Ep239 - Screaming Skulls: Vol. 1 - Creep Street Podcast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Hey, hey, there's the birthday boy.

Speaker 2 (00:06):
Hey man, thanks for coming.

Speaker 1 (00:08):
Hey, so have you listen? I would not miss my
best pal's birthday? And you know what, I got you
something special.

Speaker 2 (00:15):
Oh man, you didn't have to give me anything.

Speaker 1 (00:18):
Come on, I had to get you something. And listen,
I know you and the Hurly family proud of your
Irish heritage, specifically your ancient Celtic heritage, so I kind
of wanted to get you something that honored that. So
here you go.

Speaker 2 (00:34):
Awesome, man, thank you. Let's see what we got here.
What the fuck? What the fuck you like it?

Speaker 1 (00:42):
It's your boss's head?

Speaker 3 (00:44):
No?

Speaker 1 (00:45):
Are you serious?

Speaker 2 (00:46):
You caught off my boss's head?

Speaker 1 (00:48):
That's right. Listen. It was an ancient culture tradition. Yeah.
You know you were telling me about how much your
boss has been annoying. Yeah, and I thought, well, you
know what, why don't we play into that ancient Celtic
ritual and take off the head of your greatest foe.
What do you think? Oh, someone likes it. I can tell,

(01:13):
oh my god. And you know what, don't feel bad.
I left a note for his family so they know
what happened. I signed your name to it, just so
they would know. It wasn't just some wacko going in
there and cutting off their family member's head. You did
what this is the police? Come out with your hands up.

Speaker 2 (01:32):
Oh my god.

Speaker 1 (01:33):
Oh no, don't worry about it.

Speaker 3 (01:35):
Man.

Speaker 1 (01:36):
Here, let me open the window. Hey, boys, don't worry
about it. We're just having a birthday party up here.
Come out with your hands up. Oh. I think they're
talking to you.

Speaker 2 (01:46):
Man.

Speaker 1 (01:47):
Do you have a friend that works for the police department?

Speaker 2 (01:49):
Are you kidding me? Here right now?

Speaker 1 (01:51):
No, let's show it to them.

Speaker 3 (01:52):
Come here.

Speaker 1 (01:53):
Yeah, guys, look it's right here. Oh my god. Oh
it's awful. You sick. What do you think man? I
think they like it. Hey, don't worry. We back the
blue here. Oh I think they brought fireworks.

Speaker 2 (02:09):
Those aren't fireworks.

Speaker 1 (02:10):
Tall whoa, whoa, whoa gauge. Come on, I thought you'd
like it. You're always talking about your ancient heritage. You
did that twenty three and me and you got your
ancient Celtic roots. I mean this was apparently of a
common thing.

Speaker 2 (02:26):
Yeah, maybe four thousand years ago.

Speaker 1 (02:29):
Come on, you know fashion is cyclical. Look, everyone's wearing
baggy jeans again, just like we did in high school.

Speaker 2 (02:36):
That's not the same.

Speaker 4 (02:38):
Hey, come on, it's not that bad. Look he's like
a little hand puppet. Look, hey, Gage, it's me your bosh. Hey,
don't forget to get that file on my desk by tomorrow.

Speaker 1 (02:49):
Whoa easy, pal, Don't worry. I'll help you clean all
that up afterward. This is the police. We're coming in.
Oh hey, look who came to party. Oh shit, citizens

(03:35):
of the Melchy Way. My name is Dylan Hackworth and Hurley,
and you have arrived in the mind the brain of
creep Street Podcast. That's right, it's the sickest mind around,
the most depraved, the sexiest, but also the most depraved
mind you're gonna find in podcast format, the collective mind

(03:59):
of creep folks. First of all, follow us on Facebook
and Instagram at creep Street Podcast, Twitter at creep Street Pod.
We're also on TikTok at creep Street Podcast and of
course the most precious thing of all. If once a
week is not enough for you, and let's facefoit, folks,
I think your skull is screaming for more Creepstreet than
you're already getting. Well, head on over to patreon dot

(04:22):
com slash creep Street Podcast for all sorts of goodies.
No no, no, no, no. Oh man. You know, I'm
really excited because when I had heard of this subject,
I thought it was a singular story, like it is
a haunted house story about a haunted skull. But no, no, no, no, no.

(04:45):
Turns out it is its own genre of the paranormal,
because when I started researching one story, I soon found
out that there were multiple stories about such a phenomenon,
and that is the subject of tonight's episode. Folks, prepare
yourselves for Screaming Skulls Volume one. Oh yes, yes, yes.

(05:18):
The name says it all. There's no two ways about it, folks.
There's no beating around the bush with this title. This
is literally, as it sounds, haunted cursed skulls that scream
like they are at a Taylor Swift concert. I'm telling
you these things. It's just a chorus a band cheese.
But first let me scream my sources right in your

(05:38):
ear drums. It's a book called The Best of British
Ghost Stories, a Collection of True Hauntings, Volume one by
Sophie Jackson. Yes, yes, yes, yes, and we are going
to start off tonight with the Screaming Skull of Better
skull manner. Let's take a little trip over to the

(05:59):
cobblestone lanes of Dorset, where the red brick facades of
Betterskum Manner masks spectral secret. This manner is the legacy
of the Piney family, of loyalty, betrayal and eerie echoes
from the past, and this story unfurls in the tumultuous
times of the Monmouth Uprising of sixteen eighty five, a

(06:23):
period rife with rebellion. Amidst the chaos, one member of
the Piney family found himself on the losing side, a
decision that spared his life but banished him to the
distant shores of Nevis in the West Indies, and there
he lived a life of a colonial gentleman. But the

(06:44):
luxurious life he lived came on the ghastly back of
slave labor. And as time passed, his grandson, feeling the
tug of his ancestral roots, voyaged back to England with him,
and he carried not just the weight of his heritage,
but also something far more sinister, in a cursed relic

(07:05):
destined for Betterscone Manner. And it wasn't long until the
tranquil countryside of Dorset was pierced by the phantom voices
of ghostly activity. As the chill of England's weather gripped
the once vibrant servant. The rolling myths of Dorset witnessed
his slow demise to consumption. With his last reserves of

(07:27):
strength amidst the shadowy confines of Betiscone manner, he implored
his master for a final wish to return in death
to the land that he loved, his native land of Nevis.
But as death fell upon him, mister Piney was faced
with the daunting logistics and the costs of such a promise,

(07:49):
and chose a path of practicality rather than honor, and
the solemn vow sworn in the dimly lit chambers was
forsaken and he abandoned the he made, and his remains
were never sent back to Nevis, but instead they were
buried anonymously in the cold, damp earth of the local graveyard. Well.

