five
Carnivosh Estate in the house. I hold my hands out
for her to put the book in. Just let me
know when you want it back, I tell her. Before
I turn and head into the house. I put the

(22:46):
videos in the living room and head upstairs to my room.
After putting Mona's spell book in my desk, I decide
it's a good time as any to talk to Mary
Worth and head to the bathroom. Soon as I go in,
I see her face glowin in the mirror. Anything you
can tell me about what's going on? I ask. I'm

(23:09):
afraid Carter Cross speaks the truth about the ham House, Madeleine,
she says, I sigh, Can you tell me if Stuart
Miron's really down there? Mary does me one better and
actually shows me what happened after Ariel and me made
our jail break. Stuart slipped out when his mom got

(23:32):
into it with Adrian for not keeping her eye on him.
It ain't like Stuart can't think for himself. With being
four years old, he looked like a little carpenter with
his t shirt and bib overalls. So he found a
bag and went trick or treating. He was even stuffing
himself full of candy he got along the way. Then

(23:53):
he got with some other kids when one of em
talked about the legend of the Candy House. Just the
mention of more candy made Stuart go along with them.
When the kids reached the house and saw it was real,
they were too scared to go in. Not little Stuart miron.

(24:14):
He walked right to the front door. Then Mary zooms
the scene in for me so I can see the
little guy goin in the house. When the woman appearing
to be Eve Haim invites him in with a fresh
caramel apple, aw man, I mutter, okay, Mary, I guess

(24:37):
we gotta go get him. Be careful, Madeline. Mary advises
me call upon me should you need my help. I
leave the bathroom and go back downstairs. Before going back out,
I open the refrigerator and grab SODA's for everybody. Ariel's

(24:57):
especially grateful when she gets hers. When we finish our drinks,
we hop back on the bikes and head to the
southeast end of Strickfield. Carter and me can make our
own shortcuts since we know how to ride our mongooses. Ariel, Mona,
and Bailey are taking the roads and are going to

(25:17):
meet up with us. It ain't long before we got
to break fast. Whoa, Carter utters, Yeah, woe is right, buddy,
I agree, the candy house really is here. Carter looks
at me. I hate when these local legends are are real.

(25:42):
You and me both. I look at Carter, So what
you want to do? We both look at the house again.
You know, Carter and me are scared. But okay, I
guess we go in. He raises his finger, But let's

(26:02):
wait for the others first. I smirk. Either way, we're
gonna get it once we go in, Buddy, I point
at him. Just make sure you tell Ariel you want
to marryer before we go in, you know, in case
we ain't never coming back out again. Carter titans his jaw.

(26:24):
Why you little, I laugh. When he pulls me into
a side headlock and gently rubs his knuckles on my noggin.
Then he lets me go, why do you always gotta
go there, Madeline? Before I can answer, the rest of
our friends finally reach us. Even they ain't believe in

(26:45):
the Haym's house is really here. This has been one
heck of a Halloween. Mona says, yeah, no, duh. Bailey agrees.
First there was that bridge and Abigail. Then we find
that old carnival and go back to nineteen fifty five
so you can find out you're really a carnivosh. Now

(27:10):
we're about to go trick or treating again.

Speaker 4 (27:16):
In there.

Speaker 1 (27:23):
Ariel gets bold. Now we don't have a choice, you guys.
If that little goober is in that house, we have
to go inside and get him. You already know this
little MOUSEI is definitely scared. At the same time, Carter
and Me ain't gonna let Ariel go in there by yourself. Okay,

(27:46):
we're doing this, then, Carter says, trying to keep it
all together. The five of us ride near the front door.
As soon as we get off the bikes, the door
itself suddenly open up. Everybody gasps or cries out in fright,

(28:06):
not me, my eyes went wide. Instead, Ariel growls and
slaps my shoulder and again, you never get scared. I
hate you mouse, she growls again. When she sees me
laughing a little. What's so funny, she demands, I'm really

(28:28):
laughing because Ariel's had so many chances to see me
get scared, and never once has she ever seen it.
I ain't telling her that though. It's just kind of funny.
How our Halloween night ain't ending? I lie, Ariel sighs,
You're not wrong. Hey, someone calls out from behind us,

(28:53):
making everybody jump or scream. I almost gasp myself before
seeing it's Richie Horton. What are you doing out here, buddy?
We just dropped you off at your house? What gives?
When Ariel sees I still ain't scared, she growls and
points right at me. I will see you get scared, mouse,

(29:17):
if it's the last thing I do. That just gets
me laughing again. Ariel growls again, I hate you mouse.
Then we listen to Richie. As soon as you guys left,
Mom went all spaz on me. She grabbed me and
kept wanting to know why I was gone For a

(29:37):
whole year. I tried telling her about what happened with
Abigail Tomlin, but she wouldn't believe me. He's looking at
me now, Mom's saying it was you, Maddie. My eyes
go wide. What you gotta be kidding me? Aw man,

(30:00):
I can't wait to hear this. Horton tells us his
mom's blaming the Madeline Donnerly gang for keeping him away
from home for a whole year. Bailey mutters, Then she
turns to me, and I always thought you were crazy mouse.
I glance at Bailey and smirk. Maybe you'll be right

(30:23):
after we finish here in this story, Richie finishes, I
had to get away from mom, so I ran out here.
I've come out before when Mom would get over protective
and go spaz. She won't come out here since this
is where the bikers live. Then he sees the house. Weird.

(30:46):
I don't remember this house being here. Before he looks
at us. Was this built over the last year? We
all look at each other. Heck, we don't know what
to tell Richie. Only problem is how are we gonna
get him to go back home. We can't involve him

(31:06):
with what we're about to do. When Carter and Me
look eye to eye. I know we're gonna tell him,
so Carter takes the lead. Why not? We know Richie's
a believer after what happened to him and his two buddies. Now,
Richie gulps, you mean he points at the house. This

(31:28):
is another haunted house in Strickfield. Fraid So, buddy, I
confirm you don't have to come in with us, Richie.
Carter tells him call me Horton, he says, Chapman and
Chunker both do. Then he sighs, I'll come with you.

(31:49):
After all, you guys saved us earlier tonight, and we
were there with you at the Carnivosh estate in nineteen
fifty five, So what's one more haunted house? Suddenly everybody
screams again. This time we're seeing a woman standing in
the doorway with a tray of what's looking like fresh

(32:13):
caramel apples. Better come and get your treats, kiddies. The
ghost of Ava Haym tells us Halloween night won't last forever,
you know. Then Ariel slaps my arm. Why won't you
get scared?

Speaker 4 (32:30):
Just why?

Speaker 1 (32:32):
I guess Ariel ain't seeing how big my eyes are.
Then I glance her way like I told you before,
give me something to be scared about. Ariel grabs my
shoulders and wants to shake me, but she just takes
a deep breath. I hate you mouse. Then she lets

(32:53):
me go. Carter walks up to Ava. Hame, listen, you
ain't seen this little guy, have you. Then he shows
the ghost what's probably a pick of Stuart Mirron. No,
I take that back a video. Carter loves filming Ariel
whenever she's out with Stuart. When something happens where Stuart

(33:16):
gets mean on Ariel, Carter's somehow right there filming everything
with his phone. Then he posts the videos, which gets
Ariel real mad. I gulp quietly when I'm seeing Ava
given Carter a weird smile. Then she backs up and

(33:36):
disappears into the darkness behind her. Ariel was standing right
next to me. Yep, She's had so many chances to
see this little mouse. He get scared, but no luck, Carter. No.
Ariel yells, reaching out for him when she sees he's

(33:57):
gonna go inside. We all scream this time when Carter's
suddenly pulled in. Ariel never sees me scream since she's
moving away from me and toward the door. You'd have
thought Ariel would have been paying attention. But then she
gets pulled into the house herself, and you know what's worse,

(34:19):
the rest of us end up going in after him. Boy,
it sure is scary in here. We don't even got
to turn around to know the front door is closed
behind us here in that sudden slam said it all. Anyway,
the best way I can talk about the inside of
the Candy House, It's like we're in a creepy old

(34:43):
house with this weird color lighting up everything, kind of
like a horror movie with a color grade applied. Nothing
looks like we're in a haunted house, but we know
we are. It ain't long before we're catching up to Carter.
Then he sees us. Man, I was gonna turn around

(35:04):
and tell all of you not to come in here.
Ariel growls and smacks Carter's arm. I hate you, Carter Cross.
You just wait until until you just know. Mona and
Bailey and me should have been laughing it up, especially
when Carter and Ariel are holding each other. I think

(35:24):
we're all too scared to be laughing. A loud bang
brings them out of their trance. When Carter and Ariel
realize they're holding each other. They quickly let go. Ariel's
even looking at us girls to see if we're laughing.

