March 1, 2024 • 66 mins
Step cautiously with us into the shadowy world of Robert the Doll—a tale that weaves through superstition, fear, and the inexplicable. With a respectful nod to Robert himself, we embark on a journey to uncover the mysteries of a seemingly innocent toy, whose perplexing influence has been felt keenly by the Otto family since 1905. As we navigate through the Otto household's eerie occurrences, you'll find yourself questioning the boundary between the animate and inanimate, and the profound psychological impact of belief in the supernatural.
The legend of Robert refuses to be tucked away quietly, as modern-day encounters attest to his unsettling legacy. Victims of the curse share their personal experiences that echo the cautionary tales of those who dare to underestimate Robert's presence. Twisting through the narratives of past and present, we analyze the haunting connections between Gene Otto and his lifelong companion, Robert. Their tale is a chilling reminder of the strange phenomena that can arise from a deep emotional bond with the unknown, urging us to ponder the consequences of disrespect to entities we may not fully understand.
As we bid Robert a heartfelt farewell, we extend our gratitude for the lessons his story imparts. From the intertwined spirits of a child and his doll to the collective belief that breathes life into legends, we are reminded of the power of apology and respect when dealing with forces beyond our understanding. Before we part, don't miss the tease of our upcoming content, including the intriguing 'Cinematic Secrets' and tarot insights that await in our next episodes. Join us as we continue to explore the mysterious and spiritual narratives that haunt our world.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Hello, robert, my name is Jeremy.
I know you can hear me, eventhough I may be speaking to you
across time and technology.
I extend my hand to you not inintrusion but in reverence.
I've come, following thewhispered rules that guard your
(00:28):
legacy, to ask may I share yourtale?
In my telling, I assure youwill find respect and a promise
to tread lightly upon the groundthat bears your name.
To you, robert, I vow to becourteous to acknowledge your
very real presence that, uponthe testimony of thousands who
(00:49):
have broken your rules over theyears, exists beyond your glass
sanctuary.
And when the final word isspoken, when the last note of
our shared story fades intosilence, I will say goodbye,
closing the chapter with thissame respect with which it was
opened.
But before I do, I ask, robert,may I?
(01:13):
May I narrate the chapters ofyour existence, ensuring your
story serves as proof of themysteries that bind us all.
Thank you, robert.
With your blessing, I willbegin.
(02:07):
What is it about the things wecannot explain that calls to us
Whispers, to our innermost fearsand fascinations?
Could an object, a collectionof fabric and straw hold within
it the power to reach beyond thesilence and touch us?
Have you ever looked into theeyes of a doll and felt the
(02:29):
unsettling gaze returned.
Where does the boundary liebetween a harmless toy and a
vessel for the unexplained?
Is it in the power we give it,the stories we weave around it,
or is there something moretangible?
There, in Key West, there's adoll, robert.
(02:51):
Some say he's just that, a doll, but others, they'll tell you,
he's alive with a spirit that'snot his own Whispers of curses
and misfortunes, of a child'splaything turned into an object
of both curiosity and fear.
What makes us hold our breathas we pass him by?
(03:18):
Is it the chill of the unknownor the reflection of our own
inner demons that we see in hisstitched smile?
We laugh off superstition inthe light, but in the dark don't
we all become believers?
This isn't just Key West'sstory.
It's not just Robert's story.
(03:40):
It's about the stories we tellourselves About fear, about
belief, about the thin line wewalk between skepticism and the
abyss of the untrodden world ofthe spirits.
Step into the dim corners wherethe known world falls away.
Let's peer into the glass casehousing Robert and ask ourselves
(04:03):
are we seeking him or is he insome way seeking us?
Welcome to, when Walls Can Talk,the Podcast.
It's time to face the doll inthe sailor suit and the stories
he carries.
Are you ready to questioneverything?
(04:25):
Throughout the ages, man hasrepeated the same earnest saying
(04:51):
more of a question, really, orperhaps even a plea if these
walls could talk.
But what if they do and alwayshave?
Perhaps their stories, memoriesand messages are all around us.
If only we would take themoment to listen.
On this podcast, wereinvestigate legends and tales
(05:13):
of the past and allow the echoesof their lessons to live on
once again, informing us,educating us and sharing new and
unique insight into the innerworkings of the paranormal and
spiritual world.
Will you dare to listen?
This is when Walls Can Talk thepodcast.
(05:53):
Where does a story like thistruly begin?
I suppose I guess it starts in1905, at a five-year-old's
birthday party, one that wouldforever mark the beginning of a
legend and perhaps thedestruction of thousands of
lives.
Amidst the laughter and theinnocence of childhood, robert
(06:24):
Eugene Otto is about to receivea gift that will alter the
fabric of his reality.
Isn't it funny how we givegifts with love without truly
knowing the ripple effects theymight cause on the surfaces of
our loved one's lives.
For Jean's parents, their giftof an interesting looking doll
at their son's birthday was justthat a simple act of giving.
(06:47):
Little did they know they wereintroducing a new and unsettling
protagonist into their family'sstory.
Jean, his sister Mitzvah, theirnanny and her daughter are
gathered around the living room,the fabric of their day about
to be weaved with threads of theextraordinary Time for lunch.
(07:07):
Children calls a voice,reminder of the mundane against
the magical.
But Jean, he's not hungry.
No, there's a new friend to bemade, a bond to be formed.
Robert and I were not hungry,he declares.
And in that moment a simplestatement becomes the prologue
(07:28):
to a lifetime of whispers andwonders.
But your Robert, came theincredulous reply.
But no, the roles have shifted,identities have been exchanged.
Robert is now the doll and thechild is now.
Well, jean is now Jean.
(07:50):
Folklorists and legends provideus with cautionary tales about
the power of names, of identity.
It's said that to give aneffigy, your name, your clothes,
is to give it part of your soul.
A curious notion, isn't it,that a simple act of naming
could weave a thread of lifeinto inanimate objects?
What must have gone through theminds of the Otto family
(08:15):
witnessing their son, now calledJean, bestow upon his new doll
not just a name, but his veryown.
To them, it might have been achild's innocent play, a moment
of make-believe, but the wallsof the Otto home were witness to
something far more unsettling.
Different and distinct voiceswould drift from Jean's room.
(08:39):
Who does Jean have over Hisparents, would wonder, stepping
into a room expecting to find aplaymate friend from down the
lane?
Instead, they found only Jeanand Robert the doll.
Imagine their perplexity, theirunease a room filled with the
(09:00):
murmur of conversation, yethousing only a boy and his doll.
How does one rationalize theirrational, explain the
unexplainable?
The question isn't just whatthe Otto family believed, but
what we choose to believe.
Is it possible that in namingRobert, jean unlocked something
(09:23):
ancient, something beyond theken of ordinary understanding, a
bond formed not just in playbut in the very fabric of
existence?
The idea of dolls as vesselsfor energies or spirits crosses
cultures and eras where dollshave always been more than mere
(09:44):
playthings.
They've served as conduits fortraditions, where dolls are
repositories of belief, of hopeand sometimes of fear.
From the voodoo dolls of Haitito the protective cajina dolls
of the Hopi, each carries withit the distinct capacity for the
breath of life, a spark of thespirit that created or cherished
(10:09):
it.
But why dolls?
Is it their humanoid form, amirror to our own, that invites
us to imbue them with ouressence, our desires and our
fears?
Or is it something deeper, anunderstanding that objects, when
loved or when feared, can holda power beyond the physical?
(10:30):
In the case of Robert, could itbe that Jean's innocent act of
naming and sharing his life withthe doll opened a door, a door
that allowed Robert to becomemore than a collection of
materials, but a vessel forsomething ancient, something
alive?
What can these culturalconnections tell us about the
(10:54):
relationships we form with theobjects in our lives?
Are they mere inanimatecompanions to our solitary
moments, or do they hold withinthem the echoes of our joys, our
sorrows, our very souls?
Today, robert finds a homewithin the Fort East Martello
(11:14):
Museum, behind a pane of glassthat ominously separates him
from the outside world aroundhim.
A silent, watchful form servingthe comings and goings of the
world with unblinking eyes,bound not just by glass but by a
set of rules that govern ourengagement with him.
First, an introduction.
(11:37):
One must say hello andacknowledge his presence, as we
did at the top of this episode.
A nod to the unseen forces thatmay linger in his stitched
seams.
Second, robert values courtesyand politeness, virtues not just
of good manners but of safepassage through his gaze.
(11:58):
Be kind, they say.
Everyone you meet is fighting abattle you know nothing about,
and this holds true even, orespecially, with Robert.
And then, perhaps mostimportantly, the parting, as we
will at the end.
Goodbye Robert.
A closure, a sealing of theencounter, leaving no threads
(12:21):
untied, no invitationsunwittingly extended.
But perhaps most pivotal istheir respect for his physical
image, his likeness.
When taking photos, you mustask for encapsulating him.
We catch more than just lightsand shadows.
We capture and bring with ushis essence.
(12:43):
And with Robert, permission iskey.
To disregard these rules is toinvite chaos into one's life.
Robert's curse, as it's come tobe known, is no idle threat.
Livelihoods shattered, dreamsdissolved in the very fabric of
survivor's lives torn asunder.
(13:04):
These are the tales of thosewho learned too late the power
of respect and of the unseenlaws that govern our
interactions with thismysterious effigy.
Letters thousands of them, aresent daily to Robert, pleading
for mercy from all corners ofthe globe, from those struck by
(13:27):
lightning to victims of floods,fires and unexplained maladies.
The stories are as varied asthey are chilling.
Each letter extends anddisplays the reach of Robert's
influence and the depth ofbelief in the curse that bears
his name.
I saw an interview once with awoman who was involved in a
(13:47):
fascinating project just a fewyears ago to capture the aura of
the doll.
Sounds straightforward, right,but we're not just talking about
any doll.
This is Robert the doll, afigure as much mystery as he is
history.
Now, everyone and everythinghas an aura, a kind of energy
(14:09):
field that some claim can bephotographed.
So why not a doll's?
To do so, one needs an SLScamera, a piece of technology
designed to detect and map theseenergy fields.
It's typically used to maphumans, not dolls sitting
silently on display.
But when the team points it atRobert, something unexpected
(14:34):
happens.
It maps him yes, a doll, andthat's the first sign that maybe
, just maybe, we're veering intouncharted territory.
As the moment is captured andthe aura begins to form on the
computer screen, thephotographer, aware of the rules
surrounding the doll, begins totell Robert how handsome he is.
(14:58):
But someone else on the teamdecides to crack a joke.
Yeah, for an ugly.
He says, dismissing the gravityof what they're attempting.
The air changes, the moodshifts.
Now let's pause for a second.
Do they really think they couldwaltz into this experiment
(15:21):
armed with a camera and acavalier attitude and not face
any repercussions?
The rules about Robert are wellknown Be respectful, introduce
yourself, always ask permissionbefore taking his photo Rules
that were, let's be honest,thrown to the wind.
What starts as an experimentspirals into a personal
(15:48):
nightmare for the individualclosest to the cursed doll the
photographer.
Car accidents, financial ruin acascade of misfortune that begs
the question was it all justcoincidence, or was it Robert's
doing?
How often do we tread intoterritories we don't fully
(16:10):
understand, dismissing thewarnings as mere superstitions?
The person behind this cameralearned the hard way that some
rules are in place for a reason.
But where did Robert the dollactually come from Originally,
before coming into contact withthe Otto household?
(16:32):
The roots of Robert's storystretch back to the workshops of
the Steiff Company in Germany,renowned for their invention of
the teddy bear.
In the early 20th century,around 1904, amidst a climate
ripe with innovation and anewfound affection for plush
toys, robert was crafted,distinct in size and presumably
(16:55):
designed to mirror the visage ofan actual child.
Robert was more than a toy.
He was a masterpiece intendedto captivate and charm.