(08:10):
The air around the manner grew heavy with undeniable betrayal,
and rumors among the locals began to speak of a
restless spirit haunting the manor grounds. Following the burial of
the servant in the local graveyard, Betisco manner became the
epicenter of unexplained paranormal disturbances that terrorized not just the Manner,

(08:33):
but the whole village. The night air was routinely pierced
by deathly screams so frightening that no one could find sleep,
and the manner itself seemed to be under siege by
some kind of invisible force. Doors that had been securely
fastened at night rattled violently, as if gripped by an

(08:53):
enraged specter, and open windows would slam shut with startling aggression.
Within the walls of the manner, a symphony of phantom
sound stalked mister Piney, a constant reminder of the unrest
caused by his broken promise. As the disturbances escalated within
the village, it became clear that the unrest went beyond

(09:15):
a mere haunting. It was a curse laid upon the
Manner and its surrounding land Crops began to wither, Livestock
perished mysteriously, and ruin loomed over the estate with a
grim certainty. Driven by desperation and fear, the villagers and
mister Piney agreed to exhume the body of the deceased

(09:36):
servant in a bid to appease the restless spirit. Only
his skull was retrieved and brought back to better skull manner,
where it was placed in a concealed chamber beneath the roof. Surprisingly,
this peculiar move seemed to quiet the spirits unrest though
far from his native Nevis, the spirit of the former
slave appeared to reach some sort of trepid peace with

(09:59):
the skull's resident. Now in the manner, terrifying screams and
strange disturbances abruptly ceased. Yet this piece was a tenuous one.
Any attempts to remove the skull from the new domicile
within the manner reignited the eerie nocturnal chaos in spectral theory,
only reaffirming the skull's bond to the manner and the

(10:22):
broken promise of mister Piney amid the ghastly echoes of
the manner lies another chilling theory about the origin of
the notorious skull. Scientific investigations have shed light on a
possibility that the skull didn't actually belong to the servant
from Nevis, but rather emerge from the depths of Pilsden

(10:44):
pent a nearby hill renowned for its prehistoric burial sites.
Tests conducted on the skull have revealed its considerable age,
aligning it with the air of these ancient burials, and intriguingly,
have identified the skull to most likely be female and
not male as previously assumed. This discovery adds, of course,

(11:07):
another layer of mystery to the tail, which pretty interesting,
you know, because that opens up a whole other box
of worms, Because obviously you have the evils of slavery
and whatnot on one side. But then if it's this
other tale, who knows what might be coming along with
that ancient skull, if it truly is ancient in origin,

(11:28):
Who knows what might be sitting with that thing?

Speaker 2 (11:31):
Yeah? Who knows what it brought with it?

Speaker 1 (11:33):
Let me tell you, Probably nothing good, folks, Probably nothing
good at all. Now. The skull's supernatural manifestations over the
years lend a dramatic flare to its story. Notably, it
was reported to sweat blood on the eve of the
Great War in nineteen fourteen, a grim prelude to the
global conflict. That's right, baby, Wow, talk about sweating sweatin blood.

Speaker 2 (11:59):
Wow, that's a different kind of sweat.

Speaker 1 (12:01):
I mean, come on, I've heard of getting swollen, but
damn yeah. Additionally, it's said that a ghostly funeral procession
occasionally passes along the south side of the house, perhaps
a reenactment of the original owner's final voyage to the afterlife.
This eerie phenomenon links the skull not only to the

(12:22):
tales of curses and hauntings, but to the very fabric
of the land's ancient pass Like we said, it's who knows,
because as we know, especially if it was a Celtic organ,
let's just say Celtic origin. A lot of Celtic culture,
a lot of their traditions were passed around verbally. They
did not write things down, say like the Romans did.
A lot of what we know about ancient European history

(12:45):
and stuff like that comes from the Romans because the
Romans wrote shit down. So you also got to think
about it like that. You've also got to think there's
probably an inherent bias as well, especially if they saw
the Celtic tribes or whomever the Gauls or whoever they
were fighting with at the time is barbarians or you know,

(13:05):
backwards soul.

Speaker 2 (13:06):
History is written by the victor.

Speaker 1 (13:09):
Absolutely, and think about it from a more recent perspective
American history. Think about all the legends that we might
not know about, all the rich history and folklore that
has been lost to time because of the Native American diaspora.
You know, it's and what we do know was largely
written by historians that didn't originate here, that came over here.

(13:31):
So but here we're talking about ancient history going all
the way back to Rome and before. So yeah, it's
it's pretty interesting to think about today. Bettesco manner echoes
with the silent watch of its ancient resident. The skull
has become as much a part of the house as
it's stone and mortar. The Piney family may have moved on,

(13:51):
yet the skull actually remains a steadfast guardian of the domain.
There is no plans to remove it either, as its
presence is an integral part of the fabric of the
place's history, and the skull continues to lie in its
secretive chamber beneath the old roof tiles, acting as a
silent overseer of a house that refuses to forget its past.

(14:14):
Now let's move on to another place. Let's talk about
a little locale called Higher Farm. That's right, baby oah,
man Higher though man Past the chips. Nestled in the
village of Chittenkintello in Somerset lies Higher Farm, a place

(14:36):
shrouded in as much mystery as it is in history.
The farm became particularly notorious after the death of its owner,
Theophilus Brahm in sixteen seventy. Brom left behind a macab
request in his will that his head be severed from
his body and preserved within the house. This strange and

(14:59):
gruesome direct well, of course, puzzled the local residents. Brohm
had been relatively new to the village, having relocated from
Warwick years earlier, and he was always silenced about his
own history. The villagers naturally speculated about the reasons. Why
you know, someone would want such a weird thing done

(15:19):
to their body. You know, I think most people see
that as desecration, even if the person tells you to
do it and their will. There's something about it that
feels like almost like an unholy act in a way.
And you know, come to think that it's amazing what
you know, how they always say too soon, like a
joke or something, you know, oh too soon. It is

(15:40):
amazing how history separates us from that, because think about it,
like when we're dealing with say mummies or ancient that
we seem to have less of a problem.

Speaker 2 (15:51):
I think it's the social aspect of it. Knowing that
there may still be people, you know, a recent tragedy,
there's like tons of people who are still feel the
pain and the trauma from it, but that right, as
the generations go on, obviously people don't have that anymore, right.