(35:46):
Now that is funny. She still growls and points at us.
I hate you girls anyway. When she turns back to
Carter and slaps his arm again. OW, it's your problem now, princess,
Carter mutters, Aeriel points right in his face. You get

(36:07):
a second one for getting us trapped in here? Trapped
is right? Mona groans, we can forget about getting signal
on our phones. She's right, Bailey agrees. Only Horton makes
light of our situation. At least my SPA's mom won't
find me in here. Bailey gives him a mad look

(36:30):
and shoves him a little Oh listen to you. A
sudden scream makes Horton jump right into Bailey's arms, just
like when we were back in nineteen fifty five earlier tonight.
I'm surprised Bailey can easily hold him. Then again, Horton
is kind of a toothpick anyway. Bailey just glares at him.

(36:54):
Are you serious right now? Horton gives her an apologetic smile,
but before she sets him back on his feet, Carter
tries the front door. Anyways, Yeah, we're stuck in here.
Ariel tightens her fists and growls again, looks like she's

(37:17):
gonna slap Carter's arm hard, but she don't. Then she
smiles her wicked smile. You want to know how you're
making this up to me, Carter Cross, You are going
to be giving me lots of sodas she's looking scared again.
If we get out of here. We get out of here,

(37:40):
then you can use King Daddy's royal credit card and
buy yourself a soda factory. Princess Carter cracks. Ariel's about
ready to run at him, but I quickly get in
between them both. Then I point at Carter, better quit
tempting fate with Ariel, buddy. Now I talk to both
of them, and we got more important things to worry

(38:03):
about right now. They both back down, not before Ariel
shoots him another quick mean look. Yeah, she's gonna get
him the first chance she gets. Then I turned to
the others. We might as well look around. Mona points
at me. Don't even say let's split up, gang Hugh,

(38:26):
wicked little rodent never even crossed my mind. I tell
her we ain't got a choice. We gotta look around
the house, Carter, I just said, we ain't got no
phone service in here. Mona snaps, I know that, he
tells her. I never closed my browser. I still got

(38:47):
the Strickfield University web page about this place up. I'm
just finishing reading it. After some seconds, he clicks off
the screen. I hate to make matters worse, but we
don't have unlimited time in here. We only got until
three to find both Stuart and get ourselves out of here.

(39:08):
When Halloween ends on the West Coast, Bailey remembers, anybody
remember what time it was when we came in here.
Horton looks at his watch. It's almost one point thirty now.
Bailey quickly grabs his wrist and sees for herself. Then

(39:28):
she tells us Horton's actually wearing a real watch. When
she lets go of his arm, she gives him a
dirty look. Who even does that anymore? Well, we gotta
use it if we're gonna know when we gotta get
out of here, I say, soon, we're in the one
part of the house where there's different directions. You're gonna

(39:50):
say it, ain't you? Mona demands, pushing me a little
I ain't saying nothing. I tell her we can cover
more ground if we split up. Carter says, Stuart could
be anywhere in this big house. Also, I'm pretty sure
I saw basement windows when we were outside. Now, Mona

(40:11):
pushes Carter, it's because of you we're trapped in here.
Carter turns to her, Hey, how else are we supposed
to find Stuart? Call a service to go in and
get him for us. Hugh knew we had to come
in here, so back off. Mona gives Carter a mean look,
what do you think, Madeline? Carter asks, I shrug. We

(40:36):
can cover more rooms if we split up. We stay together.
It's safety in numbers. Like you said, buddy, we're running
out of time. I know we don't want to be
spending the rest of our lives and here. That's for sure.
We take a vote. Mona is the only one who
don't want to split up. Guess I got a way

(40:57):
of influencing people. Huh, there's six of us, so we
split into twos. Carter and Aeriel obviously go together. Funny thing.
She quickly grabs and holds Carter's hand. Princess and me
can look around down here, Carter says. Bailey sighs and
takes Horton's hand as they head upstairs. Oh man o,

(41:22):
man o, man o, man o man, Horton groans. Bailey
shoots him a mean look. You jump into my arms again,
and I'll just leave you here, got it? That leaves
Mona and me guess we're going downstairs, I say, She
points right at me. I am not holding your little mouse, paw.

(41:47):
I open the basement door and flip the switch. At
least the lights are working, even if the light itself
still makes things look creepy. I slowly start downstairs. I
feel Mona following me. I think we're both expecting the
basement door to just slam shut behind us and trap

(42:08):
us in here. But so far, so good. There not
that we're not already trapped. When we get to the bottom,
we look around. You can tell things are dated in
this house. Just looking at the washer and dryer and
water heater, you just know they're from I don't know,

(42:28):
maybe the nineteen seventies. Looking at Mona, she's got her
eyes closed and breathing slowly. She's definitely showing she's scared.
Then she digs into her pants and pulls out that
big red gem that she got back at the Carnivosh
estate in nineteen fifty five. After putting it on, she

(42:53):
turns and sees me looking at her. What she demands,
Then she points at me. Don't you dare judge me,
you wicked little rodent. I shrug. I ain't saying nothing.
You ready to look around down here? Mona softens up.
I just feel safer wearing my new heirloom, that's all.

(43:18):
She takes another breath. Okay, let's look around mouse. When
I turn and start moving, Mona quickly grabs my little
mouse paw. Yeah, she's big time scared. She keeps taking
in breaths, trying to cope. Let's be honest, this little

(43:39):
mousey's big time scared herself. I think the reason I
don't lose my cool is because I just keep thinking.
I think that's always been my coping mechanism. I ain't
denying screaming when I get scared enough, I also admit
I'm just as human as the next person. I think.
At the same time time, I know we got a

(44:02):
job to do here. Lately, Mary Worth, my ghostly friend,
has been encouraging me more and more. I think it's
because of Mary that I keep moving on when it
comes to seeing these ghosts and stuff. Then I gasp
as Mona turns to see what startled me. So you

(44:28):
can get scared mouse, I shake Mona's hand. No, it's
because you're putting the squeeze on me. Could you maybe
let up a little bit? Sorry? Then my hand's feeling
a lot better. After checking out a few rooms down here,
we're about ready to turn around and go back up.

(44:51):
Then I see something? What mouse, Mona asks? I point
to it. Since when do floors have circular scrapes like this?
Mona and me come to the same conclusion. She lets
go of my hand and moves to the shelf to

(45:12):
pull on it. When she's got it open, she turns
to me. Good call, mouse. When she finds the light
switch and turns it on, she gulps, no, bad call.
What if this is some dungeon or something. I don't
want to be stuck down here and never be able

(45:34):
to eat Denoyer's grilled cheeseburgers ever again. You can stay here, Mona.
I'll go check it out. I say, I'm going in.
When Mona grabs my shoulders. No, wait, Mona takes my
hand again. Then we go in together. Ironic, ain't it?

(45:56):
This new room does look like a dungeon. There's empty
cages on both sides. Hey, hey, this voice calls out,
making Mona scream fast. She don't see me, gulpin, Who
who's there? Mona calls back, yes, over here. The strange

(46:20):
voice calls back. Mona and me move to it until
we see this kid looking to be around our age,
locked in one of the cells. Looking at his clothes.
He's either wearing nineteen seventies fashion or it's his Halloween costume.
Who can say. Anyway, he kind of looks like Vinnie

(46:43):
Barberino from that show Welcome Back Cotter. I know because
Grandma on Mom's side likes watching all them old shows.
She's always got one on when the family goes and
visits her. I just happened to see John Travolta and
New the kids on his feet and holding the bars. Aw,

(47:04):
you girls gotta get me out of here, He points
to the far corner. Keyser right there, Come on, get
me out of here before those those ghosts come back.
Mona don't waste no time going and grabbing the keys.
Problem is, Mona's gotta go through all of them to
find the right key. Oh, come on, come on, open up.