It's speculated that Robert wasinitially intended as a display
piece in a department store,being near lifelike in size as a
salesman for the SteiffCompany's menagerie of plush
(17:17):
creations.
His unique attributes and thecraftsmanship he embodied were
designed to draw the eye toshowcase the pinnacle of what
Steiff could offer.
This theory suggests a dollmade not merely for play, but as
an ambassador of quality andcreativity.
The Otto family, possibly duringa trip to Germany or through
(17:40):
relatives, came across Robert.
What drew them to him remains apart of the mystery.
Was it his unique size, hisalmost lifelike appearance, or
perhaps something unspoken, asense of destiny or fate, that
guided their choice?
Regardless, they chose to bringRobert back with them to Key
(18:02):
West, where his legend wouldtruly begin to unfold.
In the Otto household, robertwould transition from a silent
observer of the world to anactive participant in a story
that continues to captivate andmystify.
Right after Robert the dollcrosses the threshold of the
Otto home, a subtle but profoundshift occurs, one that casts
(18:27):
the shadow over the household'spreviously sunny demeanor.
Little Robert, now drawn tothis peculiar new addition,
abandons his other toys, hisworld narrowing until it
contains nothing but Robert.
The doll becomes his universe,an obsession that whispers of
(18:47):
unseen strings being pulled.
In the background, theatmosphere in the Otto household
thickens with tension, a senseof unease creeping into the
corners of the sunlit rooms.
Emilyne, emilyne, miss Otto'svoice breaks the silence.
A note of confusion minglingwith concern.
(19:09):
The discovery of a shatteredvase on the floor the second
such incident this week sendsripples of disquiet through the
family.
Emilyne, the nanny, is quick todeny responsibility, her
confusion mirroring Miss Otto's.
In the midst of this perplexityenters Jean clutching Robert.
(19:30):
Jean, honey, you scared us, hismother exclaims.
Jean's denial of any wrongdoingand his insistence that Robert
did it was a prelude to aterrifying realization that
perhaps in this house not all isas it seems.
Accusation hangs in the air,unlanding and unnerving,
(19:53):
mini-auto to her core, she hadwelcomed the doll into their
home, never anticipating theshadow it would cast over their
lives.
Her relationship with Robert,once marked by indifference, now
curdles into suspicion and fear.
Robert's silent gaze, oncebenign, now seems to hold a
(20:16):
malevolent glint.
Robert always notices they saya phrase that becomes a
harbinger of the strange andinexplicable events that now
haunt the auto household.
The tension surrounding Robertthe doll reaches a fever pitch
one seemingly ordinary night,jean's mother, pushed to the
(20:37):
brink of her patience by endlesstales and excuses centered
around Robert, confronts areality she can no longer ignore
.
It is hours past your bedtime,she begins.
Her voice a mixture ofweariness and frustration, only
to be met by Jean's implausibleclaim Robert can't sleep.
The air thickens with a mix ofdisbelief and exasperation as
(21:01):
she counters the absurdity ofthe situation.
I am so tired of hearing aboutRobert.
He's just a doll, he doesn'tget tired, he doesn't need sleep
, he isn't real.
She asserts Her words slicingthrough the dimly lit room, an
attempt to sever the unnervingconnection her son claims to
(21:21):
share with this inanimate figure.
Jean's anguished plea mother,no, he's my best friend.
It is this moment, this heartwrenching declaration of
companionship with the doll,that finally forces her hand.
She declares that Robert willbe locked away, a physical
barrier erected to shield herfamily from the unseen influence
(21:44):
that Robert seems to wield.
Now, until you can understandthat Robert is just a doll, he's
going to remain locked in there.
You can't blame him for anymore of your misdeeds.
She states Her resolve firm yetlaced with an undercurrent of
doubt and fear.
The directive for Jean toretire to his room served as her
(22:06):
final attempt to restore order,to reclaim a semblance of
normalcy.
It's a moment of surrender, anacknowledgement that the
presence of Robert the doll hasevolved from a mere child's
fancy into a source of genuineturmoil.
The Fort East Martello Museum istoday a magnet for attention,
(22:29):
energy and focus from thousandsto tens of thousands of visitors
from all corners of the earth.
The museum, a custodian ofRobert's legacy, begins to
receive an unprecedented influxof correspondence.
Letters, emails and socialmedia messages pour in from
those who believe they felt theconsequences of disrespecting
(22:52):
Robert.
Each letter is a confession, anapology, in the hope of finding
relief from the misfortunesthat have befallen them since
their encounter with the doll.
Becky Vickers is one of theseindividuals, a name among many,
yet one with a story that standsout.
A skeptic turned believer,becky's journey with Robert's
(23:14):
curse is a compelling narrativeof transformation.
I never really believed incurses, but I do now, a hundred
percent.
I do.
Now she admits A statement thatechoes the sentiments of
countless others who havecrossed paths with Robert.
Her experience culminated in aletter written to Robert himself
(23:35):
.
Speaker 4 (23:36):
So many things have happened since I visited you,
robert, and it can't just be acase of bad luck, I know it's
you.
Ever since I returned home,nothing but one bad thing after
another has happened to me, andI'm afraid of what you will do
next.
I must apologize for notbelieving that you could curse
someone if they touched you ortook pictures of you without
(23:59):
your permission first, I am so,so sorry.
I will never doubt the kind ofpower and infliction of fear you
can curse someone with.
I am a believer, I am.
I knew all the rules.
I knew that you weren'tsupposed to take Robert's
photograph without askingpermission and I knew you
weren't supposed to touch theglass.
But I think the curiosity sideof me got the better of me.
(24:22):
I did touch the glass and I didtake some photos without asking
.
I don't know.
You just don't think things arereally going to happen, but
they do.
We started having trulyunexplained things happening in
our home.
I could feel a presence, Icould feel the energy of someone
else in the house with me.
I've never had any feelings inmy home, spirits or shadow
(24:45):
people, but something was withme, something dark.
It was something there to hurtme.
The very first thing that wentthrough my mind was am I seeing
Jean Otto?
Am I seeing Jean that used toown the doll?
Speaker 1 (25:02):
Cindy Keza, a renowned psychic medium and
personal hero of mine, once cameto the house of the autos where
the family was living.
When Robert came across theirthreshold, she immediately
sensed the air laden with thescent of cigarette smoke in
Eugene Otto's art studio.
In her journey through thehouse, cindy encountered the
(25:23):
spirit of a woman and a littlegirl, Each bound the location by
a tapestry of emotions, grief,anger and an unresolved
narrative that begged to beheard.
As she searched more, a storybegan to unfold in her mind, one
that hints at forbidden love, aclandestine affair that crossed
(25:45):
the boundaries of societalnorms.
It should be noted that, as Irecord this, weird sounds are
coming from all of my technology, sounds that I cannot identify.
Emily, the family's nanny, mighthave been involved in a
romantic entanglement withThomas Otto.
The possibility that thisaffair resulted in the birth of
(26:07):
a child, a little girl, whoselife was cut tragically short,
casts a shadow over the houseand its inhabitants.
Cindy hears the term not myBobby, not my Bobby, possibly
misinterpreted by thoseunfamiliar with Bahamian accents
, suggesting that the greastricand lament of they took my Bobby
(26:30):
from me could indeed be amother's cry for baby.
They took my Bobby away from me.
This insight brings us closerto understanding the complex web
of relationships and emotionsthat enshroud the Otto house.
Cindy senses a voodoo cursemight have been placed on Robert
(26:51):
, either as an act of vengeanceor a protective measure for the
child's spirit.
Cindy posits that the doll maynot house an individual spirit
within it, but rather serves asa magnet attracting the energies
and essences of those who'veleft their mark on the house.
Reflecting on Cindy'sinvestigation, which I highly
(27:15):
recommend in the Shock Docsdocumentary the Curse of Robert
the Doll, I find myselfpondering the intersection of
love, loss and the lengths towhich we go to preserve or
avenge those we care for.
The notion that the Otto houseserves as a portal, a beacon for
spirits drawn to Robert'spresence, challenges us to
(27:37):
reconsider our understanding ofthe physical and spiritual
worlds.
I'm struck by the layers ofhistory and emotion that Robert
the doll embodies.
It's not just the tale of ahaunted doll, but a narrative
steeped in human experience thattranscends the bounds of the
physical world.
My name is Rachel Aftervisiting Robert.
Speaker 5 (27:56):
It has completely shaken my life.
Knowing the things that havehappened to me and the things
that have happened here, robertis a force to be reckoned with.
Four years ago we were in KeyWest on our honeymoon.
We had just gotten married.
A few days prior, we decided totry one of the ghost tours that
they had at the fort.
After that night it completelychanged the direction of my life
(28:20):
.
They told everyone that was onthe tour that we had to show
respect for Robert to ask forhis permission.
Everything that you do has tobe out of respect, and everyone
took it seriously, except for myhusband.
And the moment my husbanddisrespected Robert was the
moment everything went downhill.
Weeks after we started noticinglittle things happening in our
(28:43):
house, the tap started as littletiny knocks just on the wall or
on the floors, and as the weekspassed and days passed, we
could hear the taps gettingcloser.
It went from one end to theentryway to the hallway and then
, once it reached the hallway,the taps turned into more of a
footstep.
The final breaking point wasone night when I got off of work
(29:04):
.
When I walked into the house,every cabinet in our kitchen was
open and everything out of thecabinet was stacked on the floor
Talking about it now.
It honestly makes me want tocry.
It honestly makes me want tocry because it was the scariest
moment that I have ever had inmy life.
It makes me wonder whathappened to make Robert what he
is today.
Speaker 1 (29:25):
Children grow up.
It's an inevitable journey frominnocence to experience, marked
by milestones both bitter andsweet.
For Gene Otto and Robert, hischildhood companion, this
transition was poignant.
They shared an unbreakable bond, a friendship that transcended
(29:46):
the usual playtime alliancesbetween a boy and his doll.
Robert wasn't just a toy toGene.
He was a confidant, a silentwitness to the dreams and fears
of childhood.
But time, the relentless marchforward, brought change.
As Gene stood on the brink ofadulthood, the world called to
(30:09):
him with promises of adventureand discovery.
The chest in the attic becameRobert's new domain, a place of
darkness and solitude, farremoved from the sunlit rooms
where he and Gene had spentcountless hours.
It was a symbolic act packingaway childhood to embrace the
future.
Yet it carried the weight of anunspoken farewell.
(30:34):
Jean's path led him to the worldof academia, first exploring
architecture, before yielding tothe siren call of art.
His journey took him to Paris,the heart of the artistic
revolution in the 1920s.
It was a time of tumultuouschange, where the likes of
Hemingway and a host of otherartists and writers congregated,
(30:56):
each chasing their own museamidst the cafes and galleries
of the city.
In Paris, jean immersed himselfin the vibrant cultural scene.
Studying under-renowned artists, his soul alight with passion
and inspiration.
Yet beneath the excitement ofthis new life, there lingered a
(31:17):
shadow, a thread of connectionto the past, to a childhood
friend.
Left behind in the shadows ofan attic, jean meets Anne Parker
, a brilliant pianist whosetalent is matched only by her
devotion to Jean.
Anne, hailing from a backgroundof privilege, finds herself
(31:38):
utterly captivated by Jean'sartistic spirit and vision.
Their love, ripe with thepromise of partnership and
shared dreams, culminates inmarriage on a spring day in 1930
, sealing their bond amidst thebackdrop of Parisian elegance.
With Anne by his side, jeanembarks on the journey to
(31:58):
realize his aspirations, to moldhis passion into a career that
reflects the artists heenvisions himself to be.
The couple, united in theircreative pursuits, soon find
themselves navigating thebustling streets of New York, a
city that promises endlessopportunities but also presents
unforeseen challenges.
(32:19):
The Great Depression, a shadowover the decade, erodes the auto
family fortune, placingunforeseen pressures on Jean and
Anne.
