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I Found The Bunker Of A Prepper Family · INSPIRE STORY

• 0:15
  Speaker 1: Welcome back to Greek Cast. Today we are going to
• 0:18
  be reading Christian Wallace's.
• 0:19
  Speaker 2: I Found the Bunker of a Prepper family who went
• 0:22
  missing three years.
• 0:24
  Speaker 1: Ago, which Isaiah tell the people who Christian Wallace is,
• 0:28
  even though he needs no introduction. Christian Wallace is one
• 0:34
  of definitely one of our most frequently covered writers, I
• 0:39
  would say, and for good reason. The man has put
• 0:42
  out some absolute bankers from my wife has taken our
• 0:47
  role play too far, and the counter story, my husband
• 0:50
  has taken our role play too far. Let me search
• 0:54
  those before. I Sometimes I think of an author and
• 0:57
  I'm like, oh, yeah, he wrote that, and I say
• 0:59
  it was confident, and then people later will be like, no,
• 1:02
  he did say that, and it's like, don't you do
• 1:03
  this for a living, And I'm like, well, that's fatible,
• 1:07
  you know. I do. I do this and I make
• 1:11
  money doing it. But to say I'm like professional at
• 1:14
  it implies a level of ownership that I'm not really,
• 1:19
  you know, prepared for. And he also did the only
• 1:21
  other astronaut this mission died six weeks ago. So those
• 1:24
  are one of the best stories we've covered on the channel,
• 1:27
  and we've covered a ton of a lot of his
• 1:28
  other stuff too, So we're reading another one of these
• 1:31
  stories today. Hunter saw this title a while back and
• 1:33
  has been really excited to read it ever since, so
• 1:37
  I'm getting out of the way he picked this one out.
• 1:39
  So if it's Christian Wallace's first bad story, it's Hunter's fault,
• 1:42
  my fault.
• 1:43
  Speaker 2: But se I will say, I'm a huge I've done
• 1:46
  videos on my channel pop a me eat for it.
• 1:48
  But like doomsday preppers like that kind of like end
• 1:52
  of the world scenario survivalist is such a I don't know,
• 1:57
  it's such a fascinating community of people, you know, because
• 2:01
  it's one of those things.
• 2:02
  Speaker 1: I don't know if you feel the same way, but
• 2:03
  it's one of those things.
• 2:04
  Speaker 2: Where you're just like, you can't say that they're totally
• 2:06
  wrong or so it's like preparing for the nevitald And
• 2:08
  I'm sure that some of them obviously go off the
• 2:11
  deep end or do and all that kind of stuff,
• 2:13
  But I will say there's something just like, also, you know,
• 2:16
  what it fucks with me is that I sometimes.
• 2:18
  Speaker 1: Feel like I'm like, what do they know that I don't,
• 2:21
  you know.
• 2:21
  Speaker 2: Like I feel like they have something figured out that
• 2:22
  I don't, and that always fucks me up to so
• 2:24
  I'm very curious to see what angle Christian takes with
• 2:28
  this kind of like subject matter.
• 2:32
  Speaker 1: I will say, during the flood like Hurricane Helene, when
• 2:37
  all the roads and like infrastructure was gone for a
• 2:40
  few weeks and it was kind of everyone's left for
• 2:43
  themselves guests who had the food, the electricity and was
• 2:47
  able to help everyone else? No shit? Really the preppers, Yeah,
• 2:51
  they had a ton of because they had food supplies
• 2:53
  for years they were handed them out to people, and
• 2:56
  they had electricity, and they had like starlink systems the
• 2:59
  people contact their families and let them know they were okay.
• 3:02
  They could coordinate with other people to tell rescue crews
• 3:05
  where to go and stuff like that. So, yeah, made
• 3:09
  the difference with a flood.
• 3:11
  Speaker 2: This might be a stupid question, but are the underground
• 3:15
  bunkers they would just flood too, right? Or are there
• 3:17
  some that aren't actually airtight sealed where they could flood
• 3:20
  and they'd be fine?
• 3:21
  Speaker 3: Uh?
• 3:22
  Speaker 1: I mean you can get ones that are sealed. It's
• 3:26
  so unless you right, you you would? I mean, like,
• 3:31
  if you get really serious about this, you can have
• 3:33
  a rebreather system, you know, set up. We're like you
• 3:38
  have an airway that like has a vent that's on
• 3:40
  higher ground, right or whatever, it's old where your intake is.
• 3:45
  But most of it wasn't like standing water, you're stuck under.
• 3:49
  It's like floods of water that you just need to
• 3:51
  keep away from the door. Right. So if you're on
• 3:53
  any level of elevation and not next to a river,
• 3:56
  any kind of bunker would have been able to endure
• 3:58
  it because you're not just set ain't under it. Right.