Speaker 1 (16:10):
And I think there's also an element too of like,
say you're digging up someone from one hundred years ago, Well,
history was pretty well documented then, so we don't there's
not much we would really learn by doing that, whereas
with ancient burials it's more a pursuit of knowledge and
better understanding, because you could maybe, you know, in a

(16:30):
weird way. I don't know. I'm not taking a stance
either way, but you might be able to justify it saying, well,
it's actually in a weird way honoring them because they
are teaching us more about the mystery of their history
in a weird way. So maybe you could, in a
way in your head just fight that way. And like
I said, I'm not taking a stance at all. I'm
just saying I feel like maybe that's why we're more okay.

(16:52):
And like you said, there's not like anyone still living
that will likely be directly.

Speaker 2 (16:58):
Right, you know, right, but it is still it does
still raise you know, some like because you're right, I mean,
we can't ask for that person's consent to exhume their
body and examine it though, like you said, and not
taking a side either way here, you would think that
a lot of people would want to contribute to better

(17:19):
understanding because they want their truth to be.

Speaker 1 (17:23):
Known, right right, especially Yeah, absolutely, And like we said,
if you know, if someone has died within the last
five hunds, you know, so have it many years, we
pretty much kind of know what we need to know
about that era. So yeah, it's like, but when you're
going back thousands of years, it's more in a weird way,

(17:44):
are they does it reverse in where it's like, does
it more become an honor because you're teaching? But yeah, no,
I mean obviously I'm sure many there's many different opinions
on it. But yeah, maybe the moratorium is a thousand years.
If it's past a thousand, dima, I.

Speaker 2 (17:59):
Mean, come on, yeah, been a thousands, Come.

Speaker 1 (18:01):
On, I want a condo, Yeah, I want to put
in a condo.

Speaker 2 (18:05):
It's like kind of like a breakup, Like do you
still harbor feelings of resentment? Come on? Like, just get
it been a thousand years.

Speaker 1 (18:13):
It's been literally a millennium, well, brom. This was an
era of what is known as the restoration. This was
a time when the desecration of the corpses of dead parliamentarians,
also known as roundheads by royalists, this was not unheard of.
It was theorized that Brohm, perhaps once a parliamentarian himself,

(18:34):
harbored deep fears of posthumous mutilation. That fear that his
head might be exhumed and you know, desecrated by vengeful
foes might have been the driving force to want that,
to ensure that if his head wasn't gonna you know,
if it wasn't gonna stay with his body, maybe it
could at least stay safely within his own home, guarding

(18:57):
against any you know, dishonor that might befall traditional grave.

Speaker 2 (19:01):
That's what you really want to protect, is your head.

Speaker 1 (19:04):
That's right, baby, got to keep the You got all them.

Speaker 2 (19:06):
Secrets up there, all them secrets.

Speaker 1 (19:08):
Who knows, Bram might have been on Epstein's list he
doesn't want that getting out.

Speaker 2 (19:11):
Oh yeah, well.

Speaker 1 (19:14):
The strange legacy of Brom's severed head at higher Farm
is a chilling layer to its history. The skull remains
a stark reminder of the turbulent times and the lengths
to which one might go to protect their dignity even
in death. Because the body of Theophilis Brahm, apart from
its severed head, is interred in the north transept of

(19:36):
the local church, positioned right next to the organ. In
seventeen ninety seven, the church was the subject of a
detailed description that included the peculiar story of Bram and
This narrative not only chronicled the unusual posthumous arrangements, but
also underscored how deeply the tail has embedded itself in
local lore. This is what the description said. There is

(20:00):
a tradition in the parish that the person here interred
requested that his head might be taken off before his
burial and be preserved at the farmhouse near the church,
where ahead chop fallen enough is still shown, which the
tenants of the house have often endeavored to commit to
the bowels of the earth, but have been as often

(20:21):
deterred by horrid noises pretentive of sad displeasure, and about
twenty years since, which was perhaps the last attempt, the sexton,
in digging the place for the skull's repository, broke the
spade in two pieces and uttered a solemn asservation. Never
more to attempt and act so evidently repugnant to the

(20:42):
quiet of Brahms's head. At the True Crime Museum in Hastings,
there rests an eerie collection then draws the brave and
curious alike. Among its array of grim artifacts, sits the
skull of Louis Lefeur, a French criminal execute by guillotine
in nineteen sixteen after being convicted of murdering three women.

(21:06):
This skull reportedly harbors a restless energy, scaring visitors with
its supposed supernatural activity. Visitors and staff have spoken of
the skull's unnerving tendency to shift positions within its display case.
A particularly spying, tingling encounter occurred when two nurses visited

(21:27):
the museum. It's said that as they gazed upon le
Ferv's skull, a ghostly voice allegedly hissed a menacing warning
that they would be followed home. Well, spooky, spooky, interesting
that just nearby, you know, not too far away, there
is another supposedly haunted skull, and you got to think,

(21:47):
like with the case of the first skull, we talked
about how it didn't just haunt the manner, it seemed
to haunt the whole village. You have to think, you know,
as we talked about in our Haunted Mirrors episode. You know,
there was that case of the one mirror that the
new Kirks have in their traveling museum. Not only was
the mirror itself haunted, but it seemed to heighten the

(22:09):
paranormal activity associated with the other objects and their collections.
So you've got to wonder if someone else had maybe
Grandpa's hot in their house or something, and it's down
the street from the manor, you know, maybe this the
presence of that skull in the area heightens that paranormal
activity as well. It's a like a battery of sorts

(22:30):
giving off energy.

Speaker 2 (22:31):
Yeah, that's exactly what I was thinking too. I mean,
if you kind of think of paranormal activity as being
strengthened by certain things left behind by you know, the
spirit the skull has got to be up there. I
mean that is such an integral part of your your body,
your person, you would almost think that that would lend

(22:54):
more strength to the supernatural.

Speaker 1 (22:57):
Oh yeah, because yeah, I think about it like you know,
it's yeah, it's and we'll even get into it. But
the ancient Celts believed that the skull was literally where
the soul resided. And it makes sense.

Speaker 2 (23:10):
You are your brain basically, I mean, that's like the
most integral part of you essentially, and the skull houses
that I mean, and it's like the last thing that
is left after all of the rest of you has decomposed.

Speaker 1 (23:26):
Right right, exactly. Yeah, So it's only natural to put
that on the skull. And like we said before, if
enough people believe that, even if it's not true, you know,
it might become true because there is a collective belief
that puts it onto it.

Speaker 2 (23:41):
Yeah, the conscious power. Maybe there's something to that where
everything supernatural is tied to the belief in it that
people have the stock in it that people.

Speaker 1 (23:53):
Have right, right, And as we've said on past episodes
that we're not saying that it means it's all in
their heads or there it's just a superstition, but that
it actually manifests because of the collective belief.

