October 21, 2025 • 11 mins
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All thirty marked families arrive at the library, but they're not separate anymore—they're merging into one impossible body with the Davidsons as a leg with screaming faces in the kneecap, the Pattersons as an arm with children's mouths for fingers, and the congregation twisted into organs that pray and sing. The twenty wrong Margarets melt into this mass as it reaches for Margaret with appendages that shouldn't exist—hands made of tongues, fingers that are entire arms—trying to absorb her as the witness that gives their meat meaning. Father Williams tears through the convergence with his inverted body existing inside and outside simultaneously, revealing the merger is actually digestion—making thirty small pieces into one easy-to-swallow mass—and pulls Margaret free though she leaves layers of skin behind.
At the fountain, the original Sarah Blackwood still stands pregnant after 251 years, offering Margaret a choice: merge with the thirty-family mass to become the Pattern itself, or merge with Sarah to become poison—either way, they're getting eaten. The entire town converges toward the fountain as buildings lean together and drivers fuse with cars, while Margaret realizes she's already split between two convergences, dissolving into the space between choosing.
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Get more info from Caloroga Shark Media and if you have any comments, suggestions, or just want to get in touch our email is info@caloroga.com
All thirty marked families arrive at the library, but they're not separate anymore—they're merging into one impossible body with the Davidsons as a leg with screaming faces in the kneecap, the Pattersons as an arm with children's mouths for fingers, and the congregation twisted into organs that pray and sing. The twenty wrong Margarets melt into this mass as it reaches for Margaret with appendages that shouldn't exist—hands made of tongues, fingers that are entire arms—trying to absorb her as the witness that gives their meat meaning. Father Williams tears through the convergence with his inverted body existing inside and outside simultaneously, revealing the merger is actually digestion—making thirty small pieces into one easy-to-swallow mass—and pulls Margaret free though she leaves layers of skin behind.
At the fountain, the original Sarah Blackwood still stands pregnant after 251 years, offering Margaret a choice: merge with the thirty-family mass to become the Pattern itself, or merge with Sarah to become poison—either way, they're getting eaten. The entire town converges toward the fountain as buildings lean together and drivers fuse with cars, while Margaret realizes she's already split between two convergences, dissolving into the space between choosing.
Unlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed!
Subscribe now for exclusive shows like 'Palace Intrigue,' and get bonus content from Deep Crown (our exclusive Palace Insider!) Or get 'Daily Comedy News,' and '5 Good News Stories’ with no commercials! Plans start at $4.99 per month, or save 20% with a yearly plan at $49.99. Join today and help support the show!
We now have Merch! FREE SHIPPING! Check out all the products like T-shirts, mugs, bags, jackets and more with logos and slogans from your favorite shows! Did we mention there’s free shipping? Get 10% off with code NewMerch10 Go to Caloroga.com
Get more info from Caloroga Shark Media and if you have any comments, suggestions, or just want to get in touch our email is info@caloroga.com
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Calaruga Shark Media. Welcome to Ghost Scary Stories and the
October Records, a month long Halloween Nightmare. This is episode
twenty one, The Convergence.
Speaker 2 (00:28):
October twenty first, nineteen seventy four. Silas Crane. They're all here,
everyone touched by the pattern at the library, my library,
surrounding the building. The Davidson's from the walls, the nurses
from the morgue, the children from the bus, the congregation
from the church, the residents from the apartments, all of them.
(00:49):
But they're not separate anymore. They're merging. Missus Davidson's arm
extends from Nurse Holloway's mouth, Timothy Brennan's legs grow from
Pastor Williams's back, Striver's head splits open, and the radio
DJ crawls out. They're becoming one thing, one body, thirty
parts forming a hole, and at the center. At the
(01:09):
center is a hole, a gap, a missing piece. They're
waiting for something, someone, the thirty first, the one who
binds them all. They're coming in through the windows, through
the walls, through the floor. They're saying something, all of them,
same words, same voice. The witness must join, the witness
(01:29):
must complete the witness.
Speaker 3 (01:31):
Must Hello, Margaret, it's me you. Sarah from seventeen seventy four.