• 4:01
  Most of the damage was caused by the wind and
• 4:03
  like the the torrential rains creating these like mudslides and
• 4:07
  stuff like that. Interesting, Well, I'll tell you, I'll tell
• 4:11
  you what you know. Joke all you want. But when
• 4:13
  the power goes out, guess who's laughing. I guess he's
• 4:16
  got Yeah. It's one of those.
• 4:17
  Speaker 2: Uh there's just lay the cable guy bit for back
• 4:19
  in the day when he's like everybody makes fund a
• 4:20
  redneck until the car breaks down or something like that.
• 4:23
  It's like that kind of like it's it's that same
• 4:24
  kind of vibe, but.
• 4:25
  Speaker 1: There that the old saying, Uh, the man who sleeps
• 4:29
  with the machete is a fool every night. But one yeah,
• 4:33
  got it. It's so fucking Birtle, so cool. It's sick.
• 4:38
  Speaker 4: Uh.
• 4:38
  Speaker 2: I mean, I'm excited though Christian Wallace has I mean,
• 4:41
  like I would say, the h the Astronauts story is
• 4:45
  one of my favorites. It also calls me to talk
• 4:47
  about mister Floppy, which maybe mister Floppy will make it
• 4:49
  appearance here.
• 4:50
  Speaker 1: I don't know. I hope we'll see God. But yeah,
• 4:54
  I mean, if anything, let's get into it. You know,
• 4:57
  I just realized that on my news set, the way
• 5:00
  it's set up where you can see the cryptid tier
• 5:05
  chart back there, which I will finish at some point,
• 5:08
  but you drew the big demon headed thing saying kind
• 5:13
  of cringe, and that's like the largest single item in
• 5:16
  my background. That the biggest thing on my set is
• 5:21
  something you did that that is unfortunate and you should
• 5:24
  you should change that.
• 5:26
  Speaker 2: You need to commission like a sick like a sculpture
• 5:29
  or something of like a cryptid.
• 5:30
  Speaker 1: Well, what I want to do when I get so
• 5:34
  this this room's temporary. This is in the new house
• 5:37
  right and I'm just waiting for like the little studio
• 5:40
  to get built next to the house. When that studio
• 5:42
  is built, I want the inside of it to look
• 5:44
  like a log cabin. That's fine, like a fireplace and stuff.
• 5:48
  And I want to have a huge mount made like
• 5:52
  I have the little like the normal deer over there
• 5:54
  that I put the night vision on. I want to
• 5:56
  have like a massive there's this. What's the thing. I
• 6:01
  think it's when the deer get too much calcium at
• 6:03
  like pay hunt forms, but they won't shed old antlers,
• 6:09
  They'll just grow new ones. It's like it's just not
• 6:12
  good for the deer and stuff like that's what happens
• 6:14
  when you overspike their diet, but it gets these weird,
• 6:18
  like monstrous looking racks to come out of them. And
• 6:21
  I want to have like a commission art piece that
• 6:24
  looks like that, with like a huge like monstrous skull
• 6:28
  in the night, like a wind to go, you know,
• 6:30
  mount with the night vision, and I want to put
• 6:33
  that as like a mantle piece over the back of
• 6:35
  the room.
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  Speaker 2: I mean, that would be fucking sick, especially being in
• 6:38
  a log cabin. You'd you would literally have your your set.
• 6:42
  It would look like the Lonely broadcast station.
• 6:46
  Speaker 1: Well, so the the way the set's gonna look is
• 6:49
  one wall is going to be like solid cabin walls,
• 6:53
  fireplace and all that, and then the other wall is
• 6:57
  floor to ceiling windows. That is I pushed up against
• 7:01
  the forest. Oh so it's like freaks out being in
• 7:06
  there at night. Fuck well, I mean I'm where I
• 7:09
  am right now. There. I keep putting more lights up
• 7:13
  so it's like you can walk around the property at
• 7:14
  night when those lights are off.
• 7:17
  Speaker 2: Well, we need to we need to do a night
• 7:20
  recording one night and really try to read one that
• 7:22
  we think is actually scary. And I want to see
• 7:24
  you fucking squirm in that new office because that way,
• 7:28
  I feel like, because I've done that even before, I
• 7:31
  I love it.
• 7:31
  Speaker 1: I've kept my composure.
• 7:33
  Speaker 2: But there's times where I'm alone at my studio and
• 7:35
  I'll like and I I just I'm so immersed in
• 7:38
  the story that I feel like I'm like seeing things,
• 7:40
  so I kind of like look up or look behind
• 7:42
  me or something casually. It's just it fucks with you
• 7:45
  so well. But dude, the forest right there, No, there's
• 7:48
  no way I would push you out so bad.
• 7:51
  Speaker 1: Where I'm at right now, I've got so this is.
• 7:54
  This room's on the second story, so there's like trees
• 7:58
  that hang right outside the wind and at night I'll
• 8:01
  open the window to let the breeze in. So there's
• 8:04
  been a couple of times I've been playing a scary
• 8:05
  game or watching something scary, and I'll glance and I'll
• 8:08
  see the wind like pushing the limbs towards the window,
• 8:13
  back and forth. It's excellent vibe, but terrifying.