As the 1930s give way to the1940s, the dynamics within the
auto household undergo asignificant shift.
Anne emerges as the family'sfinancial anchor, her musical
(32:42):
career blossoming against theodds.
Her talent and hard workcatapult her onto the stage of
the legendary Rainbow Room, avenue synonymous with success
and recognition in the artisticcommunity.
In 1945, Jean Otto found himselfadrift in the tumultuous sea of
artistic endeavor, his dreamsof success as an artist clashing
(33:07):
against the harsh rocks ofreality.
Meanwhile, anne, his wife,soared on the wings of her
burgeoning musical career, hertalent recognized and celebrated
.
A stark contrast to Jean'sstruggles.
Their lives were abruptlychanged, unravelled by a phone
call that cut through the noiseof New York streets, a call from
(33:30):
Key West delivering news ofJean's mother, minnie, whose
health was fading fast.
The couple made their way tothe auto home, arriving in time
to be there when Minnie passedaway on September 14, 1945.
The house was bequeathed to theauto, children ultimately
(33:51):
finding its way into Jean andAnne's care.
The decision was heavy yetclear they would return to
Jean's childhood home, to theheart of Key West, to begin anew
.
Anne, well versed in herhusband's eccentricities, his
artist's heart that beat to therhythm of a different drum,
(34:13):
braced herself for thechallenges of this new chapter.
Yet nothing could have preparedher for the reality of their
life back in Key West.
Upon their return to Key Westand settling into the auto
family home, anne stumbled uponan old doll tucked away in a
storage closet.
This discovery would mark thebeginning of an unsettling
(34:36):
chapter in their lives.
Jean's reaction to seeing thedoll was not just a recognition,
but a deep personal connection.
He regarded the doll, robert,not as an inanimate object but
as an old friend, a companionfrom his childhood days with
whom he shared an unbreakablebond.
(34:57):
Jean's interaction with Robertwas peculiar, treating him as if
he were still the livingplaymate of his youth.
This behavior was alarming toAnne, who found herself
questioning the nature of therelationship between her husband
and this doll.
The sight of a grown manconversing with the doll,
(35:18):
attributing life and emotions toit, was unsettling to her, to
say the least.
It was the side of Jean she hadnot seen before, one that
filled her with a sense of dreadand confusion.
The situation escalated as Jeanbegan to rekindle his
relationship with Robert,spending hours talking to him,
(35:39):
reminiscing about old times andeven making plans for the future
.
To Jean, robert was a keeper ofhis memories, a link to his
past and a presence that, in hismind, required care and
attention For Anne.
The dynamics within their homebegan to shift in ways she
(36:00):
couldn't have anticipated.
Witnessing her husband's deepemotional attachment to Robert.
She felt sidelined, an outsiderin her own home.
Jean's reassurances to Robertthat they could quote handle
Anne only added to her sense ofisolation and concern.
This period in their lives wasmarked by a growing sense of
(36:25):
unease, with the doll's presencein the house casting a long
shadow over their marriage Dear.
Speaker 2 (36:31):
Robert, I was a recent visitor to the museum and
our guide led us to the roomwhere you're located.
He told us about the rules tofollow.
I told you my name, askedpermission to take a photo and
thanked you.
I thought I followed the rules,but last night as I slept,
robert, you came to me in anightmare.
I decided you might have donethis to me, robert.
(36:51):
So I looked at the rules on theinternet.
Everything I read made mebelieve I followed your rules.
And then I noticed another tab,a tab I never opened, and when
I clicked on it I saw a rule Ididn't see before.
I didn't know.
I was supposed to say goodbye.
I didn't know that was a rule,robert.
Nobody told me.
Forgive me.
Speaker 1 (37:10):
Jean's attachment to Robert wasn't just a personal
quirk.
It became a defining feature oftheir home.
Placing Robert in the window ofthe turret, jean unwittingly
turned the doll into a spectralsentinel overlooking the streets
of Key West.
Others by, particularlyschoolchildren, could feel the
weight of Robert's gaze,compelling them to cross the
(37:33):
street to avoid the unsettlingfeeling of being watched.
The doll's presence was sopronounced it felt as if he
moved on his own, bearingwitness to the world outside
from his perch, while Jeanremained absorbed in his art
elsewhere in the house.
This phenomenon, where a dollseemingly possessed the power to
(37:56):
influence the behavior of thecommunity around it, speaks
volumes about the aura ofmystery and unease that Robert
exuded.
The Otto House, once justanother family home, morphed
into a place of intrigue andfear, a building marked by tales
of a cursed doll that watchedover Key West from his windowed
throne.
(38:16):
For Anne, this reality musthave felt worlds away from the
stages of New York.
The limelight had faded,replaced by the shadow of a doll
that commanded attention andfear, turning their home into a
focal point of local lore andsuperstition.
Reaching her breaking point,anne decided that Robert, the
(38:37):
doll's presence in their lives,had to end.
The couple had previouslyagreed to banish Robert to the
attic, hoping to restore somesemblance of normalcy to their
home.
However, this attempt at peaceproved futile, as the very next
day brought a chilling reminderthat Robert's influence was not
so easily contained.
(38:58):
Jean awoke to find Anne's sideof the bed empty, an unusual
occurrence that immediatelyfilled him with concern.
His search through the houseled him to a startling discovery
.
Anne, distressed and visiblyshaken, accused Jean of locking
her all night in a closet, anaccusation that bewildered him.
(39:20):
Despite her protests and fear,jean insisted he wasn't
responsible, suggesting that theblame lay with Robert the doll
they had tried so hard toisolate.
To the outside world, anne andJean Otto presented the image of
matrimonial bliss, a couplewell-matched and content, in
(39:42):
their picturesque Key West home.
Yet the facade of happinessbelied the true turmoil that
brewed within the walls.
A storm centered around anunlikely catalyst Robert the
doll.
The presence of Robert, farfrom being a benign relic of
Jean's childhood, became a wedgedriving between the couple,
(40:06):
straining their relationship toits breaking points.
The bond Jean maintained withRobert was not just a quirk, but
a profound obsession that Annefound increasingly difficult to
understand or accept.
It was this peculiar attachmentthat contributed significantly
to the tension in their marriage, leading Anne to take a drastic
(40:27):
step for the sake of her ownpeace, she moved into her own
room, physically distancingherself within their shared
house.
This act of separation withintheir household was symbolic of
the deep rift that had developedbetween them, a rift
exacerbated by the eerieinfluence Robert seemed to wield
.
As the doll's presencecontinued to permeate every
(40:50):
aspect of their lives, thecouple found themselves caught
in a struggle not just with eachother, but with the legacy and
mystery that Robert represented.
In the latter years of JeanOtto's life, the narrative of
his and Anne's existence took amelancholic turn.
The onset of Parkinson'sdisease around 1965 marked the
(41:12):
beginning of a decade-longbattle for Jean, during which he
retreated to the turret oftheir Key West home, a space he
shared with Robert the Doll.
This period was characterizedby a gradual decline in Jean's
health and mental well-being, aheartbreaking spectacle for
those who knew him.
Jean's passing on June 24, 1974left Anne in a solitary
(41:40):
struggle with grief and thelooming presence of Robert.
The house, once a shared domain, now felt oppressive, charged
with memories and the silentwatch of the doll.
Faced with financialdifficulties, anne made the
difficult decision to sell theirhome to William Gaiser, a
(42:00):
neighbor, ensuring that Robertremained a fixture of the
residence.
This act was less abouthonoring Jean's memory and more
about distancing herself fromthe doll that had cast such a
long shadow over their lives.
Anne's subsequent death frompancreatic cancer five years
later closed a chapter filledwith love, loss and the legacy
(42:24):
of the doll.
In the end, the only constantin this saga of human emotion
and supernatural intrigue wasRobert himself, undisturbed and
enduring.
In 1976, a new chapter in thesaga of Robert the Doll began
when Myrtle Ruder and Bill Ruderacquired the Otto family home
(42:46):
from William Gaiser.
The house, with its richhistory and lingering mysteries,
welcomed its new occupants andwith them Robert found himself
in the company of new guardians.
It's said that initially therewas a sense of fascination, and
perhaps even a bond betweenRobert and the Ruder family, a
(43:07):
fleeting period of harmonyreminiscent of the early days
when Robert first arrived at theOtto home.
However, as the pattern ofRobert's storied past would
predict, this period oftranquility was short-lived.
The doll, surrounded by legendand imbued with an aura of the
uncanny, soon became the centerof unsettling occurrences.
(43:28):
A particularly chilling part ofthe legend recounts a
terrifying incident where Robertsupposedly attempted to attack
the Ruder's daughter, an actthat compelled the father to
take decisive action by lockingRobert away, an attempt to
protect his family from furtherharm.
Tragically, and perhaps eerilyechoing the doll's tumultuous
(43:52):
history with its previous owners, it was not long after this
event that the father was founddead from carbon monoxide
poisoning, a tragic event thatleaves the community and those
beyond to ponder was this a mereaccident or did the curse of
Robert claim another victim,myrtle Ruder, now a widow, finds
(44:16):
herself at a crossroads.
Two years later, economicpressures and the heavy weight
of her experiences compel her tosell the house.
Despite, in a move that speaksvolumes of her complex
relationship with the doll,myrtle chooses to keep him, even
as she steps away from the homethat housed their shared
history.
(44:37):
The legend of Robert and Myrtledid not fade with time.
Instead, it continued to grow,fueled by incidents that seemed
to underscore the doll'sunsettling presence.
It reached a tipping point onthe morning after Myrtle was
reportedly attacked, an event soharrowing that it cemented her
resolve to remove Robert fromher life permanently.
(44:59):
Seeking a place for him, sheturned to the Fort East Martello
Museum, a site steeped in KeyWest's rich history and one that
Jean Otto, the doll's originalowner, had connections to.
In a moment of surrender,myrtle delivered Robert to the
museum, imploring them to takehim under their care.
(45:21):
Her actions that day, marked byurgency and a desire to sever
ties with Robert, suggest adeep-seated belief in the doll's
haunting legacy.
Myrtle's departure from themuseum was the last act in a
saga that spanned decades,ending with her death 101 days
(45:41):
later.
Upon Robert's arrival at theFort East Martello Museum, the
director found himself at acrossroads.
Too unsettled by the storiesthat trailed behind the doll, in
an act of caution or perhapsunease, he decided to tuck
Robert away from the public'sgaze, relegating him to the
(46:02):
confines of a storage room amongthe museum's eclectic
collection.
The museum, already a custodianof Jean Otto's artistic legacy,
became an unwitting sanctuaryfor what many consider to be the
world's most haunted doll.
Its convergence of histories ofthe doll and its first owner
(46:24):
seemed almost faded,intertwining their stories
within the museum's walls.
Once again, however, robert'spresence seemed to disturb more
than just the peace of themuseum's staff.
Shortly after his arrival,inexplicable events began to
unfold, starting with plumbingissues that defied logical
explanation.
(46:44):
The call to a plumbingspecialist to address these
troubles led to an encounterthat would further cement his
reputation.
The plumber was, confronted bythe doll's unsettling aura,
hastily abandoning his task andproclaiming that he would never
again set foot in the museum hadhe known of its spectral
resident.
(47:05):
As whispers of Robert's cursebegan to permeate the museum, a
curious pattern emerged.
These reported odd occurrencesand a palpable sense of being
watched, contributing to agrowing legend that captivated
the imagination of all nearby.
Robert's story, once confined tothe Otto household, now
(47:29):
commanded a much wider audience.
Visiting Robert the Doll at theFort East Martella Museum has
become akin to an experience ofcautious reverence, much like
observing a majestic butpotentially dangerous lion at
the zoo, a fascination temperedwith a healthy dose of respect
for the boundaries set toprotect us.