(47:26):
It's when the key finally turns his lock that we're
all here and screaming. We look to see one of
them ghosts at the secret entrance. It's the man Zachary,
and he looks real mad. Get away from here, he
roars in a voice that's sending shivers down this little

(47:48):
mousey's spine. Don't stop, let me out, the guy cries.
Mona finishes unlocking the cell. Then she opens the door.
The guy quickly comes out. Only thing is, how are
we gonna get past that ghost?

Speaker 4 (48:07):
Ah? Man?

Speaker 1 (48:09):
Mona slaps my shoulder like Ariel keeps saying, mouse, you
never get scared. I wish I was like you. I
actually got a smile at that, because it's very rare.
Mona abels ever gives little old me a compliment. Taking
a pretty big risk here. But I walk up to

(48:31):
the ghost. I mean, what else are we gonna do?
We ain't got no other way out of here except
through Zachary Haym himself. Now I'm looking right at him.
What's shaken? Ghost? I barely hear Mona saying you're crazy,
mouse Zachary's face turns into this hideous skull with glowing eyes.

(48:56):
Then he points right past me. You I'll never leave
here with that boy. Being scared is definitely making me
do some quick mouse thinking. I know Zachary Haym's a ghost,
but I dropped my knees and quickly scurry in between
the ghost's legs. When I see how pointless that was,

(49:18):
I just get up and run away. Sure felt cold
running through that ghost. When he turns around and sees
me running, he bellows out all these loud groans and
comes chasing me down. Problem here is I ain't the
fastest runner in our group. Ariel would definitely give this

(49:41):
ghost a run for his money. I think. I end
up running around the basement stairway a couple of times
before I'm doing some quick thinking again. I stop on
the other side and wait for him to appear. He's
looking right at me. Now, Good Mona, Good Mona and

(50:02):
that guy are sneaking out and trying to make their
way to the stairs. I give the ghost a smile
and start dancing. Don't ask me what style, because I
don't know and I don't care. The ghosts just looking
at me like I lost my marbles. And you just
know Mona's gonna tell Ariel and Bailey the first chance

(50:24):
she gets. Ah Man, if cousin Aileen or Daisy may
hear about this, I'm never gonna hear the end of it.
I know I'm embarrassing myself, but I keep the ghost
looking at me long enough for Mona and that guy
to get upstairs. Know when I got a haul keister,
I stop playing the dance and little mouse and run

(50:45):
for the stairs. As I'm turning the corner, the ghost roars.
Feels like a strong winds behind me because I almost
get slammed up against the wall. I cry out and
move to the stairs again. You, you meddling kids, have
no idea what you've just done. That boy must never

(51:06):
ever leave this house, and that means you won't be
leaving this house either. I make like a little mousey
and move up the stairs on all fours. When I
reach the top, Mona's right there to help me out.
When we're all here in Zachary roaring downstairs, I move
to shut the door. Mona screams and the guy gasps.

(51:29):
When the basement door explodes into splinters and kindling Mona
never sees it, but my eyes are wide open. Without
even thinking, we run in different directions. So much for
us sticking together. Know when I messed up, and knowing

(51:52):
I can't abandon Mona, I stop in my tracks again
and turn around. Hey, ghosty, I call out. When Zachary
turns and looks at me, I get another idea. I've
been told I look like a little kid before. Grandma
still thinks I am a little kid, might as well

(52:14):
act like one, right. I put my thumbs in my ears,
wiggle my fingers, and stick out my tongue. The ghost
roars and floats after me for some mouse chasing. Since
I can't go right out one of them doors, I
quickly haul my keyster upstairs again using all fours. I

(52:36):
don't even look and just turn right. That's when I'm
seeing plenty of doors here in the hallway and decide
to have some fun, just like I did with Stuart
Jeeves back in nineteen fifty five long story. I turn
around and see the ghost at the top of the stairs.

(52:57):
After giving him another I open the door to my
right and pull it shut to see I'm in a
dark closet. It ain't long before Zachary's right outside because
I can see that eerie glow coming underneath the door.
When the ghost opens it, eh, I saw you come

(53:20):
in right here, little girl, he groans. Then I open
the door behind him. Jee tchi je tu tu tu
chu jip. The ghost roars and turns around. I quickly
pull the door shut. He opens the door that goes
into the bedroom. I'm sure he's looking all over for me,

(53:43):
but I ain't nowhere in the room now. When he
comes back out into the hall, he's yelling to know
where I am. I open the door at the end
of the hall, right here, buddy. When the ghost turns around,
I'm smiling, and wait when he starts floating after me,

(54:03):
I pull the door shut. He opens it to reveal
a bathroom, but he ain't seeing me in it. I
know he's gonna check the pantry with the laundry chute
in it, which is one of two possible places I
could hide at least after He's also pulling the shower
curtain at the bathtub aside. Zachary comes back out into

(54:28):
the hall. You can play your games all you want, Mortal,
but I'll find you. There's only so far you can run.
You can't leave this house, and most certainly not after
three am. When I see him turning back to the pantry,

(54:50):
I laugh to myself when he's opening the laundry chute.
Come on, really, I know I'm small and thin, but
even I can't fit down the sho shoot. I open
one of the sink's doors and slip out. I shriek
when the ghost is suddenly right there to scare me.
I quickly run out of the bathroom, pulling the door

(55:13):
shut behind me. Yeah, like that's gonna stop a ghost.
Instead of floating through the door, he levels it before
coming out. Then he sees me going into another door
and pulling it shut. I've got you, now, you little rascal,
Zachary growls with delight when he opens the door. I

(55:37):
exit at the little closet door by the stairs. While
Zachary's yelling things, this little mouse he ain't gonna repeat here.
I pull myself up onto the railing and slide down, quickly,
put in distance between me and Zachary. Unlike Stuart Jeeves
back in fifty five, Zachary's still opening doors upstairs trying

(56:00):
to find me. When I hit the bottom of the railing,
I stop myself and slowly drop off. Definitely don't want
to take the chance Ariel might be there for me
to fly into. When I'm on the floor, I turn
and tippy toe out of there. I'm trying to be quiet,
like a little mousie when I'm walking around down here.

(56:22):
It ain't long before a hand grabs hold of me
and pulls me into another room. I know it ain't
no ghost because the hand is familiar. You, okay, Madeline
Carter asks. He pulled me into the kitchen where the
others are. Looks like Mona and the guy we jail

(56:43):
broke made it back to the others too. Yeah, just
running from a ghost. I tell him. Guess you didn't
happen to find a way out, he mutters. I sigh, Yeah,
I wish you know. I didn't fly off of the
stairway railing and land on Ariel like back at the

(57:04):
Carnivosha State in fifty five. But she's still real mad.
She tightens her fists and growls. Then she yells, where
are you, you, little goober? It's going to take forever
to find Stuart Bailey complains, this is a big house.
Then Ariel looks at Mona and me. You two didn't

(57:29):
see that goober downstairs, did you? Mona and me both
shake our heads. Then Mona says, wasn't really anywhere that
little stinker could hide down there. Mousel backed me up
on that one. She's right, I agree. Then we tell
everybody what all we found down there. Carter points to

(57:52):
the kid, Are you Jason Miron? Didn't you disappear in
this house back in the nineteen seventies? Jason gives him
a weird smile. Seems like I've been in this house forever.
It is still nineteen seventy eight, right, we're all looking

(58:21):
at each other now than Ariel and Carter both shake
their heads slowly. She tells him the current year. Boy,
you should have seen the look on his face. You're serious,
Jason gowks. Then he's sneering and pointing at all of us.