Speaker 2 (24:05):
Right, It's like the collective belief brings things to life.
It's like perception is reality almost, and that could be
very true. I mean, there's a basis in physics. Not
to go off on too much of a tangent, but
you think about the double slit experiment and how we've
demonstrated that things in our universe behave according to whether

(24:26):
they're being observed or not.

Speaker 1 (24:28):
Yes, absolutely, when directly observed they will behave differently. You know.
Quantum physics is truly like it's everything in a lot
of ways, even things what we consider supernatural, which we
might not one day because of such things. You know,
we might come to learn that there is a quote
unquote heaven or Hell or at least a other side

(24:51):
or something, and it might actually be able to be
explained by quantum physics and the idea of multiple dimensions
and whatnot.

Speaker 2 (24:59):
H it's fascinating. I mean, consciousness is kind of everything.
If there's no consciousness in the universe, well is there
any like what would be the point of the consciousness
to observe or experience it? Consciousness is kind of like
the universe becoming aware of itself, which in a lot
of ways is a very like big spiritual idea.

Speaker 1 (25:24):
Right, absolutely it truly is. You're absolutely right. Well, let's
move on to Burton Agnes Hall. That's right. Burton Agnes
Hall is a striking example of Elizabethan architecture standing in
East Yorkshire. It's a place not only renowned for its

(25:47):
breathtaking beauty, but also for its chilling paranormal legacy. Burton
Hall was constructed between fifteen ninety eight and sixteen ten
by Sir Henry Griffith on the grounds of a former
Norman manor, and this red brick mansion features distinctive double
story bay windows and iconic red chimneys. It remains a

(26:09):
family home to the descendants of Sir Henry Griffith and
has been open to the public, allowing visitors to explore
its rich history and architectural splendor. However, Burton Hall harbors
more than just historical artifacts. It's also the side of
one of England's infamous screaming skulls. Such legends are pivotal

(26:32):
in drawing visitors who are not just interested in the
architecture in the history of the place, but also intrigued
by the ghostly tales that are intertwined with the estate's past.
Of all its history, Burton Hall holds onto a particularly
memorable event that resonates through its corridors from the days

(26:53):
of its original construction. During the initial building of the mansion,
a dramatic and haunting tale unfolded, and a very tragic
one as well. The story not only offers a glimpse
into the past, but also serves as a magnet for
those drawn to its blend of history and mystery. Sir
Henry Griffith's youngest daughter, often called Anne but was named Catherine,

(27:18):
found herself deeply enchanted by the transformation of their ancestral
Norman manner into a Tudor mansion. The grand project to
overhaul the old structure into a dwelling befitting an aspiring
nobleman captured Anne's imagination. She was consumed with following the
progress of the construction and day dreamed about what life

(27:40):
would be like once they had moved into their magnificent home.
Her excitement was palpable, and she envisioned the endless possibilities
and the future grandeur of living in this house designed
to impress and reflect their rising status among the tutor Gentry.
As Burton Hall neared completion, tragedy struck the Griffith family

(28:02):
in one of the worst ways possible. Anne, as we said,
the youngest of Sir Henry Griffith's daughters, was often seen
on the local roads, traveling alone to visit friends at
Saint Quentin's. Her journeys had always been without instant but
on one fateful day, the journey turned into a nightmare.

(28:24):
On her way home, the young Anne was ambushed by bandits,
a grim reality in those violent days when highway robbery
was all too common and all too literal a thing. However,
the brutality of this particular attack was shocking, even by
the standards of the time. Poor Anne was mercilessly beaten

(28:46):
and clubbed by her assailant, who sought to rob her
of her money, any valuable she might have on her
And let's face it, this was obviously a young girl.
If they just wanted money, they could have made her
give it over without hurting her. I mean, what's she
going to do right the violence? It's not like she
was going to fight back for Christ's sake. Just the

(29:08):
most nasty, ghastly thing you can imagine really, which obviously
just robbing her would have been wrong on itself, but
it just highlights how truly cruel these bastards were. The
assault left Anne gravely injured, and in a cruel twist
of fate, the bandits abandoned the poor girl near Saint
John's Well, alone and helpless to succumb to her injuries.

(29:32):
The viciousness of the attack, the tragic demise of such
a young, vibrant life, would soon become a dark and
enduring chapter in the history of Burton Agnes Hall, haunting
the estate and leaving an indelible mark on the local lore.
Anne was discovered and carried back to her nearly completed
family home at Burton Hall, and despite the efforts of

(29:55):
her sisters, who tenderly tried to nurse her, Anne's injuries
proved too and it became clear that she was not
long for this world. In her final days, which were
marred by delirium from her severe injuries, Anne expressed a
strange and haunting request. She insisted that she could never

(30:16):
find peace in the afterlife unless a part of her
specifically her head, remained within the walls of the family home,
a place she had dearly cherished and yearned to live
in fully. Her sisters, of course, were bewildered by her
request and initially dismissed these pleas as just you know,

(30:37):
the discoherent ramblings of her afflicted mind. However, as Anne's
condition worsened, that began to ponder the depth of her
attachment to the home and the intense desire she had
expressed to remain part of it even after her death.
This peculiar request would soon weave itself into the fabric
of the family's legacy, marking the hall as both a

(30:59):
monument of architectural beauty but as the dwelling of a
deep and personal, possibly supernatural significance. After Anne's passing, despite
her fervent last wishes, her sisters Francis and Margaret understandably
did not want their poor little sister's head removed from
her body, so they laid her to rest intact in

(31:22):
the local churchyard. Which is I mean, of course, like,
it's one thing if your adult relative wants you to
do this, but like, who wants to do this to
a little girl even if she asked for that, you know, understandably,
So I don't think, I I know, I certainly couldn't
have brought myself to do that. What a awful thing

(31:43):
to even think about doing, even if it was the
wishes of your little sister. And even though she's gone
and it's not like she's feeling pain or anything, it's
still it's like, what a ghastly thing to even think
about doing. It's no wonder they you know, you can't
blame them for no.

Speaker 2 (31:59):
And and also like it said that she was quite
delirious from her injuries, they probably thought too, you know,
this could be just a request because she's she's requesting
this because she's not in her right mind as well
in those final days. So I can totally understand why
they wouldn't follow through with such a request exactly.

Speaker 1 (32:21):
God, imagine asking the local you know, coroner or whoever
you know took care of the bodies to like, oh,
by the way, we're gonna need you to cut the
head off and save it. Say what I'm gonna I'm
gonna need you to.

Speaker 2 (32:39):
Cut the cut the head off.