(47:49):
The narrative surroundingRobert's transition from a
personal relic to a publicphenomenon encapsulates a
journey from obscurity to infamy, a transformation that even
Myrtle, his last private owner,could hardly have envisioned.
After being put on display,robert's sphere of influence
(48:11):
expanded dramatically, his storycaptivating not just locals but
people across the nation.
This growing curiosity wasn'twithout its peculiarities.
Visitors began reportingunexplained phenomena such as
drained batteries andmalfunctioning cameras,
suggesting that Robert's consentwas required to capture his
(48:32):
likeness without repercussions.
The museum space around Robertseemed to pulsate with an unseen
energy.
Objects began moving withoutapparent cause and Robert
himself seemed to changepositions, fueling the lore that
he was more than just a doll.
Whispers of names, dirtyfootprints on the floor around
(48:55):
his case and a general uneasecontributed to the legend
painting Robert not merely as ahaunted object but as an entity
with a will of its own.
The legend posits a cautionarytale To interact with Robert,
like we are today, withoutacknowledging his presence or
seeking his permission, invitesunknown consequences.
(49:20):
Imagine entering the museum atthe start of the day, the air
still and quiet, save for thehushed whispers of early
visitors.
The staff accustomed to theoddities associated with Robert
perform their routine checksaround his display case.
What meets their eyes is notjust a doll seated behind glass,
but evidence of something elseFootprints, small and distinct,
(49:46):
leading up to the case.
These aren't the marks of achild's prank or a careless
visitor.
They are perfectly formed as ifRobert himself had taken a
midnight stroll through themuseum's halls.
These footprints appearing outof nowhere suggest a level of
autonomy and presence thatdefies logical explanation.
It raises questions.
(50:07):
If Robert is indeed just a doll, how do we account for these
physical traces of movement, arewe to believe that an inanimate
object can, in the stillness ofthe night, become animate?
The implications arefascinating and terrifying.
It challenges our understandingof the boundary between the
(50:30):
animate and inanimate, urging usto consider the possibility
that objects, especially thosecharged with strong emotional
energies and histories, mightharbor spirits or
consciousnesses of their own.
Speaker 3 (50:44):
Key West had always been my escape, a four-hour
drive to a place where theworries of the world seemed to
melt away.
I frequented it often, butthere's one visit that changed
everything, one that I'vestruggled to come to terms with.
I remember the day clearly, theway the air felt, the sounds of
the city.
Then we visited the museum hometo Robert the Doll.
(51:05):
I'd heard the stories, ofcourse.
They said he was haunted, thatthere was something within him,
but I laughed it off.
How could a doll, a child'splaything, hold any real power?
In a moment of arrogance, Imocked him, took photos without
asking, blatantly ignoring thewarnings.
I thought I was above thesuperstitions, that it was all
(51:28):
just for tourists, but theconsequences were immediate and
devastating.
It started small, with cartroubles and minor
inconveniences, but it quicklyescalated Accidents involving my
family, the sudden andunexplainable death of my dog,
my mother's sudden illness,followed by her passing, job
(51:48):
losses, contracts fallingthrough and a personal health
crisis that nearly ended my life.
Each event felt like a dominofalling into the next, a
relentless cascade of misfortunethat seemed to have no end.
It was a wake-up call, arealization that some forces
shouldn't be trifled with.
In desperation, I wrote toRobert a letter of apology,
(52:10):
hoping to break the cycle of badluck that seemed determined to
destroy me, and then, assuddenly as it began, it stopped
.
I can't explain it and part ofme still wrestles with accepting
it, but I know what Iexperienced, the toll it took on
me and those I love Sharing.
This isn't easy.
It feels like admitting to aweakness, a foolishness that I
(52:31):
can't take back, but it's also awarning.
I was wrong to mock, todisregard the stories and
letters that surround him allover the walls, and I paid a
price for that arrogance, aprice I wouldn't wish on anyone.
Speaker 1 (52:43):
In this journey of exploring Robert the Doll's
legacy, I've come to a poignantrealization.
It's not about whether I, oranyone for that matter, believe
in the supernatural aspects tiedto Robert.
The truth lies in theexperiences of countless
individuals who've crossed pathswith him.
Those who to this day plead forhis forgiveness convinced their
(53:08):
cursed.
The notion of a curse, of aninanimate object wielding such
power and influence over theliving, might seem far-fetched
to some.
It's just superstition, they'llsay.
Haunted dolls belong in movies,not in real life.
But to dismiss these storiesoutright is to ignore a profound
(53:29):
collective experience.
I've read letter after letter,each a personal account of
misfortune attributed to a lackof respect shown to Robert,
their reflections of genuinefear, regret and oftentimes
sincere desperation.
It's a somber reminder of thepower of belief and the lengths
(53:51):
to which people will go toreconcile with forces they don't
understand.
Growing up, we're often told ifyou don't have anything nice to
say, don't say anything at all.
This adage takes on deepersignificance when it comes to
Robert.
It's not just about politeness,it's a rule of
self-preservation.
(54:11):
According to those who felt hiswrath, speaking ill in his
presence or even harboringnegative thoughts is believed to
invite misfortune.
It's become clear to me,through the countless stories
and personal accounts I'veencountered, that what we're
dealing with isn't just a doll.
It's a nexus of energies, afocal point where countless
(54:32):
spirits and stories converge.
Closing the portal that Robertseems to represent is a task
that seems beyond our currentunderstanding or capability.
It's not merely about thephysical object itself, but
about acknowledging themultitude of spirits intertwined
with his existence.
This acknowledgement isn't justan act of respect.
It's a necessity, a way to livealongside the forces that
(54:56):
Robert embodies, withoutinviting their wrath upon
ourselves.
To think that an object couldbecome a significant repository
for spiritual energy is bothfascinating and daunting.
The idea of reversing such bellwork seems, at this point, not
just challenging but perhapsunwise.
The focus then shifts tocoexistence, to a respectful
(55:20):
acknowledgement of the energiesat play, and it's not about fear
, though the consequences ofdisrespect can be severe, as
many have learned.
It's about understanding theplace of legends in our lives,
about recognizing that somethings are beyond our control
and comprehension.
To those affected by Robert'scurse, the path to peace isn't
(55:42):
through denial or confrontation,but through apology and respect
.
A legend, after all, is notjust a story from the past, but
a living entity fed by belief,fear and dreams.
It's about acknowledging thereality that, even though one's
seen, has tangible effects onthe lives of those who have come
into contact with him.
A legend, after all, is notjust a story from the past, but
(56:04):
a living entity fed by belief,fear and dreams.
A legend, after all, is notjust a story from the past, but
a living entity fed by belief,fear and respect.
It grows with each telling,gaining strength and presence in
our world.
I can't help but wonder aboutthe future.
(56:25):
What new stories will be addedto his legend?
How will our understanding ofhis presence evolve?
One thing is clear the legend ofRobert the Doll, like all
legends, is far bigger than hisphysical manifestation.
When you hear the claim of theworld's most haunted doll, it
(56:46):
sets an expectation, doesn't it?
It's a title that Robert theDoll doesn't just inhabit.
He embodies it through theexperiences of those who
encounter him, day in and dayout throughout the year.
The heart of Robert's legendpulses with questions of
possession of a spirit trappedwithin cloth and straw.
There's a story, whispered inthe corners of Key West, of a
(57:11):
child born from a hidden lovebetween Thomas and Emmeline,
whose life was cut tragicallyshort.
Could the sorrow of such a loss, the weight of hidden truths,
be the source of the energy thatanimates Robert?
Is this child's spirit the onereaching out, yearning for
recognition or release?
(57:32):
I can't help but reflect on thepower of our collective beliefs
and fears.
It's as if our attention,whether rooted in belief or
skepticism, has woven the fabricof Robert's existence.
We fed the legend with ourfears, our curiosities, our
energy, shaping him into theentity he is today.
(57:53):
It's a startling realization.
We create these legends, thesemonsters, imbuing them with
power, and then stand back asthey take on a life of their own
, beyond our control.
So what's next, then?
As Robert's legend continues togrow, fueled by each new
(58:15):
encounter in each shared story,where does it lead us?
Why do these stories matter tous?
Again, as always, they serve asmirrors, reflecting the
complexities of the human psyche, our fears, our hopes and our
endless fascination with theunknown, reminding us that in
(58:35):
every tale of the paranormal,there lies a deeper quest for
meaning, for connection, for aglimpse beyond the veil of our
mundane reality.
In the context of when wallscan talk, where paranormal
mysteries and dark historiescollide, robert's tale is a
reminder of the power ofnarrative to bridge these worlds
(58:57):
, to connect the dots betweenthe scene and unseen.
It challenges us to considerhow these stories, these legends
that we keep alive throughtelling and retelling, shape our
understanding of the world andour place in it.
I'm reminded of a quote by NeilGaiman Stories are a way to
(59:19):
preserve oneself, to beremembered and to forget.
This is the essence of whywe're drawn to tales like
Robert's.
They're not just aboutpreserving the past.
They are about exploring thedepths of our collective memory
and confronting the mysteriesthat lurk within.
So what can we take fromstories like Robert's?
(59:41):
Perhaps it's the understandingthat the line between the real
and unreal is not as clear as wemight think.
Or maybe it's the realizationthat our fears and our beliefs
have the power to manifest inways we can scarcely imagine.
I leave you with this thought.
In our quest for knowledge, inour search for answers, can we
(01:00:06):
cherish the mysteries thatremind us of the boundless
possibilities of the universeand the human spirit?
Can we remain always askingquestions, exploring the unknown
and, most importantly,listening to the walls that
speak?
Robert, I now speak directly toyou Through whispers and
(01:00:47):
shadows.
We've tread your tail Withrespect.
We've uttered your name.
Delves into your depths and nowheed our parting words.
Goodbye, robert.
We sever the tie, a spell cast,a poem penned, a prayer
whispered into the void.
With this word, we shield thosewho listened, those who shared
(01:01:13):
and those who dared to glanceinto your realm.
Your story, once entwined withours, is now a tale concluded.
May our paths diverge, leavingonly echoes in the silence of
your watch.
(01:02:45):
Hello everybody, it's Jeremy,your host, researcher, editor
and producer here at when MostCan Talk, the Podcast, just
wanting to say once again, thankyou so much for being here.
If you enjoyed this episode,learned something new or had
some new thought bubble intoyour mind where it comes to the
paranormal and supernatural,please either share this podcast
(01:03:06):
with a friend or take a momentand rate and review our show
wherever you listen,particularly on Apple Podcasts
or Spotify, just to help uscontinue to grow and reach new
audiences.
I've been tracking our numberslately and we're just growing so
quickly and so fast and it's anhonor to be a part of that
journey with you.
Now, I've never shouted thisout, I don't think on this
(01:03:28):
podcast, but I want to take themoment to do so If you are a fan
of paranormal investigation,particularly if you're also a
fan of drag artists and thequeer community.
I just want to make sure thatyou all know that I am our
resident psychic medium on alittle YouTube series that is
taking off as well, called GhostHuntie TV.
(01:03:49):
We just wrapped up our entirefirst season so you can go check
out drag artists such as myselfinvestigating paranormal
locations all over the state ofColorado.
We are actively in the processof preparing for season two,
which will take us out of thestate of Colorado and down into
Texas later this summer.
So if you're a fan ofparanormal investigation and
(01:04:11):
just can't get enough of thecontent that I'm a part of,
which I just can't thank youenough for, definitely,
definitely go subscribe to GhostHuntie TV.
Yeah, don't forget to join atwhen Walls can talk with
underscores for spaces.
On Instagram, in my bio, you'llsee a link to join the Talking
Walls Club, which is ourbroadcast channel where I will
be sharing prompts to share someof your stories, teasers of
(01:04:35):
upcoming episodes.
That's also where I'm going tostart having polls for our
listeners to vote on whichtopics they would like to see on
the podcast next.