(58:41):
And how do I know you ain't lying? I mean,
look at the clothes you're wearing. Those are easily nineteen
fifties fashions. I know because my parents were still wearing
them the night I came. Trick or treating here, we're
out trick or treating ourselves. Bailey quickly answers, for us.
We went as people from the nineteen fifties. We ain't

(59:05):
sure whether Jason believes us or not, but that's the
story we're sticking with. We've got to find our way
out of here, Horton says, looking at his watch, we're
losing minutes. We ain't getting out of here. Jason mutters,
you know how many times I've broken out of my
cell downstairs and tried to escape. Those ghosts keep finding

(59:30):
me and putting me back downstairs. If they find us again,
they'll lock all of you up downstairs too. He sighs.
Looks like you guys are going to be living in
this house with me for the long haul. Bailey throws
her arms up. You act like you want to stay here,

(59:52):
Jason shrugs. It ain't like we're being tortured or put
to work. You learn to live on caramel apples and
Halloween candy and soda pop, but at least you ain't starving.
Ariel points at him. We are getting out of here.
You just wait. Yeah, I definitely gotta trust Ariel. Usually,

(01:00:17):
when she says her favorite phrase, she makes good on
whatever it is you're gonna wait for. Suddenly, a cupboard
door slams open nearby, and this little carpenter comes out,
making us jump and shriek. All I did was open
my eyes wide. Ariel growls and points at the little guy.

(01:00:39):
I can't believe you came and hear you, little, you,
little goober. Stuart gives Ariel a mean look, then he
roars and leaps right down at her. Carter catches the
little guy before he can land and take Ariel to
the floor. When he puts Stuart down, the little guy
turns to him and kicks him in the shin. Hey,

(01:01:03):
Carter growls, you little Ariel gets in between him. No,
you don't, Carter cross. If anybody's giving this little goober
his just deserts, it's going to be me. Then she
snatches Stuart to him, and now, you, little goober. When

(01:01:24):
Ariel grabs Stuart's arm, the little guy quickly grabs her
wrist and bites her ow. Then Ariel snatches him again
as he tries running away. She brings him to her
as she sits down at the table. I may not
be your mom, but I am going to give you

(01:01:44):
a good spanking. I don't think any of us ever
heard little Stuart mir and talk. I know. The most
I ever heard him do was just roar, like just now,
which is what Stuart's doing when Ariel's trying to hold
him in place. But Ariel underestimated Stuart again when he
turns his head enough to bite Ariel's wrist. When she

(01:02:08):
cries out, he escapes. That's when I grab him and
turn him to look at me. Hey, come on, little guy,
I tell him, why you gotta be so mean? I'm
wondering if Stuart's gonna try bitin me now. Then he
points to something in my vest pocket. Oh you want

(01:02:28):
my candy bar, I ask. Stuart nods quickly. I give
it to him without thinking twice about it. Funny thing.
I enjoy trick or treating, but I ain't really a
candy person.

Speaker 2 (01:02:42):
Yeah.

Speaker 1 (01:02:42):
I might eat a few pieces once in a while,
but I actually give all my candy to Mom and Dad.
I know they enjoy it more than me. Also, I
know Mom will put it out with the food when
she's having her art gallery presentations. After Stuart finishes the
candy bar, he's real happy. Now, Believe it or not,

(01:03:03):
this would be the beginning of a beautiful friendship between
me and the little guy. Then I tell him you
want more candy, Well, you gotta behave okay. Stuart nods quickly.
Then Ariel gives me this weird look like she's asking
what makes me so special? Then I get an idea.

(01:03:25):
I don't suppose you know how we can get out
of here, do you, Stuart? Stuart shrugs. He's probably been
playing around in this house so much he never thought
about getting out of here. But Ariel ain't giving up
so easily. She turns Stuart around to face her. You
got us into this mess, you rotten goober. If you

(01:03:49):
know how to Stuart stops Ariel by kicking her in
the shin. Now Ariel's hoppin' mad. Okay, that is it.
I've had it with you, Stuart. At first, I'm wondering
if she's gonna try spanking him again, but she gives
him her wicked smile. When we get out of here,

(01:04:10):
we're gonna leave you behind and tell Aunt Margaret we
just couldn't find you. That means I'll be free of
you forever. She lowers herself to look Stuart in the face.
So go ahead and kick my shins all you want.
I just don't care anymore. Stuart, tightens his little fists

(01:04:31):
and runs at Ariel. I come in between them. We
ain't got time for this. When they're both looking my way,
I tell them we ain't got time period. Three in
the morning's gonna be here before we know it. If
we don't get out of here by then, well we
ain't getting out of here. Get the idea. I think

(01:04:54):
I'm speaking for everybody here when I'm saying I know
I don't want to be in this house for I
look at Stuart. Now, come on, little guy, if you
do know a way out of here, could you tell
us there's more candy in it for you? If you do.
Stuart points to a nearby door. Aeriel moves and tries it. Nothing.

(01:05:18):
The other doors leading out probably won't open either. You
think I didn't try that already, Jason snapped, These doors
are sealed tight. We ain't getting out of here. We're
stuck in here forever. I point at him. Maybe you
gave up, buddy, but I know I want to go home.

(01:05:40):
The others are quick to agree with me. It ain't
long before the haunting keeps going. We're hearing ghostly groans
and they're getting closer. It ain't gonna be long before
those two ghosts find us again. Problem here is, we
ain't gonna be able to keep running around and here,
since there's only so many places we can go. Then

(01:06:04):
I realize I could have got answers from my other
friend who ain't here with us at the moment. Soon
as them ghosts show up, everybody gets all scared and
runs in different directions again. Now them ghosts are looking
right at me. I think Ariel must have picked up
Steward and took him with her, because I ain't seeing

(01:06:25):
him here. I give the ghosts a little smile as
I wave my little fingers. U Hi. When I drop
my hand, I feel the knob of a cupboard behind me.
Time to be a little mousey again. I quickly drop
open the door and get inside. You're not pulling that

(01:06:48):
trick on me again, little girl, I'm hearing Zachary say.
As I hear him open up the other cabinets to
try and anticipate where I'm likely to pop out. I
open up the cabinet door where I got into and
get the heck out of dodge such a wicked, wicked
little girl, Ava growls behind me. Feet don't fail me now, seriously,

(01:07:15):
if my besties are gonna call me mouse, I should
be able to move just like one. Finally, I move
into a hallway and quickly slip off to the side.
Soon Ava floats right past me and don't even see me.
And that's when I feel my mousey sense my tummy

(01:07:35):
talkin' to me. I don't know, I'm just getting the
feeling something ain't right when it comes to them ghosts.
When I know it's safe, I tipy toe out of
my hiding place and move to the nearby door. To
my surprise, it opens. It takes a minute for my

(01:07:56):
eyes to adjust, but I'm seeing now. I'm I'm in
a garage. There's a couple of cars in here. Then
I get an idea and open the driver's side door. Drat,
no keys. I move to the other car and don't
find him in that one either. I was wanting to

(01:08:17):
try and drive a car again, like earlier tonight, I'm
about to move to find a safe hiding spot so
i can talk to Mary Worth when I'm suddenly shrieking
as the garage door is opening up. There's nowhere to run.
When two hands grab hold of me and pull me outside.