I'm in the library with Silas now in his throat,
in his lungs, drowning him from inside, like you're drowning,
Like we're all drowning. Tomorrow, I'll be in you, all
(01:55):
of us will. The convergence isn't a meeting. It's emerging.
Thirty become one, become none, become all. See you soon,
see you, always, see you never The twenty wrong Margarets
(02:22):
were still here when I woke. They'd spent the night
redecorating My office. Walls now showed my deaths, not painted,
growing from the walls like fungi, three dimensional recreations in
flesh and bone. Seventeen seventy four Sarah Blackwood belly split open,
thirty infants crawling out. Eighteen twenty four. Sarah Blackwood drowned
(02:48):
in the fountain, bodies sprouting into the town's water supply.
Eighteen seventy four, Sarah Blackwood burned as a witch, her
ashes becoming the soil. Nineteen twenty four. Sarah Blackwood dissected alive,
her organs mapping the pattern. Nineteen seventy four, Sarah Blackwood
(03:11):
merged with the library, her nervous system becoming the filing system.
Today's the day the antlered, Margaret said, convergence day when
all the separate horrors realize they're the same horror. The
library doors exploded open, not inward, this time outward, being
(03:37):
pushed by something massive trying to squeeze through. It was them,
all of them, the marked from the past twenty days,
but wrong, so wrong. They'd fused into something that shouldn't exist.
A body made of bodies. The Holloway family formed one leg,
(04:00):
their faces screaming from the kneecap. The Patterson family was
an arm, each finger, a child, with their mouths open,
revealing throats that went deeper than should be possible. The
church congregation had become the torso. Their bodies twisted into organs,
hearts that prayed, lungs that sang hymns, a stomach lined
(04:23):
with pews, and the head. The head was forming from
the twenty three children, their bodies liquefying, reshaping, becoming something
that had too many eyes, all looking in different directions,
all seeing different times. We are the pattern, it spoke
(04:44):
with hundreds of voices. We are the body of it.
We are what happens when thirty pieces remember they're the
same piece, the wrong Margarets began walking toward it, into it,
melting into its flesh, adding to its mass. No, I said,
backing away, I'm not part of this. The massive thing laughed,
(05:09):
and windows shattered throughout downtown. You're the most important part,
the witness, the recorder, the memory. Without you, we're just
meet with you. We're meaning.
Speaker 4 (05:23):
Davidson walked through the wall, not the mayor, All the Davidsons,
every generation, fused into one impossibly old man whose skin
showed centuries like tree rings. It's time, he said, his
voice layered with ages. The convergence needs its center, its observer.
(05:46):
It's Sarah. The thing that had been thirty families reached
for me with appendages that shouldn't exist, a hand made
of tongues, fingers that were entire arms, palms that were faces.
It touched me, and I felt it, the merging, my
skin connecting to theirs, my blood mixing with theirs, my
(06:11):
thoughts becoming theirs. I was Sarah in seventeen seventy four,
pregnant and afraid. I was Margaret in eighteen twenty four.
Documenting the first return. I was Elizabeth in eighteen seventy four,
trying to break the pattern. I was Dorothy in nineteen
twenty four, accepting the inevitable. I was Catherine in nineteen
(06:36):
seventy four, hiding the recordings. I was myself in twenty
twenty five, playing them. But also I was the Davidson
in his walls. I was the nurse in the morgue.
I was the child on the bus. I was the
voice on the radio. I was everyone and no one
(06:56):
and stop. Father Williams burst through the convergence, but not merged,
fighting his inverted body, allowing him to exist inside and
outside simultaneously. The convergence is a lie, he screamed through
(07:16):
external lungs. It's not meant to merge us. It's meant
to digest us, make us easier to swallow one big
piece instead of thirty small ones. He pulled me free,
but I left skin behind, layers of myself peeling off,
adding to the mass. Run, he gasped, get to the fountain,
(07:41):
the real convergence point where Sarah actually died. That's where
you can The mass absorbed him mid sentence. His inverted
body became just another organ in its impossible anatomy, but
his words echoed from inside it. The fountain. Halloween the Choice.
(08:05):
I ran through streets, where buildings were leaning toward each other,
trying to merge, Where cars were fusing with their drivers,
where pets and owners were becoming single creatures. The town
was converging, everything pulled toward a single point, the fountain.