So if you would like to play apart in choosing what we cover
on this podcast in the futurefor no money whatsoever.
Definitely go check out thebroadcast channel and join us.
It's basically just like a giantgroup chat with all of my
(01:04:56):
listeners and followers.
So check that out.
And, yeah, thank you so muchfor being here.
I'm going to go ahead and hopoff so I can start recording our
next episode.
So much coming down the pike.
Cinematic secrets will bereturning with an episode on
Mommy Dearest in the very nearfuture and can't wait to catch
you next time.
Take good care of yourselves,and you'll probably have some
(01:05:19):
tarot content coming as well.
For those of you who'velistened all the way to the end,
thank you, so you.
Hello, robert, my name is Jeremy.
I know you can hear me, eventhough I may be speaking to you
across time and technology.
I extend my hand to you not inintrusion but in reverence.
I've come, following thewhispered rules that guard your
(00:28):
legacy, to ask may I share yourtale?
In my telling, I assure youwill find respect and a promise
to tread lightly upon the groundthat bears your name.
To you, robert, I vow to becourteous to acknowledge your
very real presence that, uponthe testimony of thousands who
(00:49):
have broken your rules over theyears, exists beyond your glass
sanctuary.
And when the final word isspoken, when the last note of
our shared story fades intosilence, I will say goodbye,
closing the chapter with thissame respect with which it was
opened.
But before I do, I ask, robert,may I?
(01:13):
May I narrate the chapters ofyour existence, ensuring your
story serves as proof of themysteries that bind us all.
Thank you, robert.
With your blessing, I willbegin.
(02:07):
What is it about the things wecannot explain that calls to us
Whispers, to our innermost fearsand fascinations?
Could an object, a collectionof fabric and straw hold within
it the power to reach beyond thesilence and touch us?
Have you ever looked into theeyes of a doll and felt the
(02:29):
unsettling gaze returned.
Where does the boundary liebetween a harmless toy and a
vessel for the unexplained?
Is it in the power we give it,the stories we weave around it,
or is there something moretangible?
There, in Key West, there's adoll, robert.
(02:51):
Some say he's just that, a doll, but others, they'll tell you,
he's alive with a spirit that'snot his own Whispers of curses
and misfortunes, of a child'splaything turned into an object
of both curiosity and fear.
What makes us hold our breathas we pass him by?
(03:18):
Is it the chill of the unknownor the reflection of our own
inner demons that we see in hisstitched smile?
We laugh off superstition inthe light, but in the dark don't
we all become believers?
This isn't just Key West'sstory.
It's not just Robert's story.
(03:40):
It's about the stories we tellourselves About fear, about
belief, about the thin line wewalk between skepticism and the
abyss of the untrodden world ofthe spirits.
Step into the dim corners wherethe known world falls away.
Let's peer into the glass casehousing Robert and ask ourselves
(04:03):
are we seeking him or is he insome way seeking us?
Welcome to, when Walls Can Talk,the Podcast.
It's time to face the doll inthe sailor suit and the stories
he carries.
Are you ready to questioneverything?
(04:25):
Throughout the ages, man hasrepeated the same earnest saying
(04:51):
more of a question, really, orperhaps even a plea if these
walls could talk.
But what if they do and alwayshave?
Perhaps their stories, memoriesand messages are all around us.
If only we would take themoment to listen.
On this podcast, wereinvestigate legends and tales
(05:13):
of the past and allow the echoesof their lessons to live on
once again, informing us,educating us and sharing new and
unique insight into the innerworkings of the paranormal and
spiritual world.
Will you dare to listen?
This is when Walls Can Talk thepodcast.
(05:53):
Where does a story like thistruly begin?
I suppose I guess it starts in1905, at a five-year-old's
birthday party, one that wouldforever mark the beginning of a
legend and perhaps thedestruction of thousands of
lives.
Amidst the laughter and theinnocence of childhood, robert
(06:24):
Eugene Otto is about to receivea gift that will alter the
fabric of his reality.
Isn't it funny how we givegifts with love without truly
knowing the ripple effects theymight cause on the surfaces of
our loved one's lives.
For Jean's parents, their giftof an interesting looking doll
at their son's birthday was justthat a simple act of giving.
(06:47):
Little did they know they wereintroducing a new and unsettling
protagonist into their family'sstory.
Jean, his sister Mitzvah, theirnanny and her daughter are
gathered around the living room,the fabric of their day about
to be weaved with threads of theextraordinary Time for lunch.
(07:07):
Children calls a voice,reminder of the mundane against
the magical.
But Jean, he's not hungry.
No, there's a new friend to bemade, a bond to be formed.
Robert and I were not hungry,he declares.
And in that moment a simplestatement becomes the prologue
(07:28):
to a lifetime of whispers andwonders.
But your Robert, came theincredulous reply.
But no, the roles have shifted,identities have been exchanged.
Robert is now the doll and thechild is now.
Well, jean is now Jean.
(07:50):
Folklorists and legends provideus with cautionary tales about
the power of names, of identity.
It's said that to give aneffigy, your name, your clothes,
is to give it part of your soul.
A curious notion, isn't it,that a simple act of naming
could weave a thread of lifeinto inanimate objects?
What must have gone through theminds of the Otto family
(08:15):
witnessing their son, now calledJean, bestow upon his new doll
not just a name, but his veryown.
To them, it might have been achild's innocent play, a moment
of make-believe, but the wallsof the Otto home were witness to
something far more unsettling.
Different and distinct voiceswould drift from Jean's room.
(08:39):
Who does Jean have over Hisparents, would wonder, stepping
into a room expecting to find aplaymate friend from down the
lane?
Instead, they found only Jeanand Robert the doll.
Imagine their perplexity, theirunease a room filled with the
(09:00):
murmur of conversation, yethousing only a boy and his doll.
How does one rationalize theirrational, explain the
unexplainable?
The question isn't just whatthe Otto family believed, but
what we choose to believe.
Is it possible that in namingRobert, jean unlocked something
(09:23):
ancient, something beyond theken of ordinary understanding, a
bond formed not just in playbut in the very fabric of
existence?
The idea of dolls as vesselsfor energies or spirits crosses
cultures and eras where dollshave always been more than mere
(09:44):
playthings.
They've served as conduits fortraditions, where dolls are
repositories of belief, of hopeand sometimes of fear.
From the voodoo dolls of Haitito the protective cajina dolls
of the Hopi, each carries withit the distinct capacity for the
breath of life, a spark of thespirit that created or cherished
(10:09):
it.
But why dolls?
Is it their humanoid form, amirror to our own, that invites
us to imbue them with ouressence, our desires and our
fears?
Or is it something deeper, anunderstanding that objects, when
loved or when feared, can holda power beyond the physical?
(10:30):
In the case of Robert, could itbe that Jean's innocent act of
naming and sharing his life withthe doll opened a door, a door
that allowed Robert to becomemore than a collection of
materials, but a vessel forsomething ancient, something
alive?
What can these culturalconnections tell us about the
(10:54):
relationships we form with theobjects in our lives?
Are they mere inanimatecompanions to our solitary
moments, or do they hold withinthem the echoes of our joys, our
sorrows, our very souls?
Today, robert finds a homewithin the Fort East Martello
(11:14):
Museum, behind a pane of glassthat ominously separates him
from the outside world aroundhim.
A silent, watchful form servingthe comings and goings of the
world with unblinking eyes,bound not just by glass but by a
set of rules that govern ourengagement with him.
First, an introduction.
(11:37):
One must say hello andacknowledge his presence, as we
did at the top of this episode.
A nod to the unseen forces thatmay linger in his stitched
seams.
Second, robert values courtesyand politeness, virtues not just
of good manners but of safepassage through his gaze.
(11:58):
Be kind, they say.
Everyone you meet is fighting abattle you know nothing about,
and this holds true even, orespecially, with Robert.
And then, perhaps mostimportantly, the parting, as we
will at the end.
Goodbye Robert.
A closure, a sealing of theencounter, leaving no threads
(12:21):
untied, no invitationsunwittingly extended.
But perhaps most pivotal istheir respect for his physical
image, his likeness.
When taking photos, you mustask for encapsulating him.
We catch more than just lightsand shadows.
We capture and bring with ushis essence.
(12:43):
And with Robert, permission iskey.
To disregard these rules is toinvite chaos into one's life.
Robert's curse, as it's come tobe known, is no idle threat.
Livelihoods shattered, dreamsdissolved in the very fabric of
survivor's lives torn asunder.
(13:04):
These are the tales of thosewho learned too late the power
of respect and of the unseenlaws that govern our
interactions with thismysterious effigy.
Letters thousands of them, aresent daily to Robert, pleading
for mercy from all corners ofthe globe, from those struck by
(13:27):
lightning to victims of floods,fires and unexplained maladies.
The stories are as varied asthey are chilling.
Each letter extends anddisplays the reach of Robert's
influence and the depth ofbelief in the curse that bears
his name.
I saw an interview once with awoman who was involved in a
(13:47):
fascinating project just a fewyears ago to capture the aura of
the doll.
Sounds straightforward, right,but we're not just talking about
any doll.
This is Robert the doll, afigure as much mystery as he is
history.
Now, everyone and everythinghas an aura, a kind of energy
(14:09):
field that some claim can bephotographed.
So why not a doll's?
To do so, one needs an SLScamera, a piece of technology
designed to detect and map theseenergy fields.
It's typically used to maphumans, not dolls sitting
silently on display.
But when the team points it atRobert, something unexpected
(14:34):
happens.
It maps him yes, a doll, andthat's the first sign that maybe
, just maybe, we're veering intouncharted territory.
As the moment is captured andthe aura begins to form on the
computer screen, thephotographer, aware of the rules
surrounding the doll, begins totell Robert how handsome he is.
(14:58):
But someone else on the teamdecides to crack a joke.
Yeah, for an ugly.
He says, dismissing the gravityof what they're attempting.
The air changes, the moodshifts.
Now let's pause for a second.
Do they really think they couldwaltz into this experiment
(15:21):
armed with a camera and acavalier attitude and not face
any repercussions?
The rules about Robert are wellknown Be respectful, introduce
yourself, always ask permissionbefore taking his photo Rules
that were, let's be honest,thrown to the wind.
What starts as an experimentspirals into a personal
(15:48):
nightmare for the individualclosest to the cursed doll the
photographer.
Car accidents, financial ruin acascade of misfortune that begs
the question was it all justcoincidence, or was it Robert's
doing?
How often do we tread intoterritories we don't fully
(16:10):
understand, dismissing thewarnings as mere superstitions?
The person behind this cameralearned the hard way that some
rules are in place for a reason.
But where did Robert the dollactually come from Originally,
before coming into contact withthe Otto household?
(16:32):
The roots of Robert's storystretch back to the workshops of
the Steiff Company in Germany,renowned for their invention of
the teddy bear.
In the early 20th century,around 1904, amidst a climate
ripe with innovation and anewfound affection for plush
toys, robert was crafted,distinct in size and presumably
(16:55):
designed to mirror the visage ofan actual child.
Robert was more than a toy.
He was a masterpiece intendedto captivate and charm.
It's speculated that Robert wasinitially intended as a display
piece in a department store,being near lifelike in size as a
salesman for the SteiffCompany's menagerie of plush
(17:17):
creations.
His unique attributes and thecraftsmanship he embodied were
designed to draw the eye toshowcase the pinnacle of what
Steiff could offer.
This theory suggests a dollmade not merely for play, but as
an ambassador of quality andcreativity.
The Otto family, possibly duringa trip to Germany or through
(17:40):
relatives, came across Robert.
What drew them to him remains apart of the mystery.
Was it his unique size, hisalmost lifelike appearance, or
perhaps something unspoken, asense of destiny or fate, that
guided their choice?