(01:08:45):
You I ask not believe in what I'm seeing. What
are you doing all the way out here, Maddie, Bill
Chapman's asking me the other guy, Brian Chunk glances at
Bill and lightly smacks his shoulder. Hey, if Maddie's out here,
then you know the others are too. Chapman gives a

(01:09:05):
quick nod and asks me, is Horton with you guys? Yeah?
In the house, I tell him. Chunker explains that Horton's
crazy mom called their houses after he ran off. Even
though Chapman and Chunker's parents didn't want them going off
after they just got their kids back from being gone
for a whole year. They let him head out so

(01:09:27):
they could go look for Horton. But how'd you guys
know Horton was here? I ask? Horton always comes out
here when he's got to get away from his spaz mom.
Chapman says he knows she won't come out here with
the bikers not living too far away. This is where
we used to have our old clubhouse, back before Chunker's

(01:09:48):
dad gave us his old tool shed. What is this
place anyway, Chunker asks, I ain't never seen this house
here before. It's the Candy House. Chunker. Chapman tells him
it's gotta be Dad always talks about this place around Halloween.
You found it, I assure him. Seeing Chapman and chunkers

(01:10:11):
making me do some more thinking here, I point to
the guys. How'd you get that garage door to open?
I just opened it. Chapman tells me, you guys didn't
have to break in or nothing. I ask, give me
a break, Maddie. Chapman scoffs, we ain't vandals. The door
just opened when I tried lifting it. We weren't expecting

(01:10:33):
to see you behind it, though. Chunker ads, just to
be sure. I reach out and touch both of them.
They're real sure enough. I ain't seeing things and they
ain't ghosts. I really am back outside, and I'm thinking,
I know what's going on here now. I turned back

(01:10:55):
to the open garage. I gotta go back in and
get the others. Guys, we'll go in with you, Chunker says.
I turned back and raise my hand to stop him.
You two gotta stay out here. If you come in
with me, you might not come back out. Hold it,
Chapman says. If you were in there, then how were

(01:11:16):
you able to come back out again. My old man said,
if you get trapped in there and don't get out
by he checks his smart watch. Fifteen minutes, this house
disappears for another year. Anybody who's in there's gone too.
I quickly tell the guys what I think I know
about this house and why I don't want him going

(01:11:38):
in with me. Chapman and Chunker look at each other,
then they look back at me. Chunker and me are
coming in with you. Chapman says, Horton's been our buddy
since we was pups. We ain't gonna leave him behind.
It was Horton's idea for us to go back into
the village cemetery to keep Abigail Tomlin from taking a

(01:11:59):
bunch of kids back to the afterlife with her last Halloween.
We couldn't let Horton go alone, Chunker ads, so we
went back into the cemetery with him. You know what
happened from there. We know you and your friends rescued
us earlier tonight, but we're not leaving Horton in there.
I hope you can understand that. I sigh, I know

(01:12:22):
what you mean. I do the same for my friends too.
I know Carter Cross would do the same for me
for sure. Okay, come on, then we're losing time. We
go back into the house through the garage when we
see them ghosts floating and moving up and down, probably
still looking for me. I talked Chapman and Chunker through

(01:12:45):
getting around him and know I'm right about what's going on.
The three of us find the others upstairs and hiding
all the way up in the attic. The others are
surprised at seeing chap and Chunk, especially Horton. I can't
believe you guys tracked me all the way out here.
Horton squeaks. It was either that or your mom would

(01:13:06):
be haunting us every day from now on. Chunker tells
him time to work on my plan. Come on, everybody,
I found the way out of here. We gotta go
back downstairs to get out. The others are all happy
here and that except Jason. I couldn't help seeing the
look of surprise on his face, and I don't mean

(01:13:28):
a pleasant surprise. Soon as we're coming out of the attic,
surprise surprise. Them ghosts are miraculously right there. Then I
come out and start playing the dancing little Mousie again.
I even get Mona laughing. When I'm making these singing
mousey sounds. Them ghosts are looking at me like I'm

(01:13:49):
some kind of nut. Bailey turns my way. Are you serious?
Right now? Bailey and Horton gotta make Mona come with him,
and Chapman and Chunker are leading them to the way
out out. Yeah, they know my plan. They even knew
not to say nothing to Jason Miran about it. I
keep dancing around and around and making my little singing

(01:14:10):
mouse voices. I'm half wondering if a cane is gonna
come out of the side somewhere and yank me away
like a cartoon character being yanked off of the stage. Nope,
I'm still playing the dancing and singing little mousey. Oh man,
I ain't never gonna hear the end of this one.
Of course, I gotta get out of here myself first. Still,

(01:14:33):
even after everything I'm doing, those ghosts still ain't making
any attempt to touch me. I remember passing right through
Zachary and feeling cold for a little bit. I could
probably do it again, but I want them to try
touching me themselves. It ain't long before I stop with
my act and run away. Them ghosts are chasing me

(01:14:55):
around again. I'm keeping him up on the second floor
with me. Gotta give everybody enough time to get out
of here. I'm about ready to move into a door
and do my Now you see me, Now, you don't
trick again. I stop when I see Jason Mirn just
at the top of the stairs. Now he knows I'm
looking right at him. That's when he comes away from

(01:15:18):
the top step and heads to me. How long have
you been here, buddy, I ask him. I know you've
been in here since you disappeared that Halloween night back
in nineteen seventy eight. What I really want to know
is how long have you been hanging out here? I mean,
you ain't aged none, so I know this house is
keeping you young and everything. When the ghosts continue to

(01:15:41):
float in front of me, I sigh, So cut the
act already. I know it's you who's got to be
making him appear somehow. Jason Miron's showing a wicked smirk.
You think you know everything, little girl. I know enough

(01:16:04):
to know what real ghosts do and don't do, I say,
And we already had to deal with enough ghosts tonight,
So come on, what's the real story here? Just then
Mona suddenly appears right next to me. Mouse, Jason, we
can get out of here. The garage is wide open.

(01:16:24):
I quickly point behind me, Mona, you gotta get out
of here. It's Jason. He's the one behind all of this.
Before Mona can ask me what's going on, Jason raises
his hand and makes the door slam right behind Mona.
Now she's giving me that look, telling me she knows
I'm right. Now we're both looking at Jason. He chuckles.

(01:16:49):
It was so easy to learn both the mirroran ways
and the family magics, But there's only so much you
can do when your parents are always hanging over you
and telling you what to do all the time. I
had to get away from them. Halloween night was coming up,
the perfect out for me. Mom and Dad took me

(01:17:09):
by this house while trigger treating. When some friends came along.
They helped me more than they could ever imagine. All
I had to do was just go inside this house
with them. Who could resist fresh caramel apples and name candies? Right?
Except I never came back out. I hid in one
of the cupboards, just like that little kid did earlier.

(01:17:32):
Little did I realize just how vindictive. My parents could be.
I don't know what all happened, but I know the
house was being torched. I stayed out of sight and
used my powers to steal the souls of Zachary and
Ava Haim. You could say I saved them as this
house was burned to the ground, while the spell I

(01:17:54):
used allowed me to remain safe and unaged in this
house all these years. The drawback is you can never
leave here, unlike you two, I'm stuck. Mona remembers Carter
telling the legend of this place and points at Jason.
So you were the one taking the kids who'd come
in here, correct, Jason answers, they're still in this house

(01:18:21):
with me today. In fact, they're right below you in
the basement. But Mouse and me only saw you in
the basement. Mona disagrees. The kids I abducted were in
those cages. I assure you, Jason says, I put a
cloaking spell on them. You two kids only saw me,

(01:18:44):
then you saw the ghosts come when you let me out,
which was exactly what I wanted you to see. Couldn't
have you suspect me, right? And that was how you
gave yourself away. I tell him. My buddy told all
of us the legend many kids disappeared here. Kind of

(01:19:05):
strange that we only found one. So what you want
with all them kids? Jason tightens his fists. Being stuck
in this house and never aging doesn't mean I don't
get lonely. Having those kids here with me means I'll
always have company. And once you two stay in here
with me, then you'll just be two more little girls.