(08:33):
When I arrived, I found her, Sarah Blackwood, the original,
standing in the fountain, still pregnant after two hundred and
fifty one years, still dying, still giving birth, Hellomi, she said,
ready to converge, properly, ready to become what we've always been.
(08:55):
Behind me, the thirty family mass approached, filling the entire street,
absorbing everything it touched. Choose, Sarah said, Merge with them
and become the pattern itself, or merge with me and
become the solution. What's the difference, She smiled, and water
(09:16):
poured from her mouth. One makes us food, the other
makes us poison. But either way we're getting eaten. The
mass reached the fountain's edge, waiting, watching hungry, ten days
until Halloween, ten days to decide which convergence I choose,
(09:37):
But looking at the mass at Sarah. At my own
reflection in the black water, I realize the convergence already happened.
I'm already all of them. The question is am I
the meal converging or the mouth? Tomorrow I'll play October
twenty second tomorrow. The past speaks tonight. I'm standing between
(10:01):
two convergences, two hungers, two versions of myself, and I
can feel myself splitting down the middle, trying to choose both,
becoming neither, dissolving into the space between.
Speaker 1 (10:32):
Ghost Scary Stories is a production of Caloroga Shark Media.
Some elements of AI may have been used in this production,
but it was written, edited, mixed, and produced by Real
Live People Executive producers Mark Francis and John McDermott.
Calaruga Shark Media. Welcome to Ghost Scary Stories and the
October Records, a month long Halloween Nightmare. This is episode
twenty one, The Convergence.
Speaker 2 (00:28):
October twenty first, nineteen seventy four. Silas Crane. They're all here,
everyone touched by the pattern at the library, my library,
surrounding the building. The Davidson's from the walls, the nurses
from the morgue, the children from the bus, the congregation
from the church, the residents from the apartments, all of them.
(00:49):
But they're not separate anymore. They're merging. Missus Davidson's arm
extends from Nurse Holloway's mouth, Timothy Brennan's legs grow from
Pastor Williams's back, Striver's head splits open, and the radio
DJ crawls out. They're becoming one thing, one body, thirty
parts forming a hole, and at the center. At the
(01:09):
center is a hole, a gap, a missing piece. They're
waiting for something, someone, the thirty first, the one who
binds them all. They're coming in through the windows, through
the walls, through the floor. They're saying something, all of them,
same words, same voice. The witness must join, the witness
(01:29):
must complete the witness.
Speaker 3 (01:31):
Must Hello, Margaret, it's me you. Sarah from seventeen seventy four.
I'm in the library with Silas now in his throat,
in his lungs, drowning him from inside, like you're drowning,
Like we're all drowning. Tomorrow, I'll be in you, all
(01:55):
of us will. The convergence isn't a meeting. It's emerging.
Thirty become one, become none, become all. See you soon,
see you, always, see you never The twenty wrong Margarets
(02:22):
were still here when I woke. They'd spent the night
redecorating My office. Walls now showed my deaths, not painted,
growing from the walls like fungi, three dimensional recreations in
flesh and bone. Seventeen seventy four Sarah Blackwood belly split open,
thirty infants crawling out. Eighteen twenty four. Sarah Blackwood drowned
(02:48):
in the fountain, bodies sprouting into the town's water supply.
Eighteen seventy four, Sarah Blackwood burned as a witch, her
ashes becoming the soil. Nineteen twenty four. Sarah Blackwood dissected alive,
her organs mapping the pattern. Nineteen seventy four, Sarah Blackwood
(03:11):
merged with the library, her nervous system becoming the filing system.
Today's the day the antlered, Margaret said, convergence day when
all the separate horrors realize they're the same horror. The
library doors exploded open, not inward, this time outward, being
(03:37):
pushed by something massive trying to squeeze through. It was them,
all of them, the marked from the past twenty days,
but wrong, so wrong. They'd fused into something that shouldn't exist.