Speaker 1 (32:44):
I'm gonna need you to cut the you know what, nevermind,
it's okay. However, peace did not follow, and to her
grave within a week of her burial, Burton Agnes Hall
became a soight of inexplicable disturbances. Terrifying noises that mimic

(33:05):
the sounds of people moving and bustling about would fill
the night. Even while every resident in the house was
accounted for in their beds, Still there would be this
sound like almost like it was in the middle of
the day and people were just shuffling about, going about
their business. Well, searches to find the source of these
unsettling sounds came up with nothing, leaving the household gripped

(33:29):
by fear. As you can imagine, while following that first
dreadful week of paranormal activity, the house fell into an
eerie silence that lasted for six days, a quiet that
seemed like it might mean the end of the nocturnal activity.
They thought they might be in the clear. But this
silence was a mere pause in the occurrences, because on

(33:52):
the seventh night, the mysterious noises resumed with renewed energy,
and this pattern of silence fought followed by sudden outbreaks
of unexplained sound, plunged the residence into a cycle of
tension and dread, always pausing just enough time for people
to sort of let their guard down before it would
start back up again. The family began to consider that

(34:15):
Anne's restless spirit might indeed be haunting their home, manifesting
her displeasure at her request not being honored. The haunting
there at Burton Hall evolved into a disturbingly reliable pattern,
six nights of eerie silence followed by a seventh night
of chaos. I'll tell you if God rested on the
seventh day, it was the flip side for this specter,

(34:39):
because as the cycle repeated, each occurrence intensified, so each
seventh night, so each week, on that seventh night it
only got stronger. It's like throughout the week it would
hold its reserves and then just come out guns blazon.
On the seventh night.

Speaker 2 (34:55):
It was the weekend. It's time to get it rolling.

Speaker 1 (34:58):
That's right, baby, Come, We're at Burton Agnes Hall. Let's party.
Who As the cycle repeated, as I said, each occurrence intensified,
and it culminated in an event that felt more like
an invasion. On one particular seventh night, the house seemed
to be overrun by an invisible force, with sounds of

(35:21):
frantic rushing up and down the stairs and through the rooms,
resonating with such force and speed that it drove the
household to the brink. This tumultuous night proved too much
for the female servants of the house. They were so
terrified by the restless uproar that they decided to leave
the hall en mass. They vowed they would not return

(35:45):
until a resolution was found to the supernatural disturbances that
plagued the stately home, and this mass departure signaled a
crisis point for the remaining residence, pressing them to confront
the possibility that Anne's unheeded wish might be the root
of unrest. I mean, what are they gonna do watch
their own laundry for Christ's sake. The need to address

(36:09):
the haunting became urgent, pushing the family towards a decision
that finally might bring peace to both the living and
the dead within the walls of Burton Hall. In their desperation,
Francis and Margaret this was two of the sisters, turned
to the local vicar for guidance, and the vicar, after

(36:31):
hearing their tale of woe, made a keen observation. The
disturbances occurred on the same day of the week that
Anne had been buried. This insight struck a chord with
the sisters, leading them to a chilling realization. The hauntings,
marked by their specific timing, seemed to be Anne's way

(36:53):
of expressing her displeasure from beyond the grave, her sort
of revenge for their disregard for her dying wish. And obviously,
you know, like we said, it's completely understandable. Imagine it's
like every fiber of your being goes against it, you
know what I mean. It just seems so unnatural because

(37:14):
there's also probably a voice thinking, even though it seems
like it might be, what if by chance it's not.
And then we just desecrate our little sister's body for
you know, for nothing. And then it's like, well then God,
like who knows what hell we might rot because of that.
So you know, it's completely I mean, this is like
such a horrifying predicament. It's like having to choose between

(37:39):
two just awful things. I do not envy them in
any way. What an awful predicament to be in. So
confronted with this understanding, the sisters, of course, faced just
terribly daunting decision. The apparent solution to appease Anne's restless
spirit involved fulfilling her original quest, a notion as unsettling

(38:03):
as the haunting itself. This revelation set the stage for
a dramatic resolution to the spectral disturbances, pushing Francis and
Margaret towards a decision that would literally test their resolve
but possibly restore peace to their ancestral home. It's totally
understandable why they would be so torn. I think that

(38:25):
before removing the head, I think I would be more
inclined to just bring the whole coffin in, Like, bring
the coffin in and maybe keep it somewhere, like, I
would be more inclined to do that, I think than
to completely remove the head, you know what I mean, at.

Speaker 2 (38:42):
Least try a few different things before you do that,
before you remove the head, Like let's just see if
we can do this, you know, another.

Speaker 1 (38:50):
Way, exactly right. Convinced by the Vickers insights, Francis and
Margaret took the drastic step to exoom ends by body,
hoping to fulfill her last request and hoping that that
would finally bring peace to their home. So they enlisted
the local grave digger and, under the solemn supervision of

(39:11):
the vicar, they began their grim task, and what they
discovered upon opening the coffin was truly shocking. Anne's body
appeared almost as it had on the day of her burial,
with minimal signs of decay, dressed as if she had
been laid to rest only yesterday. However, the condition of

(39:34):
her head was starkly different. Her head had somehow detached
from her body, and unlike the rest of her remains,
the flesh and skin of her head had nearly completely decomposed.
This horrifying sight only deepened the mystery and urgency to
resolve the haunting, pushing them towards the final chilling step

(39:57):
of their ordeal. To remove the head, had entirely in
hopes of quelling Anne's restless spirit. According to one account
of the situation quote, the body lay without any marks
of corruption or decay, but the head was disengaged from
the trunk and appeared to be rapidly assuming the semblance
of a fleshless skull. So I mean, if that's gonna,

(40:21):
I guess give you any peace of mind that you
aren't just defiling a corpse. I guess that will kind
of at least lend its hand in that direction, I.

Speaker 2 (40:29):
Would think, yeah, but like, how did it happen?

Speaker 1 (40:33):
I know, so bizarre, absolutely bizarre.

Speaker 2 (40:35):
It's just so strange. It sounds so unusual, and to
happen to a girl who requested specifically have her head removed,
it's like.

Speaker 1 (40:46):
Right, what are the odds of them? Like? What are
the like? So bizarre? Well, having made the unsettling decision
to honor Anne's last wish, Francis and Margaret returned home
with her skull. Remarkably, as soon as the skull was
placed within Burton Agnes Hall, the paranormal disturbances that had

(41:06):
plagued the place ceased entirely. However, as is common in
such legends of haunted skulls, the peace was periodically tested
throughout the centuries. Various residents of the hall, who were
either skeptical of the tale or just uneasy about living
with it, attempted to remove the skull from the property.