(01:19:29):
There definitely aren't enough girls here. Mona goes for her
ruby amulet. Something tells me she's gonna try using her
birthright as a carnivoche again. Something also tells me she
ain't gonna make her magic happen like she did back
in nineteen fifty five. Jason anticipated this because he uses

(01:19:49):
his magic to knock Mona down, taking the wind out
of her sails. She's grown, and while she's flat on
her back, run Mousea to say. I gotta do what
she says, but I ain't leaving her here. My mousey
sense is telling me there ain't much time left till
three a m. No way, Mona and me are staying

(01:20:12):
here till next Halloween. You can run all you want,
little girl, I hear Jason behind me. I love playing
hide and seek. I run back upstairs, since I seem
to be able to make quick plans while I'm scared
and under pressure, I remember where the bathroom is and
run that way. I quickly get in there and dig

(01:20:34):
into my pocket for my compact. Then I see the
bigger mirror over the sink and quickly move to it instead. Meryworth,
Merry Worth, Marry Worth, the face of my ghostly friend
takes the place of mine in the mirror. When I
reach out for her, she reaches out for me. When

(01:20:55):
our hands meet, she comes fully out of the mirror
and into me. Soon, Maryworth has taking my place here
in the mortal realm while I'm seeing everything through her
eyes or my eyes. When Jason appears at the bathroom entrance,
he ain't expecting to see Mary Worth waiting for him.
What is this? He exclaims, who are you? I am

(01:21:20):
here to save those children whom you have taken against
their wishes, Jason miron, Mary tells him. Jason gets real
mad now never he tries in casing Mary in his magic.
I captured the souls of the Hames their mind to
command you never should have appeared here ghost, Now I

(01:21:44):
can claim you as my own. But what Jason, like
most everybody else, fails to see is that Mary ain't
your normal ghost. She's actually an astral projection. See when
Mary was about to be earned at the stake years
ago during the Salem witch Trials, a mirror was brought

(01:22:05):
before her. It was supposed to be for her to
see how evil she truly was before she burned up.
Mary simply used the power of the white Light and
escaped from her body and into the mirror. She's been
living in the part of the afterlife known as the
Mirror Realm ever since, at least till she and I

(01:22:25):
met and became friends. Then I let her possess me
so she could come into the mortal realm when she's needed.
Oh the look on Jason's face when he sees his
powers ain't working on Mary. Guess he don't like that
she's moving in on him. Then she casts a spell
of her own to make a glowing field around him. No,

(01:22:48):
he yells, no, release me right now. Mary ignores him
and lowers herself through the floor. See that's what got
this little mousey thinking ghosts are supposed to be able
to move through walls and stuff. Okay, I know I
moved through Zachary Haym's ghost earlier, but Zachary and Ava

(01:23:08):
never once moved through the walls. Also, Zachary either blew
the doors up or opened them the way I would.
Ghosts don't need to do that. Guess Jason didn't think
about that when he was controlling him, or he thought,
like most people, I wouldn't know anything about real ghosts.

(01:23:29):
Mary lands in that secret room in the basement. She
waves her arms and cancels the cloaking spell. WHOA, Jason
was right. There's lots of kids down here. Judging from
the different costumes, they look like they all come from
different times. When the kids see Mary, they ain't even afraid.

(01:23:52):
They're begging and pleading for her to help them. Mary
casts another spell to make the cages disappear. Follow me
to your freedom, Mary tells them. Then she stops and
casts another spell to make a portal appear through here children.

(01:24:12):
Mary waits till they're all through before she closes the portal.
I tell Mary, we still got to get Mona out
of here. I am aware of Mona Madeleine. Mary tells
me we float up through the floor. However, the others
risk coming back inside, and we're able to get Mona

(01:24:32):
back out. Suddenly the doors close. It's three am. Mary,
We're trapped in here now, I think to her, we
ain't getting back out of here till next Halloween. Don't
be so sure, Madeleine, Mary replies optimistically, Remember who I

(01:24:57):
am and where Irine. Mary floats to a nearby bathroom.
I understand Mary's plan as soon as I'm seeing the mirror.
We go into it, and before I know it, Mary's
got us right back outside. I laugh a little to
myself when I see we came back out through the

(01:25:19):
mirror on Horton's bike. The gasps and shrieks nearby tell
us everybody got out. Yeah. They still ain't used to
seeing Mary Worth appearing from time to time. Hey, where's Mouse,
Ariel yells. She points to where the candy house used

(01:25:39):
to be. The house is gone and mouse isn't here.
Before Mary Worth can answer Ariel, two ghosts appear. Zachary
and Ava float over to Mary and thank her for
setting them free. After that, they go up into the
sky until they're long gone. That gives Mary enough time

(01:26:04):
to float over to where the others can't see. Mary
brings out my little compact and returns into it to
give me back my body. She's gonna go see the
kids that she saved now. I know Mary and me
gotta talk about things later, but I can't keep the others.
Wonderin and make my way over to em. Bailey's the

(01:26:27):
first one to see me and quickly taps Ariel's shoulder.
Over there, Mouse is okay. When Ariel sees me, she
gets mad fast and marches right over. Where were you? Mouse?
I quickly make up something. I thought the rest of
you were right behind me. Ariel growls and tightens her fists.

(01:26:50):
I hate you, Mouse. You just wait until our next
sleep over. OW. Little Stuart came over and just kicked
her in the shin. Ariel grabs his shoulders and is
ready to give the little guy what for. Stuart's ready
to fight her too. You'd swear these two were an
actual big sister little brother combo, the way they act

(01:27:13):
around each other. I come in between em. OK, OK,
we're done here. Let's get Stuart back. My phone rings.
I pull it out to see Adrian Miron on the
caller ID. I programmed the number into my contacts. After
Ariel's mom called earlier, I unlocked my screen and hand

(01:27:33):
the phone to Ariel. The rest of us don't listen much,
since we know Ariel and her mom are yelling at
each other. I know Stuart's name keeps coming up. The
conversation ends with Ariel yellin she'll bring Stuart right back
to the house. When she hands me back the phone,
she gives me that look. Something tells me Ariel's gonna

(01:27:57):
be Ariel again. How about you take that little goober
back to my house, mouse, U, I utter. She quickly
puts her hands on my shoulders. If you do me
this favor, I'll owe you a big one. I still
don't want to talk to mom right now, I shrug.

(01:28:20):
You gotta return home sometime, Ariel, and I will. She
raises her finger when both our Halloween night is officially over,
and when I'm good and ready, she lowers her finger.
How about it, mouse, I sigh, fine. Then I raise

(01:28:41):
my own finger. But you know your mom ain't gonna
like this. Ariel rolls her eyes. I don't care what
mom thinks tonight. She can yell and scream at me
until she's blue in the face. Once I do get home.
I go and get on my bike. Then Stuart comes
over to me. I let the little guy climb up

(01:29:02):
and sit on my handlebars. Hang on tight, little buddy.
Hold up, Madeline. I'll come with you, Carter tells me.
Once Carter's back on his mongoose, the three of us
ride away from where the candy house was and head
toward the mere and gated community. Stuart's keeping himself secure

(01:29:24):
while I'm riding. He's actually having fun. It takes us
a little bit to get to the main gate. I
punch in the gatecode and see it still works. Carter
and me enter and ride our bikes out to Capital Court.
I'll wait for you out here, Carter says. Once we
reach Ariel's mansion, I wait for Stuart to climb down

(01:29:47):
before getting off my mongoose. Then we walk to the
front doors. Sure feels strange to be coming to Ariel's
house on any other night, but Friday speaking, a Friday
going to be long before I'll be coming back here
for another one of Ariel's sleepovers. Before I can ring
the doorbell, the porch lights suddenly come on and one

(01:30:10):
of the two doors opens. Fast boy, if Adrian Miren's
looks could kill I think she wants to yell at me,
but she stops herself and sighs. Madeline, I believe I
said I wanted Ariel to bring Stuart home. I shrug, sorry, ma'am,

(01:30:31):
Adrian growls, reminding me she's a bigger and older look
in version of Ariel. Then she sees Carter waiting for me,
but doesn't say nothing to him. He just simply waves
to her, ignoring him. She steps aside, come in here,
Carter and me gotta I start to say I said

(01:30:53):
come in here, she repeats in a sharper tone. Oh boy,
Stuart and me go into the house. I can see
the buffet tables in the dining room that were set
up for the gathering earlier, before Ariel and me jail

(01:31:17):
broke into our big Halloween adventure. I can also see
some stains on the floor, probably from when Stuart made
the mess. Once Adrianne closes the door, she turns to
us and folds her arms in front of her. I
don't know why you continue to let my daughter push

(01:31:38):
you around like that, Madeleine. I suppose I am to
blame since I myself taught her the mirror ways. She
unfolds her arms and points at me. But you need
to learn to start telling Ariel no when she wants
something from you. Then she glares at Stuart and you

(01:31:59):
are in there's so much trouble. She's really pointing at
him now, and don't you dare kick my shins? And
just when Adrian's really letting Stuart have it, that's when
the lights start flickering. Adrian's annoyed. Now, oh, are you serious?
It ain't long before we're all getting a very sudden surprise.