A body made of bodies. The Holloway family formed one leg,
(04:00):
their faces screaming from the kneecap. The Patterson family was
an arm, each finger, a child, with their mouths open,
revealing throats that went deeper than should be possible. The
church congregation had become the torso. Their bodies twisted into organs,
hearts that prayed, lungs that sang hymns, a stomach lined
(04:23):
with pews, and the head. The head was forming from
the twenty three children, their bodies liquefying, reshaping, becoming something
that had too many eyes, all looking in different directions,
all seeing different times. We are the pattern, it spoke
(04:44):
with hundreds of voices. We are the body of it.
We are what happens when thirty pieces remember they're the
same piece, the wrong Margarets began walking toward it, into it,
melting into its flesh, adding to its mass. No, I said,
backing away, I'm not part of this. The massive thing laughed,
(05:09):
and windows shattered throughout downtown. You're the most important part,
the witness, the recorder, the memory. Without you, we're just
meet with you. We're meaning.
Speaker 4 (05:23):
Davidson walked through the wall, not the mayor, All the Davidsons,
every generation, fused into one impossibly old man whose skin
showed centuries like tree rings. It's time, he said, his
voice layered with ages. The convergence needs its center, its observer.
(05:46):
It's Sarah. The thing that had been thirty families reached
for me with appendages that shouldn't exist, a hand made
of tongues, fingers that were entire arms, palms that were faces.
It touched me, and I felt it, the merging, my
skin connecting to theirs, my blood mixing with theirs, my
(06:11):
thoughts becoming theirs. I was Sarah in seventeen seventy four,
pregnant and afraid. I was Margaret in eighteen twenty four.
Documenting the first return. I was Elizabeth in eighteen seventy four,
trying to break the pattern. I was Dorothy in nineteen
twenty four, accepting the inevitable. I was Catherine in nineteen
(06:36):
seventy four, hiding the recordings. I was myself in twenty
twenty five, playing them. But also I was the Davidson
in his walls. I was the nurse in the morgue.
I was the child on the bus. I was the
voice on the radio. I was everyone and no one
(06:56):
and stop. Father Williams burst through the convergence, but not merged,
fighting his inverted body, allowing him to exist inside and
outside simultaneously. The convergence is a lie, he screamed through
(07:16):
external lungs. It's not meant to merge us. It's meant
to digest us, make us easier to swallow one big
piece instead of thirty small ones. He pulled me free,
but I left skin behind, layers of myself peeling off,
adding to the mass. Run, he gasped, get to the fountain,
(07:41):
the real convergence point where Sarah actually died. That's where
you can The mass absorbed him mid sentence. His inverted
body became just another organ in its impossible anatomy, but
his words echoed from inside it. The fountain. Halloween the Choice.
(08:05):
I ran through streets, where buildings were leaning toward each other,
trying to merge, Where cars were fusing with their drivers,
where pets and owners were becoming single creatures. The town
was converging, everything pulled toward a single point, the fountain.
(08:33):
When I arrived, I found her, Sarah Blackwood, the original,
standing in the fountain, still pregnant after two hundred and
fifty one years, still dying, still giving birth, Hellomi, she said,
ready to converge, properly, ready to become what we've always been.
(08:55):
Behind me, the thirty family mass approached, filling the entire street,
absorbing everything it touched. Choose, Sarah said, Merge with them
and become the pattern itself, or merge with me and
become the solution. What's the difference, She smiled, and water
(09:16):
poured from her mouth. One makes us food, the other
makes us poison. But either way we're getting eaten. The
mass reached the fountain's edge, waiting, watching hungry, ten days
until Halloween, ten days to decide which convergence I choose,
(09:37):
But looking at the mass at Sarah. At my own
reflection in the black water, I realize the convergence already happened.
I'm already all of them. The question is am I
the meal converging or the mouth? Tomorrow I'll play October
twenty second tomorrow. The past speaks tonight. I'm standing between
(10:01):
two convergences, two hungers, two versions of myself, and I
can feel myself splitting down the middle, trying to choose both,
becoming neither, dissolving into the space between.
Speaker 1 (10:32):
Ghost Scary Stories is a production of Caloroga Shark Media.
Some elements of AI may have been used in this production,
but it was written, edited, mixed, and produced by Real
Live People Executive producers Mark Francis and John McDermott.
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