(41:28):
Each attempt to do so was met with the resurgence
of disturbances, a clear sign of Anne's lingering protectiveness and displeasure.
In the eighteen eighties, one audacious attempt to rid the
Hall of the skull led to particularly dramatic consequences. The
events of this attempt underscored the seemingly supernatural bond between

(41:50):
Anne's spirit and her skull, further entrenching her story within
the lore of Burton Hall and ensuring that her presence
continued to be both respected and feared by those dwelling
within its walls. One witness had this to say, The
present baronet thought the skull had occupied its position long enough,

(42:13):
and had frightened servants and page boys into fits for
as many years as such a weird relic ought to.
Having thoroughly settled his mind on this point, he called
in his gardeners and instructed them to remove the relic
of his ancestors. They did so, and duly buried the
skull in the garden. Strange to relate that, no sooner

(42:34):
was this done than dismal, unearthly noises were heard by night.
The cries issuing from the vicinity of the skull were,
in fact fearful in their intensity. In the daytime, even
after the burial of the relic, accidents of all kinds
took place, and everything in and about the hall went wrong.

(42:55):
The servants were simply frantic and threatened to leave in
a body the more superstitious, in fact, had already left.
The remaining scion of the House of Boyton saw that
unless he did something to appease the superstitious feelings of
his household, he would be left alone. So he made
the best of a bad job and ordered his niece

(43:17):
to replace the skull in its original resting place. The
relic was dug up and consigned to a cupboard in
the hall, right on the spot it formerly occupied, and
by way of a trial it was walled in. To
this mode of procedure, the skull evidently had no objection,
for peace has reigned in the hall ever since. Today,

(43:39):
the legacy of Anne's skull continues under the care of
Simon Cunlifflister, a direct descendant of the Griffith's family, who
currently owns Burton Agnes Hall. Embracing the eerie history of
his ancestral home, Simon is content to leave the skull
in its resting place, and interestingly, the exact location of

(44:00):
where the skull was originally walled up has faded into
obscurity over the years, and neither Simon nor any of
the hall's current occupants are eager to uncover it. The
story of Anne's skull remains a captivating chapter in the
rich tapestry of Burton Agnes Hall's history. The current owner
was quoted saying, there's a letter in existence referring to

(44:22):
the skull being hidden in the hall. We're happy to
leave it undisturbed. It's more about respect than fear. Although
even now visitors to the hall have experienced bizarre things.
We have sightings of a strange lady in the hall,
and sometimes you can smell lavender or violets in rooms.
No one has been in. The skull, long attributed to

(44:44):
Anne Griffith, due to her tragic story and dying wish,
has been subject of both fear and fascination. However, historical accounts,
particularly from the eighteen eighties, introduce a layer of ambiguity
about the skull's true origin. These accounts do not specifically
identify the skull as Anne's, but rather vaguely referred to

(45:05):
it as belonging to an ancestor of the Boyton's. Francis Griffith,
the eldest daughter of Sir Henry Griffith, married into the
Boyton family, and she inherited the hall as her brother
passed away without an heir. The connection has led some
to speculate whether the skull might belong to another member

(45:25):
of the Boyton family, or even an earlier Griffith who
has since been forgotten in the family's lore. This ambiguity
adds a profound mystery to the story. Is the skull
really Anne's or is it another family member enshrined within
the walls of the hall. The lack of clear historical
documentation leaves the question open and allowing for the legend

(45:48):
to evolve, with each retelling, enriched by the Hall's complex
history and the generations that have lived and passed on
within its halls. Such mysteries are often left untouched, not
all only out of respect for the past, but also
from a reluctance to disturb what has become a peaceful
status quo. Haunted or not. Sir Henry's lineage neglects to

(46:11):
mention Anne, instead saying, quote, besides his son and heir,
Henry had by his wife Elizabeth, two other sons, Walter,
his eldest son who died, and Ralph, and two daughters,
Margaret and francis so interesting there, it's and who's to say,
Like we said, things can get lost to time. And

(46:32):
also even if it's not Anne's skull, you know, something
freaky was going on there, and there is a skull
of some kind there. It kind of makes the legend
a little more spooky now that they aren't quite sure
where it is in the house, but they know it's
there somewhere. It reminds me of do you remember in
the movie Jumanji the og one with Robin Williams, how
they would hear the drums the thump them, you know,

(46:55):
and at first the boy in the sixties found it
in the ground, but then the kids in the nine
you know, Kristen Dunst and everything. It's like somewhere in
the house and they aren't sure where it is at first.
They just hear the dump the dump the dump them.
You know. It kind of gives me that vibes, which,
by the way, I was thinking about it that first
Jumanji was pretty spooky. It was pretty spooky. Man.

Speaker 2 (47:17):
It's kind of scary as a kid. I remember being
scared by the first scene where he gets sucked into
the Jumanji board as a kid.

Speaker 1 (47:25):
Yes, that was the freakiest part. It's so funny. A
lot of those nineties movies, the opening scene is like
the weird like for me to this day, I will
sometimes still skip past the opening scene of Jurassic Park
where the guy it like grabs his leg and they're
like holding on to him and it's like something is
pulling him into the cage. Oh man, I still sometimes

(47:48):
skip that because it just freaks me the hell out.
Same thing. It's kind of like that, like that opening
scene where he looks at his hands and the hands
are you know, and he starts, Oh man, that's freaky
as hell.

Speaker 2 (48:00):
It is such a good movie, too.

Speaker 1 (48:03):
So good. I have to go back and watch it.
It's so good. And of course I mean it goes
without saying Robin Williams is just in fact, everyone in
that movie is so good. The kids were good, obviously,
Robbi Williams is good. Also David Alan Greer, who's his friend.
He plays the cop. He was the guy who worked
at the factory and then became the cop. He's so
funny in that movie, like because he's he's kind of

(48:25):
like the comedic relief in that movie, and he's so
and he does the job perfectly. He adds just enough
relief to where you still get the chill. But he
like brings some like when they're when that flood happens
and he's like he crawls on top of that that door,
and then like they're going down the street and he
just sees this like big crocodile go by him and
he's just like, oh, yeah, that's right.

Speaker 2 (48:46):
Yeah he's he is good in that. And another thing
I thought was really interesting is Jonathan Hyde. I'm pretty
sure plays both the kid's dad, yeah, the Hunter, which
I thought was always a really interesting bit of symbolism there.