(01:32:24):
When the lights stop flickering, the swinging door going into
the kitchen whips open. Stuart's got wide eyes and I'm
gasping when we see Jason Miron come into the room.
He's still wearing that Vinnie Barberino outfit from before. Jason's

(01:32:45):
pointing right at me. Now, did you really think you'd
get away from me, little girl? What is the meaning
of this? Adrian demands, I did not invite you into
my home. Jason gives Adrian a mean look. Do I
look like I even care what you say? Before Adrian

(01:33:07):
can come at him, Jason unleashes a huge burst of
power that knocks her down fast she ain't moving, meaning
she's knocked out. That leaves little Stewart and me. Now
there's a bangin at the front doors. Carter must have
seen that flash from Jason's magic, Madeleine, Madeleine, you okay

(01:33:31):
in there. I quickly grab Stuart's shoulders and turn him. Run,
little buddy. We turn and start running around inside Ariel's mansion.
You can run, but you can't hide, Madeline. Jason calls out,
he might be right. Like I said earlier, I ain't
a very fast runner, even though everybody calls me mouse.

(01:33:55):
I cry out when Jason's shooting his magic right at us.
Fortunately he ain't hitting us. If I didn't know better,
I think Jason's going crazy here. How did I get
here and out of the Hamhouse? Jason calls out, I
simply followed that ghost into the mirror. Unfortunately I couldn't

(01:34:17):
remain there. It's any wonder how that ghost herself can.
Now that I'm back on mirror soil, there's no stopping
me now here. I have limitless power, which I'll use
to destroy you, Madeline. You ruined everything, Jason screams in anger.

(01:34:39):
Then my mousey sense is telling me to turn I
grab Stuart's shoulders and turn him around. Once we're in
the other room, the magic blast just barely misses us. Yeah,
I call over my shoulder. Kidnapping children and keeping him
with you all them years was wrong. Someone had to

(01:34:59):
call you out on it. Stuart's getting the idea and
turning and running into different rooms. Problem is, even little
Stuart runs faster than me. Funny huh. I can ride
a bike real fast, but I'm slow on foot. Ah man, Now,
I remember how Ariel was easily able to catch me

(01:35:20):
back in nineteen fifty five when I tried running from her.
I gotta do something or Jason's gonna exterminate this little mouseie.
I got to dip into my bag of tricks one
more time. I give Jason the run around until I
make it into the kitchen. I open a door that
leads downstairs. Soon I step in and see Jason coming,

(01:35:44):
so I quickly pull the door closed. When he opens it,
he don't see me nowhere. What the You couldn't have
gotten downstairs that fast. That's when I open the pantry
door and tippy toe out of the kitchen. I'm on
the move again and run around until I remember that

(01:36:04):
first night at Ariel's sleepover, just after the school year started.
I run down the hallway and into the bathroom. I
close the door and see how brightly lit the sink
and mirror are, with the two pillar candles at the sides.
I sure love the forest smellin here. Suddenly Maryworth appears

(01:36:25):
in the mirror. Do not waste time, Madeline. Jason Miren
shall be upon you at any moment. Mary. Don't need
to tell me twice marry Worth, Merryworth, merry Worth. Mary
comes out of the mirror and into me again. Geez,
how many times do I have to call on Mary tonight?

(01:36:45):
Quite a bit, for sure. When Jason destroys the bathroom door,
he ain't believe in his.

Speaker 4 (01:36:51):
Eyes you your reign of terror ends here, Jason Miron. Mary
tells how Loween shall continue to be safe for children
so long as I am around. Jason roars with anger
and tries to use his magic to get rid of
Mary again. He forgets Mary ain't no normal ghost. Now

(01:37:17):
Mary and Jason are locked in a heated magic battle.
Boy is Adrian ever gonna be mad? When she wakes
up and sees her mansions been trashed? Then I remember
something Jason said, Mary. He said something about having limitless
powers on mirr and soil. Interesting madeleine. Mary thinks back

(01:37:41):
at me, I shall make use of your information. Mary
utters a spell as she floats to Jason. That's it,
ghost come to me, Jason goads Mary, You're just making
it easy for me to claim you. I'll steal your
soul the same way I did the Hams before you.

(01:38:02):
Your arrogance shall be your undoing, Jason mirin, Mary tells him.
But when Jason tries to claim her, that further proves
she ain't an actual ghost. I'm gonna have to learn
the real differences between ghosts and astral projections. Suddenly Mary
takes hold of Jason. Now we're outside the gated community.

(01:38:26):
In fact, we're far enough from it to where I
can just barely see any lights over the wall. When
Mary lets go of him, his look of glee quickly disappears. No,
he cries out, what have you done?

Speaker 1 (01:38:43):
Mary? And me watch Jason try to run. Even before
he turned away, I could see him starting to grow
and change. His clothes are ripping too soon. He's a
full grown man. But he don't stop there. He keeps
getting older and older. I had a feeling, Jason said,

(01:39:05):
he stayed a kid being in that house all them years.
He stops growing old. Now, he was probably around my
age when he did what he did back in nineteen
seventy eight. Now he'd be about in his mid fifties
and his clothes are tatters. Boy, the way he's looking
at Mary right now, I can still finish you, Jason

(01:39:28):
says in his older voice. He'll pay for what you've done.
But before he can use his powers again, Mary finishes
her binding spell and causes his wrists to come together.
Then Jason glows bright for a little bit. When the
glowing fades, Mary releases the binding spell. Jason falls to

(01:39:51):
his knees. That all you've got, Jason snaps. He gets
back to his feet and utters another devilish spell of
his own. What Jason utters in disbelief. He tries the

(01:40:18):
spell again with the same results. Do not bother, Mary
tells him, in your weakened state, I placed a binding
spell upon you, removing your powers and preventing you from
using magic. You are finished now. Jason keeps trying to

(01:40:40):
use his powers. When he finally realizes Mary is right,
he tightens his fists and screams up at the night sky.
Then he points at Mary. You'd better just finish me
off right now, ghost, because if you let me live,
I'll find a way to get my power again. Then

(01:41:01):
I'll return and get revenge on every last one of you,
especially you. But Mary is finished here. Your mortality has
finally caught up with you. You should just live the
rest of your life while you still can. Jason's fists

(01:41:23):
are still tightened when he screams at Mary again. When
he finishes, he turns and storms away. This little Mousey's
old enough to have seen this kind of thing. Being
he's a mirror, he ain't gonna stop until he makes
good on his promise. I'm sure Mary knows this too. Still,

(01:41:46):
she's a white witch and ain't the kind of person
who'd hurt anybody. Mary brings us back to the gated community.
We're just outside Ariel's mansion when we're hearing Carter Cross
calling out to me. Perhaps you should see your friends,
Mary advises me. She produces my compact and opens it.