Regardless, they chose to bringRobert back with them to Key
(18:02):
West, where his legend wouldtruly begin to unfold.
In the Otto household, robertwould transition from a silent
observer of the world to anactive participant in a story
that continues to captivate andmystify.
Right after Robert the dollcrosses the threshold of the
Otto home, a subtle but profoundshift occurs, one that casts
(18:27):
the shadow over the household'spreviously sunny demeanor.
Little Robert, now drawn tothis peculiar new addition,
abandons his other toys, hisworld narrowing until it
contains nothing but Robert.
The doll becomes his universe,an obsession that whispers of
(18:47):
unseen strings being pulled.
In the background, theatmosphere in the Otto household
thickens with tension, a senseof unease creeping into the
corners of the sunlit rooms.
Emilyne, emilyne, miss Otto'svoice breaks the silence.
A note of confusion minglingwith concern.
(19:09):
The discovery of a shatteredvase on the floor the second
such incident this week sendsripples of disquiet through the
family.
Emilyne, the nanny, is quick todeny responsibility, her
confusion mirroring Miss Otto's.
In the midst of this perplexityenters Jean clutching Robert.
(19:30):
Jean, honey, you scared us, hismother exclaims.
Jean's denial of any wrongdoingand his insistence that Robert
did it was a prelude to aterrifying realization that
perhaps in this house not all isas it seems.
Accusation hangs in the air,unlanding and unnerving,
(19:53):
mini-auto to her core, she hadwelcomed the doll into their
home, never anticipating theshadow it would cast over their
lives.
Her relationship with Robert,once marked by indifference, now
curdles into suspicion and fear.
Robert's silent gaze, oncebenign, now seems to hold a
(20:16):
malevolent glint.
Robert always notices they saya phrase that becomes a
harbinger of the strange andinexplicable events that now
haunt the auto household.
The tension surrounding Robertthe doll reaches a fever pitch
one seemingly ordinary night,jean's mother, pushed to the
(20:37):
brink of her patience by endlesstales and excuses centered
around Robert, confronts areality she can no longer ignore
.
It is hours past your bedtime,she begins.
Her voice a mixture ofweariness and frustration, only
to be met by Jean's implausibleclaim Robert can't sleep.
The air thickens with a mix ofdisbelief and exasperation as
(21:01):
she counters the absurdity ofthe situation.
I am so tired of hearing aboutRobert.
He's just a doll, he doesn'tget tired, he doesn't need sleep
, he isn't real.
She asserts Her words slicingthrough the dimly lit room, an
attempt to sever the unnervingconnection her son claims to
(21:21):
share with this inanimate figure.
Jean's anguished plea mother,no, he's my best friend.
It is this moment, this heartwrenching declaration of
companionship with the doll,that finally forces her hand.
She declares that Robert willbe locked away, a physical
barrier erected to shield herfamily from the unseen influence
(21:44):
that Robert seems to wield.
Now, until you can understandthat Robert is just a doll, he's
going to remain locked in there.
You can't blame him for anymore of your misdeeds.
She states Her resolve firm yetlaced with an undercurrent of
doubt and fear.
The directive for Jean toretire to his room served as her
(22:06):
final attempt to restore order,to reclaim a semblance of
normalcy.
It's a moment of surrender, anacknowledgement that the
presence of Robert the doll hasevolved from a mere child's
fancy into a source of genuineturmoil.
The Fort East Martello Museum istoday a magnet for attention,
(22:29):
energy and focus from thousandsto tens of thousands of visitors
from all corners of the earth.
The museum, a custodian ofRobert's legacy, begins to
receive an unprecedented influxof correspondence.
Letters, emails and socialmedia messages pour in from
those who believe they felt theconsequences of disrespecting
(22:52):
Robert.
Each letter is a confession, anapology, in the hope of finding
relief from the misfortunesthat have befallen them since
their encounter with the doll.
Becky Vickers is one of theseindividuals, a name among many,
yet one with a story that standsout.
A skeptic turned believer,becky's journey with Robert's
(23:14):
curse is a compelling narrativeof transformation.
I never really believed incurses, but I do now, a hundred
percent.
I do.
Now she admits A statement thatechoes the sentiments of
countless others who havecrossed paths with Robert.
Her experience culminated in aletter written to Robert himself
(23:35):
.
Speaker 4 (23:36):
So many things have happened since I visited you,
robert, and it can't just be acase of bad luck, I know it's
you.
Ever since I returned home,nothing but one bad thing after
another has happened to me, andI'm afraid of what you will do
next.
I must apologize for notbelieving that you could curse
someone if they touched you ortook pictures of you without
(23:59):
your permission first, I am so,so sorry.
I will never doubt the kind ofpower and infliction of fear you
can curse someone with.
I am a believer, I am.
I knew all the rules.
I knew that you weren'tsupposed to take Robert's
photograph without askingpermission and I knew you
weren't supposed to touch theglass.
But I think the curiosity sideof me got the better of me.
(24:22):
I did touch the glass and I didtake some photos without asking
.
I don't know.
You just don't think things arereally going to happen, but
they do.
We started having trulyunexplained things happening in
our home.
I could feel a presence, Icould feel the energy of someone
else in the house with me.
I've never had any feelings inmy home, spirits or shadow
(24:45):
people, but something was withme, something dark.
It was something there to hurtme.
The very first thing that wentthrough my mind was am I seeing
Jean Otto?
Am I seeing Jean that used toown the doll?
Speaker 1 (25:02):
Cindy Keza, a renowned psychic medium and
personal hero of mine, once cameto the house of the autos where
the family was living.
When Robert came across theirthreshold, she immediately
sensed the air laden with thescent of cigarette smoke in
Eugene Otto's art studio.
In her journey through thehouse, cindy encountered the
(25:23):
spirit of a woman and a littlegirl, Each bound the location by
a tapestry of emotions, grief,anger and an unresolved
narrative that begged to beheard.
As she searched more, a storybegan to unfold in her mind, one
that hints at forbidden love, aclandestine affair that crossed
(25:45):
the boundaries of societalnorms.
It should be noted that, as Irecord this, weird sounds are
coming from all of my technology, sounds that I cannot identify.
Emily, the family's nanny, mighthave been involved in a
romantic entanglement withThomas Otto.
The possibility that thisaffair resulted in the birth of
(26:07):
a child, a little girl, whoselife was cut tragically short,
casts a shadow over the houseand its inhabitants.
Cindy hears the term not myBobby, not my Bobby, possibly
misinterpreted by thoseunfamiliar with Bahamian accents
, suggesting that the greastricand lament of they took my Bobby
(26:30):
from me could indeed be amother's cry for baby.
They took my Bobby away from me.
This insight brings us closerto understanding the complex web
of relationships and emotionsthat enshroud the Otto house.
Cindy senses a voodoo cursemight have been placed on Robert
(26:51):
, either as an act of vengeanceor a protective measure for the
child's spirit.
Cindy posits that the doll maynot house an individual spirit
within it, but rather serves asa magnet attracting the energies
and essences of those who'veleft their mark on the house.
Reflecting on Cindy'sinvestigation, which I highly
(27:15):
recommend in the Shock Docsdocumentary the Curse of Robert
the Doll, I find myselfpondering the intersection of
love, loss and the lengths towhich we go to preserve or
avenge those we care for.
The notion that the Otto houseserves as a portal, a beacon for
spirits drawn to Robert'spresence, challenges us to
(27:37):
reconsider our understanding ofthe physical and spiritual
worlds.
I'm struck by the layers ofhistory and emotion that Robert
the doll embodies.
It's not just the tale of ahaunted doll, but a narrative
steeped in human experience thattranscends the bounds of the
physical world.
My name is Rachel Aftervisiting Robert.
Speaker 5 (27:56):
It has completely shaken my life.
Knowing the things that havehappened to me and the things
that have happened here, robertis a force to be reckoned with.
Four years ago we were in KeyWest on our honeymoon.
We had just gotten married.
A few days prior, we decided totry one of the ghost tours that
they had at the fort.
After that night it completelychanged the direction of my life
(28:20):
.
They told everyone that was onthe tour that we had to show
respect for Robert to ask forhis permission.
Everything that you do has tobe out of respect, and everyone
took it seriously, except for myhusband.
And the moment my husbanddisrespected Robert was the
moment everything went downhill.
Weeks after we started noticinglittle things happening in our
(28:43):
house, the tap started as littletiny knocks just on the wall or
on the floors, and as the weekspassed and days passed, we
could hear the taps gettingcloser.
It went from one end to theentryway to the hallway and then
, once it reached the hallway,the taps turned into more of a
footstep.
The final breaking point wasone night when I got off of work
(29:04):
.
When I walked into the house,every cabinet in our kitchen was
open and everything out of thecabinet was stacked on the floor
Talking about it now.
It honestly makes me want tocry.
It honestly makes me want tocry because it was the scariest
moment that I have ever had inmy life.
It makes me wonder whathappened to make Robert what he
is today.
Speaker 1 (29:25):
Children grow up.
It's an inevitable journey frominnocence to experience, marked
by milestones both bitter andsweet.
For Gene Otto and Robert, hischildhood companion, this
transition was poignant.
They shared an unbreakable bond, a friendship that transcended
(29:46):
the usual playtime alliancesbetween a boy and his doll.
Robert wasn't just a toy toGene.
He was a confidant, a silentwitness to the dreams and fears
of childhood.
But time, the relentless marchforward, brought change.
As Gene stood on the brink ofadulthood, the world called to
(30:09):
him with promises of adventureand discovery.
The chest in the attic becameRobert's new domain, a place of
darkness and solitude, farremoved from the sunlit rooms
where he and Gene had spentcountless hours.
It was a symbolic act packingaway childhood to embrace the
future.
Yet it carried the weight of anunspoken farewell.
(30:34):
Jean's path led him to the worldof academia, first exploring
architecture, before yielding tothe siren call of art.
His journey took him to Paris,the heart of the artistic
revolution in the 1920s.
It was a time of tumultuouschange, where the likes of
Hemingway and a host of otherartists and writers congregated,
(30:56):
each chasing their own museamidst the cafes and galleries
of the city.
In Paris, jean immersed himselfin the vibrant cultural scene.
Studying under-renowned artists, his soul alight with passion
and inspiration.
Yet beneath the excitement ofthis new life, there lingered a
(31:17):
shadow, a thread of connectionto the past, to a childhood
friend.
Left behind in the shadows ofan attic, jean meets Anne Parker
, a brilliant pianist whosetalent is matched only by her
devotion to Jean.
Anne, hailing from a backgroundof privilege, finds herself
(31:38):
utterly captivated by Jean'sartistic spirit and vision.
Their love, ripe with thepromise of partnership and
shared dreams, culminates inmarriage on a spring day in 1930
, sealing their bond amidst thebackdrop of Parisian elegance.
With Anne by his side, jeanembarks on the journey to
(31:58):
realize his aspirations, to moldhis passion into a career that
reflects the artists heenvisions himself to be.
The couple, united in theircreative pursuits, soon find
themselves navigating thebustling streets of New York, a
city that promises endlessopportunities but also presents
unforeseen challenges.
(32:19):
The Great Depression, a shadowover the decade, erodes the auto
family fortune, placingunforeseen pressures on Jean and
Anne.
As the 1930s give way to the1940s, the dynamics within the
auto household undergo asignificant shift.
Anne emerges as the family'sfinancial anchor, her musical
(32:42):
career blossoming against theodds.
Her talent and hard workcatapult her onto the stage of
the legendary Rainbow Room, avenue synonymous with success
and recognition in the artisticcommunity.
In 1945, Jean Otto found himselfadrift in the tumultuous sea of
artistic endeavor, his dreamsof success as an artist clashing
(33:07):
against the harsh rocks ofreality.
Meanwhile, anne, his wife,soared on the wings of her
burgeoning musical career, hertalent recognized and celebrated
.