Speaker 1 (49:03):
Yes, that's yes, because it's all about a relationship with
a father, is what the real story is about. And
just a side note, I love Jonathan Hyde. He was
in Titanic. He was mister Ismay. He was the guy
who wanted him to push the boilers at full speed
because he wanted to make headlines. And then after they
hit the iceberg, the captain says to him, it's that

(49:25):
famous line, like I believe you will make you a headlines,
mister is May, because he was the guy like pushing
him to do it. Yeah, he's a great, great actor
and he especially I know he's still working, but in
the nineties especially, he was like just one of those
character actors that just popped up everywhere. But back to
our tale. The legend surrounding the screaming skull at Burton

(49:45):
Agnes Hall takes on and intriguing twist when examining historical
records and the timeline of events related to the Griffith family.
The only Katherine Griffith, which as we know, Catherine was
Anne's real name, they just called her Ann. The only
Catherine Griffith recorded in historical documents is Henry's mother, So

(50:06):
it would have been like Anne's grandma, who tragically died
young in fifteen sixty, a period during which Burton Agnes
Hall had not yet even been constructed. And this detail
alone casts doubt on the traditional story involving Anne, who
is said to have died in sixteen twenty longing to
see the house completed. Yet the hall was actually completed

(50:28):
in sixteen ten, suggesting that Anne would have been able
to live there in the completed house if it had
been finished. Now, which all might be true, like we said,
it might be someone else's skull, But also when we're
talking about four hundred years ago, things can obviously get
mixed up. Maybe they you know, there's two Catherines. Maybe

(50:48):
they get mixed up in the lineage. Who knows. I mean.
The point is there is a skull there in a
freaky as hell. This discrepancy opens up the tale to
the possibility that perhaps the story has become distorted over time.
Sir Henry Griffith, who devoted his later years to building
the Hall before he died in sixteen twenty, the same

(51:11):
year Anne, is reputed to have died, possibly making him
a more likely candidate for the origin of the skull.
Considering the skull is described as belonging to an ancestor
of the Boytans, and given that Sir Henry puts significant
effort into the creation of the Hall, it's plausible that
the legend might originally have referred to him and not Anne.

(51:33):
His deep connection to the hall might have given him
a desire essentially whether literal or metaphorical, to remain part
of the Hall's legacy after death. So interesting to think
about there. The alternative interpretation suggests that the story might
have become muddled through retellings over the centuries, with Sir

(51:54):
Henry's potential wish to remain within his architectural masterpiece being
attributed to his sister instead. This kind of transformation in
local legends is not uncommon, as stories are passed down
through generations, often adapting to the times or blending with
other narratives. The true origin of the skull and its
identity may remain part of the hall's mysteries, but the

(52:17):
haunting tale of Anne Griffith and the portrait hanging in
Burton Agnes Hall adds yet another layer to the enigmatic
history of the mansion. The existence of a portrait referred
to as Anne Griffith raises intriguing questions about her identity
and her story's veracity. Is the portrait truly of Anne,

(52:38):
a woman potentially pivotal in the family's history, yet absent
from official records, or is it simply another piece of
the Manner's rich tapestry of myths and legends. The ambiguity
might suggest that Anne's story could be a garbled version
of another family narrative, possibly conflating different historical figures or things.

(53:00):
Over time, such stories can evolve, with details either lost
or changed, and new elements introduced. The portrait serves as
a visual anchor for these tales, lending a face to
a name that might otherwise have been forgotten or never
existed at all. But the skull content, in its silent vigil,

(53:21):
continues to be an integral part of Burton Agnes Hall,
whether as a guardian spirit, a historical relic, or a
poignant reminder of the family's storied past. The mystery encapsulates
the allure of Burton Agnes Hall, inviting guests to ponder
its secrets and the stories that echo through its halls. Yeah,

(53:44):
I mean, I love that the author kind of of
my source throws in that little ingredient there at the
end about the portrait, just when you think, okay, it
does sound like it might have been someone else, but
then there's this portrait attributed to an Anne Griffith, So
very interesting. Indeed, now, like we said, we've talked about
on Creep Street a lot. Just because things get added

(54:06):
or lost along the way, there's still that nuggative truth,
even through centuries, there's still a nuggative truth. Keep in mind,
it did say that at the time bandits along the
roadway were very common, So it may be very true
that maybe in that village something tragic like that did

(54:26):
happen to a little girl, and somehow that story kind
of gets applied to the skull and the haunting of
Burton Agnes Hall. Who knows what could have over the centuries,
who knows what could have happened, how many people died
by violence along the roadside. I mean, that's what makes
these stories so wonderful is there's never enough to say, ah,

(54:49):
it's not real. But then at the same time, what
I love is that even if a lot of it,
you know, has been added over the years, you're still,
like we said, you're given a rich portrait of history
of an era, and in a way that's very personal.
That's why I love if you're also a history buff

(55:09):
just by proxy, you kind of get history. Even if
the legend itself is not real, the history around it
is very real. And it's a way of looking at
an era of history through a different lens because you're
not just learning about the big players of the era,
you know, the royalty or the big things of history.
You're seeing a time era through a family's eyes, through

(55:32):
an everyday family, what their experience was like at.

Speaker 2 (55:36):
That time, more intimate, kind of an intimate piece of
history in that way.

Speaker 1 (55:42):
Yes, exactly. It's like when you you know, because we've done,
you know, like Civil War ghosts or something like that.
You know, it goes to the American Civil War or Gettysburg.
You know, it's a different way of looking at that
history rather than through a traditional history book where you're
which is still awesome, you know, just learning about the
battle itself or something, but it gives you a way
of seeing the history through a different lens, in a

(56:04):
more personal lens.

Speaker 2 (56:05):
It's the facts as opposed to the personal experiences.

Speaker 1 (56:11):
Exactly exactly, and even the legends. Even if something has
been added onto even though not everything might have happened
to a t, the added things kind of become part
of the history that in itself tells you a historical lens, because,
as the source says, things might be added to it

(56:31):
that are relics of a certain time. So one hundred
years after this in seventeen twenty, there might be ingredients
added that kind of give you a window into that
era of history and what their fears were, that sort
of thing.

Speaker 2 (56:47):
It's getting a much broader perspective of the people and
their experiences of the time in that way.

Speaker 1 (56:53):
Yes, and we'll get into this more in part two.
But Haunted Skulls naturally really lend themselves to legends of
headless ghosts, like headless horsemen. Or there's many legends, not
just the fictional one that was written by Washington Irving,
the legend of Sleepy Hollow, But there are legends of

(57:14):
headless horsemen that aren't real, legends that are supposedly based
on history, or just headless specters. So naturally haunted skulls
can sometimes imply headless ghosts, you know.