(01:42:10):
She returns back into the mirror realm and gives my
body to me. I move around the house and go
up the steps the front door's still open. When I
go in. It ain't long before I find Carter and Stuart.
Carter's just getting Adrian Mirn to come around. She's moaning

(01:42:30):
and letting Carter move her to where she can sit up.
Just then Stuart comes out from behind the couch where
he had been hiding. When Adrian shakes her head and
gets her bearings back, it don't take her long to
get real mad, real fast. She pushes Carter away and
gets up. When she sees what's happened to her house,

(01:42:53):
she growls just like Ariel. Now she's looking right at
us when she starts yelling bye golly, she's doing worse
than what Jason Mirn did a little bit ago. And
then she suddenly stops. She growls again as she's looking
at the three of us. Where is Ariel? She hisses,

(01:43:20):
not here. Carter manages to say, she points right at
me phone. Now I know I ain't telling her no,
and I give it to her. She gets Ariel back
on the phone using FaceTime. Carter and me just look
at each other. When mother and daughter really really get

(01:43:41):
into it, Adrian's demand an Ariel come home immediately. I'll
come home when I'm good and ready to come home,
Ariel declares, I'm finishing my first ever Halloween, and that
is that. Yep. Adrian death put a lot of herself
and Ariel for sure. I know if Carter and me

(01:44:05):
talk to our moms like that, we'd be in so
much trouble. Anyway, the two of them are having a
stare off. Now. Adrian finally gruffs, fine, finish your Halloween,
get it out of your system, and mark my words,
little one, this will be your only Halloween. Next year,

(01:44:26):
you're going to be right here watching little Stewart. She
gives Ariel a wicked sneer. Now, as long as you
live under this roof, Hugh belong to me. I managed
to see Ariel rolling her eyes whatever. Then she hangs

(01:44:48):
up just like that. Oh does that ever make Adrian mad?
Oh you did not just hang up on me, little one?
Why you cover your ears? I quickly tell Carter and Stuart.
Soon as we do, Adrian gives us her version of

(01:45:10):
not getting her way. Instead of a blood curdle and
scream like her daughter's, she just roars like a beast.
Let's get out of here, Madeline, Carter says back, but
Stuart grabs my hand. Wow, the little guy don't want
me to go. Then he's running in place while pointing

(01:45:34):
to himself, and then the door. That's when I get it.
Soon as Adrian's done rorin, she points right at us.
If I can't have my little one back home, then
I'm going to have you three.

Speaker 4 (01:45:51):
Uh.

Speaker 1 (01:45:52):
I quickly grab Stuart. Then Carter and me are out
the door. Adrian is really going ballistic when we're on
our bikes and hauling our keysters away from there. Ariel's
gonna be mad when she sees we're bringing Stuart. But
we can't just leave the little guy with Adrian like that.
As for the rest of our Halloween night, we finally

(01:46:15):
get to gather in in my living room. At first,
Ariel was a little miffed at seeing Stuart, but I
think she kind of understood when Carter and me told
her what had happened with Adrian. And for the record,
I did invite Horton, Chapman, and Chunker to the house
for movies. They couldn't come over because Chapman and Chunker

(01:46:37):
originally came out to find Horton and bring him home. Also,
they would want to be with their families again too,
which was totally understandable. The stories of them coming back home,
along with those of the kids we saved at the
candy House, are going to make the Strickfield Journal tomorrow morning. Also,

(01:46:57):
it turned out Horton and Bailey op phone numbers because
they're texting each other right now. Horton's mom was glad
to see her son back home and couldn't stop apologizing
to him enough glad to know Horton, Chapman, and Chunker
are okay. We'll see our new friends at Strickfield Junior
High on November two. Remember, Strickfield law says there's no

(01:47:22):
school on Halloween or November first. Also, I ain't gonna
rehash the same end and again, so let's go with
this one. We finally get pizza delivered. Yep. Some of
the places stay open all night on Halloween in downtown village,
much like Strickfield Video and Big Ed Soda Grill. We

(01:47:43):
watched all the videos Mona and Bailey rented. We finished
with my new four K of Veranda Queen of the Night,
watching the director's cut just for Carter. It's almost noon
on November first, when we're finally done and decide to
call everybody thanks me for a fitting end to Halloween.

(01:48:05):
Ariel's the last one to leave. Suddenly, she pulls me
into her arms and hugs me tight. Thank you, Madeline,
she says, gratefully, since it's just me and her. She
also says, you really are a true friend. When we
hear a noise, Ariel lets go of me and sees

(01:48:29):
Little Stuart is still here. She takes a deep breath
before turning back to me. At least my little cousin
likes you. He didn't trash your house or cause any trouble.
I mean it. You really are a true friend. Thanks
for having us over aw anytime, Ariel. I tell her

(01:48:51):
drop by whenever you want. You're always welcome. Ariel hugs
me again before she turns to Stuart. Okay, you little goober.
You ready to go home now? And for the first
time ever, Little Stuart takes after me. His eyes are
open wide when he goes gulp. Yeah. He don't want

(01:49:15):
to face Adrian either. After seeing Ariel and Stuart out,
I closed the door. After cleaning up the pizza boxes
and what few soda cans are lying around, I realize
I am very tired now. That this Halloween is finally
come to an end for this little mouseie. It's time

(01:49:37):
to head upstairs and go to bed. I'm sure mom
and Dad'll be back home when I get up. We
sure had a heck of a Halloween adventure, huh. First
was the cry Baby Bridge in Abigail Tomlin. Second, we
ended up going back to nineteen fifty five and spending
a whole week at the Carnivosh estate and facing down

(01:49:59):
you at Carnivosh herself. Then we finish it off with
the legend of the Lone Candy House. Talk about a
seemingly never ending Halloween night right. Just then, there's a
knockin on the back door. It's Mona. I let her
come back in. She looks at me for a second.

(01:50:22):
I raise my finger. Oh right, I'll go get your
book back. I tell her, no, Mona says, stopping me.
Then she takes the ruby pendant off and hands it
over to me. Between you and me, mouse, she's shaking
her head slowly. I ain't ready for this. I don't

(01:50:46):
want to be a Carnivoche. I just want to live
my life and be me. Here. Take this, I don't
care what you do with it. Or the book, hide them,
bury them, burn them. I don't care. I don't want
nothing to do with it, any of it. I really
don't know how to tell Mona no, but fine, I'll

(01:51:09):
take care of him. Then I accept the pendant from Mona.
After she and I say goodbye again, I let her
back out. Then I head up to my room. For now,
I put the pendant with the spell book. I'll figure
out what to do with these later. Having done that,
I promise you this is the true end to this

(01:51:33):
Halloween for our group. But don't worry, though. You can
bet you we're going to be back with some more adventures,
because remember, trouble always seems to have a way of
finding us. And so good night everybody, and of course,
happy Halloween, and that my Spookyes was the legend of

(01:52:07):
the Lone Candy House. But don't get too cozy, because
tomorrow we're heading to Gloverville, South Carolina, where a quiet
night at Valley Video turns into a blood soak nightmare.
It's Deadly Rental by Charles Campbell, and it's one you
won't forget and remember. All through October. Weekly Spooky is

(01:52:30):
dropping a brand new show every single night until Halloween
thirty one Nights of Chills, candy and creatures that go
bump in the night. So keep that pumpkin lit and
keep listening, and Friday we'll be back talking about the
nineteen nineties horror film Candy Man and why it still
gives us nightmares right here at Weekly Spooky. So subscribe

(01:52:53):
on your favorite podcasting app and while you're at it,
leave us a five star rating. And if you want
to support us in a very direct way, head toweeklyspooky
dot com slash join for as little as one dollar
a month. You get two bonus episodes every month and
over five years of exclusive creepypasta readings and audiobooks for
you to enjoy. And speaking of I want to say

(01:53:13):
an extra special thank you to our Patreon podcast boosters,
folks who pay just a little bit more to hear
their names at the end of the show. And they
are Johnny Nicks, Kate and Lulu, Jessica Fuller, Mike Eshcuey,
Jenny Green, Amber Hansford, Karen We Met, Jack Kerr, and
Craig Cohen. And if you want to hear your name
at the end of the program, just head Toweeklyspooky dot com.

(01:53:34):
Slash join and select a tier at fifteen dollars a
month or higher. It really makes a huge difference and
helps us keep bringing you the spooky every week and beyond.
As we're about to wrap up our sixth year of
Weekly Spooky. But now it's time for me to get
back to it. So for myself, for my executive producers
Rob Fields and Bobbletopia dot com, for my producer Dan Wilder,

(01:53:57):
and my composer Ray Mattis, Well, avoid the lone Candy
house unless you're not hungry for candy so much as
hungry for ghosts. And I'll talk at you tomorrow. Thank
you for listening.

Speaker 2 (01:54:11):
To make sure to find your way back next week.
But for now you are safe, trust me.

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