A stark contrast to Jean'sstruggles.
Their lives were abruptlychanged, unravelled by a phone
call that cut through the noiseof New York streets, a call from
(33:30):
Key West delivering news ofJean's mother, minnie, whose
health was fading fast.
The couple made their way tothe auto home, arriving in time
to be there when Minnie passedaway on September 14, 1945.
The house was bequeathed to theauto, children ultimately
(33:51):
finding its way into Jean andAnne's care.
The decision was heavy yetclear they would return to
Jean's childhood home, to theheart of Key West, to begin anew
.
Anne, well versed in herhusband's eccentricities, his
artist's heart that beat to therhythm of a different drum,
(34:13):
braced herself for thechallenges of this new chapter.
Yet nothing could have preparedher for the reality of their
life back in Key West.
Upon their return to Key Westand settling into the auto
family home, anne stumbled uponan old doll tucked away in a
storage closet.
This discovery would mark thebeginning of an unsettling
(34:36):
chapter in their lives.
Jean's reaction to seeing thedoll was not just a recognition,
but a deep personal connection.
He regarded the doll, robert,not as an inanimate object but
as an old friend, a companionfrom his childhood days with
whom he shared an unbreakablebond.
(34:57):
Jean's interaction with Robertwas peculiar, treating him as if
he were still the livingplaymate of his youth.
This behavior was alarming toAnne, who found herself
questioning the nature of therelationship between her husband
and this doll.
The sight of a grown manconversing with the doll,
(35:18):
attributing life and emotions toit, was unsettling to her, to
say the least.
It was the side of Jean she hadnot seen before, one that
filled her with a sense of dreadand confusion.
The situation escalated as Jeanbegan to rekindle his
relationship with Robert,spending hours talking to him,
(35:39):
reminiscing about old times andeven making plans for the future
.
To Jean, robert was a keeper ofhis memories, a link to his
past and a presence that, in hismind, required care and
attention For Anne.
The dynamics within their homebegan to shift in ways she
(36:00):
couldn't have anticipated.
Witnessing her husband's deepemotional attachment to Robert.
She felt sidelined, an outsiderin her own home.
Jean's reassurances to Robertthat they could quote handle
Anne only added to her sense ofisolation and concern.
This period in their lives wasmarked by a growing sense of
(36:25):
unease, with the doll's presencein the house casting a long
shadow over their marriage Dear.
Speaker 2 (36:31):
Robert, I was a recent visitor to the museum and
our guide led us to the roomwhere you're located.
He told us about the rules tofollow.
I told you my name, askedpermission to take a photo and
thanked you.
I thought I followed the rules,but last night as I slept,
robert, you came to me in anightmare.
I decided you might have donethis to me, robert.
(36:51):
So I looked at the rules on theinternet.
Everything I read made mebelieve I followed your rules.
And then I noticed another tab,a tab I never opened, and when
I clicked on it I saw a rule Ididn't see before.
I didn't know.
I was supposed to say goodbye.
I didn't know that was a rule,robert.
Nobody told me.
Forgive me.
Speaker 1 (37:10):
Jean's attachment to Robert wasn't just a personal
quirk.
It became a defining feature oftheir home.
Placing Robert in the window ofthe turret, jean unwittingly
turned the doll into a spectralsentinel overlooking the streets
of Key West.
Others by, particularlyschoolchildren, could feel the
weight of Robert's gaze,compelling them to cross the
(37:33):
street to avoid the unsettlingfeeling of being watched.
The doll's presence was sopronounced it felt as if he
moved on his own, bearingwitness to the world outside
from his perch, while Jeanremained absorbed in his art
elsewhere in the house.
This phenomenon, where a dollseemingly possessed the power to
(37:56):
influence the behavior of thecommunity around it, speaks
volumes about the aura ofmystery and unease that Robert
exuded.
The Otto House, once justanother family home, morphed
into a place of intrigue andfear, a building marked by tales
of a cursed doll that watchedover Key West from his windowed
throne.
(38:16):
For Anne, this reality musthave felt worlds away from the
stages of New York.
The limelight had faded,replaced by the shadow of a doll
that commanded attention andfear, turning their home into a
focal point of local lore andsuperstition.
Reaching her breaking point,anne decided that Robert, the
(38:37):
doll's presence in their lives,had to end.
The couple had previouslyagreed to banish Robert to the
attic, hoping to restore somesemblance of normalcy to their
home.
However, this attempt at peaceproved futile, as the very next
day brought a chilling reminderthat Robert's influence was not
so easily contained.
(38:58):
Jean awoke to find Anne's sideof the bed empty, an unusual
occurrence that immediatelyfilled him with concern.
His search through the houseled him to a startling discovery
.
Anne, distressed and visiblyshaken, accused Jean of locking
her all night in a closet, anaccusation that bewildered him.
(39:20):
Despite her protests and fear,jean insisted he wasn't
responsible, suggesting that theblame lay with Robert the doll
they had tried so hard toisolate.
To the outside world, anne andJean Otto presented the image of
matrimonial bliss, a couplewell-matched and content, in
(39:42):
their picturesque Key West home.
Yet the facade of happinessbelied the true turmoil that
brewed within the walls.
A storm centered around anunlikely catalyst Robert the
doll.
The presence of Robert, farfrom being a benign relic of
Jean's childhood, became a wedgedriving between the couple,
(40:06):
straining their relationship toits breaking points.
The bond Jean maintained withRobert was not just a quirk, but
a profound obsession that Annefound increasingly difficult to
understand or accept.
It was this peculiar attachmentthat contributed significantly
to the tension in their marriage, leading Anne to take a drastic
(40:27):
step for the sake of her ownpeace, she moved into her own
room, physically distancingherself within their shared
house.
This act of separation withintheir household was symbolic of
the deep rift that had developedbetween them, a rift
exacerbated by the eerieinfluence Robert seemed to wield
.
As the doll's presencecontinued to permeate every
(40:50):
aspect of their lives, thecouple found themselves caught
in a struggle not just with eachother, but with the legacy and
mystery that Robert represented.
In the latter years of JeanOtto's life, the narrative of
his and Anne's existence took amelancholic turn.
The onset of Parkinson'sdisease around 1965 marked the
(41:12):
beginning of a decade-longbattle for Jean, during which he
retreated to the turret oftheir Key West home, a space he
shared with Robert the Doll.
This period was characterizedby a gradual decline in Jean's
health and mental well-being, aheartbreaking spectacle for
those who knew him.
Jean's passing on June 24, 1974left Anne in a solitary
(41:40):
struggle with grief and thelooming presence of Robert.
The house, once a shared domain, now felt oppressive, charged
with memories and the silentwatch of the doll.
Faced with financialdifficulties, anne made the
difficult decision to sell theirhome to William Gaiser, a
(42:00):
neighbor, ensuring that Robertremained a fixture of the
residence.
This act was less abouthonoring Jean's memory and more
about distancing herself fromthe doll that had cast such a
long shadow over their lives.
Anne's subsequent death frompancreatic cancer five years
later closed a chapter filledwith love, loss and the legacy
(42:24):
of the doll.
In the end, the only constantin this saga of human emotion
and supernatural intrigue wasRobert himself, undisturbed and
enduring.
In 1976, a new chapter in thesaga of Robert the Doll began
when Myrtle Ruder and Bill Ruderacquired the Otto family home
(42:46):
from William Gaiser.
The house, with its richhistory and lingering mysteries,
welcomed its new occupants andwith them Robert found himself
in the company of new guardians.
It's said that initially therewas a sense of fascination, and
perhaps even a bond betweenRobert and the Ruder family, a
(43:07):
fleeting period of harmonyreminiscent of the early days
when Robert first arrived at theOtto home.
However, as the pattern ofRobert's storied past would
predict, this period oftranquility was short-lived.
The doll, surrounded by legendand imbued with an aura of the
uncanny, soon became the centerof unsettling occurrences.
(43:28):
A particularly chilling part ofthe legend recounts a
terrifying incident where Robertsupposedly attempted to attack
the Ruder's daughter, an actthat compelled the father to
take decisive action by lockingRobert away, an attempt to
protect his family from furtherharm.
Tragically, and perhaps eerilyechoing the doll's tumultuous
(43:52):
history with its previous owners, it was not long after this
event that the father was founddead from carbon monoxide
poisoning, a tragic event thatleaves the community and those
beyond to ponder was this a mereaccident or did the curse of
Robert claim another victim,myrtle Ruder, now a widow, finds
(44:16):
herself at a crossroads.
Two years later, economicpressures and the heavy weight
of her experiences compel her tosell the house.
Despite, in a move that speaksvolumes of her complex
relationship with the doll,myrtle chooses to keep him, even
as she steps away from the homethat housed their shared
history.
(44:37):
The legend of Robert and Myrtledid not fade with time.
Instead, it continued to grow,fueled by incidents that seemed
to underscore the doll'sunsettling presence.
It reached a tipping point onthe morning after Myrtle was
reportedly attacked, an event soharrowing that it cemented her
resolve to remove Robert fromher life permanently.
(44:59):
Seeking a place for him, sheturned to the Fort East Martello
Museum, a site steeped in KeyWest's rich history and one that
Jean Otto, the doll's originalowner, had connections to.
In a moment of surrender,myrtle delivered Robert to the
museum, imploring them to takehim under their care.
(45:21):
Her actions that day, marked byurgency and a desire to sever
ties with Robert, suggest adeep-seated belief in the doll's
haunting legacy.
Myrtle's departure from themuseum was the last act in a
saga that spanned decades,ending with her death 101 days
(45:41):
later.
Upon Robert's arrival at theFort East Martello Museum, the
director found himself at acrossroads.
Too unsettled by the storiesthat trailed behind the doll, in
an act of caution or perhapsunease, he decided to tuck
Robert away from the public'sgaze, relegating him to the
(46:02):
confines of a storage room amongthe museum's eclectic
collection.
The museum, already a custodianof Jean Otto's artistic legacy,
became an unwitting sanctuaryfor what many consider to be the
world's most haunted doll.
Its convergence of histories ofthe doll and its first owner
(46:24):
seemed almost faded,intertwining their stories
within the museum's walls.
Once again, however, robert'spresence seemed to disturb more
than just the peace of themuseum's staff.
Shortly after his arrival,inexplicable events began to
unfold, starting with plumbingissues that defied logical
explanation.
(46:44):
The call to a plumbingspecialist to address these
troubles led to an encounterthat would further cement his
reputation.
The plumber was, confronted bythe doll's unsettling aura,
hastily abandoning his task andproclaiming that he would never
again set foot in the museum hadhe known of its spectral
resident.
(47:05):
As whispers of Robert's cursebegan to permeate the museum, a
curious pattern emerged.
These reported odd occurrencesand a palpable sense of being
watched, contributing to agrowing legend that captivated
the imagination of all nearby.
Robert's story, once confined tothe Otto household, now
(47:29):
commanded a much wider audience.
Visiting Robert the Doll at theFort East Martella Museum has
become akin to an experience ofcautious reverence, much like
observing a majestic butpotentially dangerous lion at
the zoo, a fascination temperedwith a healthy dose of respect
for the boundaries set toprotect us.
(47:49):
The narrative surroundingRobert's transition from a
personal relic to a publicphenomenon encapsulates a
journey from obscurity to infamy, a transformation that even
Myrtle, his last private owner,could hardly have envisioned.
After being put on display,robert's sphere of influence
(48:11):
expanded dramatically, his storycaptivating not just locals but
people across the nation.
This growing curiosity wasn'twithout its peculiarities.
Visitors began reportingunexplained phenomena such as
drained batteries andmalfunctioning cameras,
suggesting that Robert's consentwas required to capture his
(48:32):
likeness without repercussions.
The museum space around Robertseemed to pulsate with an unseen
energy.
Objects began moving withoutapparent cause and Robert
himself seemed to changepositions, fueling the lore that
he was more than just a doll.