Speaker 2 (57:26):
What I mean, right, which, it's it's funny. So I
mean the headless horseman, as I think the legend goes,
is an acting revenge for his head being removed. It's
funny how some cultures have in your head removed as
an honorable thing, and in others it is a desecration,
a dishonor.

Speaker 1 (57:45):
Right, absolutely, oh it's a diss it's a diss on you. Well,
it's true, it's you know. And we will go deeper
into Celtic lore in part two. But some historians think
that the ancient Celts that removing the head of a
foe wasn't to them seen as an act of just
adding more shit to the you know, like screw this guy,

(58:06):
let's cut his head off. It was almost seen as
like a way to honor them like you are, because
they believe the soul or the spirit lived in the head.
By doing that, you are sort of absorbed, kind of
absorbing their essence in what made them an honorable foe
or a fearful foe. You're sort of taking on their
strength or whatnot. But as we'll learn in part two,

(58:27):
you know, then of course the ancient Romans see this
and they're like, what the hell is going on? You know,
they're freaked out. But right so, you know, it's all
about cultural perspective. In some ways, there were ancient cultures
that saw that as an honorable thing to do, so,
I mean, and then of course, like we said, when
you're talking ancient Celts, ancient, you're going back millennium, so

(58:49):
who knows what's added along the way. We think of
the act of removing the head from a body as
a awful, ghastly thing to do. But yeah, it's so
much rich history lore. Now. I'm glad I found this
series of books by Sophie Jackson because there's tons of
other great stories that we'll be able to dig into
from those sources to make episodes out of. They're just

(59:11):
so cool. I just love you know, when you get
this taste of history, it's kind of like you're getting
a personal story that may or may not be real,
or varying degrees of real, but it's set against a
backdrop of very real history. So it's kind of like
what they call like historical fiction. The story being told
might not be real, or the characters might not be real,

(59:32):
but it's set against a very real backdrop.

Speaker 2 (59:35):
Just like Sleepy Hollow, which you mentioned, Yes, and legends
on their own, you know, you can take out the
part about you know, whether or not the legend is
true and just appreciate the interesting legend. I mean, the
idea of skulls having this paranormal power is interesting on
its own, and these accounts are fascinating.

Speaker 1 (59:57):
Yes, And you know, and I like that you mentioned
again Sleepy Hello, because you know, we know obviously that
story was fiction written by Washington Irving, but it paints
a very real picture of that man and his time.
For example, Washington Irving, he wrote like one of the
first biographies of George Washington. He was a big fan

(01:00:17):
of George Washington and very pro the United States being
separated from England. So Hessians were essentially German mercenaries that
were hired by the British to help fight in the
American Revolution, and the spirit of the Headless Horseman was
said to be a Hessian soldier. So you're also painting, well,

(01:00:38):
this was a villain of his time, someone who fought
against that It's natural that if he wanted to make
a spooky villain, it makes sense why he might use
a Hessian soldier as that villain. So, like you said,
even though the story is fiction, it paints you a
very real portrait. He was a man of his time
and this is what those were, the villains of his time,

(01:01:00):
which I think he also famously wrote Rip van Winkle,
another great you know, I think I think Washington Irving
is referred to as the first American man of letters
or I actually got to see his grave I went
to on our honeymoon. We went, we went all over
the place. We went to Salem. One of the places
we went to was cleepy Hollow, New York, which, unlike Salem,
they don't really lean into the gimmick as much, even

(01:01:21):
though like I think, like the high school there is
like they're the headless Horseman or whatever. But we went
to the graveyard and we got to see Washington Irving's grave,
which was super cool because that's you know, I've always
loved his Oh yeah, it's it's really cool. And you
can just feel the history of New England. It's just
such a even though New York isn't technically New England,
but you know what I mean, that sort.

Speaker 2 (01:01:42):
Of early colonies areas.

Speaker 1 (01:01:44):
Yeah. Yeah, it's an incredible, you know, an incredible history.
But folks, that is going to wrap up Volume one
of Screaming Skulls. You know what, though, Gage, I got
a list of ames I wouldn't mind defiling my corp.

Speaker 2 (01:02:00):
Oh yeah, who's there?

Speaker 1 (01:02:01):
The names of our top tier Patreon subscribers, of course,
The dream James Watkins, the Finished Face Via Lungfist, the
Madman Marcus Hall, the Tenacious Teresa Hackworth, the Heartbreak Kid,
Chris Hackworth, Theoso Swave, Sean Richardson, the Notorious Nicholas Barker,
the Terrifying Taylor lash Met, the Count of Cool, Cameron Corlis,
the Archduke of Attitude, Adam Archer, the Sinister Sam Kiker,
the Nightmare of New Zealand, Noah Leine Viavilli, the loathsome

(01:02:23):
Johnny Love, the carnivorous Kevin Bogie, the Killer Stud, Carl
stab the fire Starter, Heather Carter, the conquer Christopher Damian Demeris,
the awfully awesome Annie, the murderous Maggie Leech, the ser
of Sexy Sam Hackworth, the evil Elizabeth Riley, Lauren hell Fire,
Hernandez Lopez, the maniacal Laura Maynard, the vicious Karen van
Vier and the arch nemesis Aaron Bird, the sadistic Sergio Castillo,
the Rapscallion, Ryan Crumb, the Beast Benjamin Whang, the devilish

(01:02:46):
Chris Duceet, the Psycho Sam, the Electric Emily Jong, the
ghoulish Girt Hankum, the renegade Corey Ramos, the crazed Carlos,
the antagonist, Andrew Park, the monstrous MICHAELA. Sure, the witchy
Wonder J. P. Weimer, the Freiki Ben Forsyth, the barbaric
Andrew By, the mysterious Marcella, the hillacious Kale Hoffman, and
Pug Borb the Poulter guys. Oh yes, that's right, folks,

(01:03:08):
If you want to be like that dashing list of
I would call them mavericks. I'd call them rule breakers,
but in a good way. If you want to join them,
head on over to patreon dot com slash creep Street
Podcast for all sorts of goodies. We are putting up
our sketches there before they come out, and also where
we have Patreon exclusive sketches that are up there, and

(01:03:30):
of course on top of that bonus episodes that you
can only get on Patreon and all that stuff, So
of course go check that out. Thank you so much, everybody,
citizens of the Milky Way. My name is Dylan Hackworth.

Speaker 2 (01:03:41):
And I'm Gage Hurley.

Speaker 1 (01:03:43):
Good night and.

Speaker 3 (01:03:45):
Goodbye, bastasst used bast based coasts

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Ep239 - Screaming Skulls: Vol. 1

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Ep239 - Screaming Skulls: Vol. 1