Whispers of names, dirtyfootprints on the floor around
(48:55):
his case and a general uneasecontributed to the legend
painting Robert not merely as ahaunted object but as an entity
with a will of its own.
The legend posits a cautionarytale To interact with Robert,
like we are today, withoutacknowledging his presence or
seeking his permission, invitesunknown consequences.
(49:20):
Imagine entering the museum atthe start of the day, the air
still and quiet, save for thehushed whispers of early
visitors.
The staff accustomed to theoddities associated with Robert
perform their routine checksaround his display case.
What meets their eyes is notjust a doll seated behind glass,
but evidence of something elseFootprints, small and distinct,
(49:46):
leading up to the case.
These aren't the marks of achild's prank or a careless
visitor.
They are perfectly formed as ifRobert himself had taken a
midnight stroll through themuseum's halls.
These footprints appearing outof nowhere suggest a level of
autonomy and presence thatdefies logical explanation.
It raises questions.
(50:07):
If Robert is indeed just a doll, how do we account for these
physical traces of movement, arewe to believe that an inanimate
object can, in the stillness ofthe night, become animate?
The implications arefascinating and terrifying.
It challenges our understandingof the boundary between the
(50:30):
animate and inanimate, urging usto consider the possibility
that objects, especially thosecharged with strong emotional
energies and histories, mightharbor spirits or
consciousnesses of their own.
Speaker 3 (50:44):
Key West had always been my escape, a four-hour
drive to a place where theworries of the world seemed to
melt away.
I frequented it often, butthere's one visit that changed
everything, one that I'vestruggled to come to terms with.
I remember the day clearly, theway the air felt, the sounds of
the city.
Then we visited the museum hometo Robert the Doll.
(51:05):
I'd heard the stories, ofcourse.
They said he was haunted, thatthere was something within him,
but I laughed it off.
How could a doll, a child'splaything, hold any real power?
In a moment of arrogance, Imocked him, took photos without
asking, blatantly ignoring thewarnings.
I thought I was above thesuperstitions, that it was all
(51:28):
just for tourists, but theconsequences were immediate and
devastating.
It started small, with cartroubles and minor
inconveniences, but it quicklyescalated Accidents involving my
family, the sudden andunexplainable death of my dog,
my mother's sudden illness,followed by her passing, job
(51:48):
losses, contracts fallingthrough and a personal health
crisis that nearly ended my life.
Each event felt like a dominofalling into the next, a
relentless cascade of misfortunethat seemed to have no end.
It was a wake-up call, arealization that some forces
shouldn't be trifled with.
In desperation, I wrote toRobert a letter of apology,
(52:10):
hoping to break the cycle of badluck that seemed determined to
destroy me, and then, assuddenly as it began, it stopped
.
I can't explain it and part ofme still wrestles with accepting
it, but I know what Iexperienced, the toll it took on
me and those I love Sharing.
This isn't easy.
It feels like admitting to aweakness, a foolishness that I
(52:31):
can't take back, but it's also awarning.
I was wrong to mock, todisregard the stories and
letters that surround him allover the walls, and I paid a
price for that arrogance, aprice I wouldn't wish on anyone.
Speaker 1 (52:43):
In this journey of exploring Robert the Doll's
legacy, I've come to a poignantrealization.
It's not about whether I, oranyone for that matter, believe
in the supernatural aspects tiedto Robert.
The truth lies in theexperiences of countless
individuals who've crossed pathswith him.
Those who to this day plead forhis forgiveness convinced their
(53:08):
cursed.
The notion of a curse, of aninanimate object wielding such
power and influence over theliving, might seem far-fetched
to some.
It's just superstition, they'llsay.
Haunted dolls belong in movies,not in real life.
But to dismiss these storiesoutright is to ignore a profound
(53:29):
collective experience.
I've read letter after letter,each a personal account of
misfortune attributed to a lackof respect shown to Robert,
their reflections of genuinefear, regret and oftentimes
sincere desperation.
It's a somber reminder of thepower of belief and the lengths
(53:51):
to which people will go toreconcile with forces they don't
understand.
Growing up, we're often told ifyou don't have anything nice to
say, don't say anything at all.
This adage takes on deepersignificance when it comes to
Robert.
It's not just about politeness,it's a rule of
self-preservation.
(54:11):
According to those who felt hiswrath, speaking ill in his
presence or even harboringnegative thoughts is believed to
invite misfortune.
It's become clear to me,through the countless stories
and personal accounts I'veencountered, that what we're
dealing with isn't just a doll.
It's a nexus of energies, afocal point where countless
(54:32):
spirits and stories converge.
Closing the portal that Robertseems to represent is a task
that seems beyond our currentunderstanding or capability.
It's not merely about thephysical object itself, but
about acknowledging themultitude of spirits intertwined
with his existence.
This acknowledgement isn't justan act of respect.
It's a necessity, a way to livealongside the forces that
(54:56):
Robert embodies, withoutinviting their wrath upon
ourselves.
To think that an object couldbecome a significant repository
for spiritual energy is bothfascinating and daunting.
The idea of reversing such bellwork seems, at this point, not
just challenging but perhapsunwise.
The focus then shifts tocoexistence, to a respectful
(55:20):
acknowledgement of the energiesat play, and it's not about fear
, though the consequences ofdisrespect can be severe, as
many have learned.
It's about understanding theplace of legends in our lives,
about recognizing that somethings are beyond our control
and comprehension.
To those affected by Robert'scurse, the path to peace isn't
(55:42):
through denial or confrontation,but through apology and respect
.
A legend, after all, is notjust a story from the past, but
a living entity fed by belief,fear and dreams.
It's about acknowledging thereality that, even though one's
seen, has tangible effects onthe lives of those who have come
into contact with him.
A legend, after all, is notjust a story from the past, but
(56:04):
a living entity fed by belief,fear and dreams.
A legend, after all, is notjust a story from the past, but
a living entity fed by belief,fear and respect.
It grows with each telling,gaining strength and presence in
our world.
I can't help but wonder aboutthe future.
(56:25):
What new stories will be addedto his legend?
How will our understanding ofhis presence evolve?
One thing is clear the legend ofRobert the Doll, like all
legends, is far bigger than hisphysical manifestation.
When you hear the claim of theworld's most haunted doll, it
(56:46):
sets an expectation, doesn't it?
It's a title that Robert theDoll doesn't just inhabit.
He embodies it through theexperiences of those who
encounter him, day in and dayout throughout the year.
The heart of Robert's legendpulses with questions of
possession of a spirit trappedwithin cloth and straw.
There's a story, whispered inthe corners of Key West, of a
(57:11):
child born from a hidden lovebetween Thomas and Emmeline,
whose life was cut tragicallyshort.
Could the sorrow of such a loss, the weight of hidden truths,
be the source of the energy thatanimates Robert?
Is this child's spirit the onereaching out, yearning for
recognition or release?
(57:32):
I can't help but reflect on thepower of our collective beliefs
and fears.
It's as if our attention,whether rooted in belief or
skepticism, has woven the fabricof Robert's existence.
We fed the legend with ourfears, our curiosities, our
energy, shaping him into theentity he is today.
(57:53):
It's a startling realization.
We create these legends, thesemonsters, imbuing them with
power, and then stand back asthey take on a life of their own
, beyond our control.
So what's next, then?
As Robert's legend continues togrow, fueled by each new
(58:15):
encounter in each shared story,where does it lead us?
Why do these stories matter tous?
Again, as always, they serve asmirrors, reflecting the
complexities of the human psyche, our fears, our hopes and our
endless fascination with theunknown, reminding us that in
(58:35):
every tale of the paranormal,there lies a deeper quest for
meaning, for connection, for aglimpse beyond the veil of our
mundane reality.
In the context of when wallscan talk, where paranormal
mysteries and dark historiescollide, robert's tale is a
reminder of the power ofnarrative to bridge these worlds
(58:57):
, to connect the dots betweenthe scene and unseen.
It challenges us to considerhow these stories, these legends
that we keep alive throughtelling and retelling, shape our
understanding of the world andour place in it.
I'm reminded of a quote by NeilGaiman Stories are a way to
(59:19):
preserve oneself, to beremembered and to forget.
This is the essence of whywe're drawn to tales like
Robert's.
They're not just aboutpreserving the past.
They are about exploring thedepths of our collective memory
and confronting the mysteriesthat lurk within.
So what can we take fromstories like Robert's?
(59:41):
Perhaps it's the understandingthat the line between the real
and unreal is not as clear as wemight think.
Or maybe it's the realizationthat our fears and our beliefs
have the power to manifest inways we can scarcely imagine.
I leave you with this thought.
In our quest for knowledge, inour search for answers, can we
(01:00:06):
cherish the mysteries thatremind us of the boundless
possibilities of the universeand the human spirit?
Can we remain always askingquestions, exploring the unknown
and, most importantly,listening to the walls that
speak?
Robert, I now speak directly toyou Through whispers and
(01:00:47):
shadows.
We've tread your tail Withrespect.
We've uttered your name.
Delves into your depths and nowheed our parting words.
Goodbye, robert.
We sever the tie, a spell cast,a poem penned, a prayer
whispered into the void.
With this word, we shield thosewho listened, those who shared
(01:01:13):
and those who dared to glanceinto your realm.
Your story, once entwined withours, is now a tale concluded.
May our paths diverge, leavingonly echoes in the silence of
your watch.
(01:02:45):
Hello everybody, it's Jeremy,your host, researcher, editor
and producer here at when MostCan Talk, the Podcast, just
wanting to say once again, thankyou so much for being here.
If you enjoyed this episode,learned something new or had
some new thought bubble intoyour mind where it comes to the
paranormal and supernatural,please either share this podcast
(01:03:06):
with a friend or take a momentand rate and review our show
wherever you listen,particularly on Apple Podcasts
or Spotify, just to help uscontinue to grow and reach new
audiences.
I've been tracking our numberslately and we're just growing so
quickly and so fast and it's anhonor to be a part of that
journey with you.
Now, I've never shouted thisout, I don't think on this
(01:03:28):
podcast, but I want to take themoment to do so If you are a fan
of paranormal investigation,particularly if you're also a
fan of drag artists and thequeer community.
I just want to make sure thatyou all know that I am our
resident psychic medium on alittle YouTube series that is
taking off as well, called GhostHuntie TV.
(01:03:49):
We just wrapped up our entirefirst season so you can go check
out drag artists such as myselfinvestigating paranormal
locations all over the state ofColorado.
We are actively in the processof preparing for season two,
which will take us out of thestate of Colorado and down into
Texas later this summer.
So if you're a fan ofparanormal investigation and
(01:04:11):
just can't get enough of thecontent that I'm a part of,
which I just can't thank youenough for, definitely,
definitely go subscribe to GhostHuntie TV.
Yeah, don't forget to join atwhen Walls can talk with
underscores for spaces.
On Instagram, in my bio, you'llsee a link to join the Talking
Walls Club, which is ourbroadcast channel where I will
be sharing prompts to share someof your stories, teasers of
(01:04:35):
upcoming episodes.
That's also where I'm going tostart having polls for our
listeners to vote on whichtopics they would like to see on
the podcast next.
So if you would like to play apart in choosing what we cover
on this podcast in the futurefor no money whatsoever.
Definitely go check out thebroadcast channel and join us.
It's basically just like a giantgroup chat with all of my
(01:04:56):
listeners and followers.
So check that out.
And, yeah, thank you so muchfor being here.
I'm going to go ahead and hopoff so I can start recording our
next episode.
So much coming down the pike.
Cinematic secrets will bereturning with an episode on
Mommy Dearest in the very nearfuture and can't wait to catch
you next time.
Take good care of yourselves,and you'll probably have some
(01:05:19):
tarot content coming as well.
For those of you who'velistened all the way to the end,
thank you, so you.
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