• 8:16
  Speaker 2: Are they close? Are they close enough? Are they close
• 8:18
  enough that they like tap your window?
• 8:20
  Speaker 1: They're not close enough to tap, but they're close enough
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  that they're in the peripheral kind of bowing in.
• 8:25
  Speaker 2: I bet you anything you start you like just you
• 8:28
  imagine you just hear it, and you're like, just like
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  the I bet you're gonna start feeling like you hear something.
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  Speaker 1: You know. It's it wasn't too perfect of an environment
• 8:36
  to not to have that happen. One night I came
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  in here and an owl. I had the window open,
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  and there's an owl that was perched on the window
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  and he was facing away from me, but it was
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  dark in the room and he was fat, so walking
• 8:52
  into the room, it looked like the back of someone's head. Right.
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  But like I said, this is a second story, So
• 8:59
  that would be.
• 9:00
  Speaker 4: Like an eleven giants of the app.
• 9:05
  Speaker 1: Yeah, I walked through. I walk into the door and
• 9:08
  I freeze and I see like the silhouette and then
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  it flies away, and oh my god, oh my god. Yeah,
• 9:17
  good times. Yeah, I'll get I'll get scared for a
• 9:19
  recording one night. That'll be fun. We should. Yeah.
• 9:22
  Speaker 2: Also, thank you to our audio listeners right now who
• 9:25
  are driving are usually at work from what we see.
• 9:27
  Thank you for listening on Spotify or Apple Podcast. It
• 9:30
  helps us out if you give us.
• 9:31
  Speaker 1: A nice rating.
• 9:32
  Speaker 2: And then also to our Patreon members who got a
• 9:34
  little exclusive story yesterday or a couple days ago.
• 9:38
  Speaker 1: Uh.
• 9:38
  Speaker 2: And we'll probably be getting me a little more frequently
• 9:41
  while Isaiah has his beautiful baby coming soon. So if
• 9:46
  you want some extra content, feel free to go there
• 9:48
  support the channel. If not, you get all the free
• 9:50
  content right here.
• 9:50
  Speaker 3: Baby.
• 9:52
  Speaker 1: Otherwise, Isaiah, do you want to jump in? Go and
• 9:55
  jump in. I do have one question for the people,
• 9:58
  because you brought up that A lot of people comment
• 10:00
  that they listen at work and stuff like that. What
• 10:04
  I feel like, there's not a ton of jobs you
• 10:08
  can do that, right? Well, I don't know. There has
• 10:12
  to be a ton of jobs. If you can't do that,
• 10:15
  I mean probably, but I think I don't know.
• 10:18
  Speaker 2: Like even whenever I did like construction or something, I
• 10:20
  always had like an earbud day.
• 10:23
  Speaker 1: Like that. Yes, if there's like if it's you doing
• 10:25
  a task, absolutely I get it. But if you're in
• 10:27
  any kind of like service position, like someone can't be
• 10:30
  working to check out right, well, the show.
• 10:33
  Speaker 2: But you know what I do see these people say
• 10:35
  on their lunch break, they'll put something on or I
• 10:37
  would say a large part of our audience I think
• 10:39
  while they're doing like I think that we are a
• 10:42
  background fodder for people cleaning their house. I believe is
• 10:45
  a big one too. People are like I just want
• 10:48
  to do my errand.
• 10:48
  Speaker 1: I mean that absolutely makes I do the same thing.
• 10:50
  I listen to YouTube videos.
• 10:52
  Speaker 4: Yeah it's the best background. I listened to creep cast. Yeah,
• 10:55
  I'll listen to myself talk for I remember that.
• 10:58
  Speaker 1: Yeah all right, Yeah, we can go ahead and get
• 11:02
  into it.
• 11:02
  Speaker 2: So and we will leave a link to Christians Uh.
• 11:05
  He has an athology book as well. We'll leave a
• 11:08
  link with his team description with Teth.
• 11:10
  Speaker 1: We also going to leave a link to his website.
• 11:12
  Cchwallace dot co dot uk. Even though he's from the UK,
• 11:16
  I forgive him. He has a link to a ton
• 11:18
  of his one off stories as well as his uh
• 11:21
  like short stories and stuff like that on there. That's
• 11:24
  I'm sure to check him out. He's a fantastic author.
• 11:27
  Speaker 2: I feel like all some of the best writers are
• 11:28
  from the UK that we've read, even like Neon Tempo
• 11:31
  with the Left Right Game that's also a UK.
• 11:33
  Speaker 1: Lane And uh, Dathan is no. Dathan's no, No, Dathan's
• 11:37
  fer He's American. Yeah, yeah, he's on the right side
• 11:39
  of the pawn. That's right. Yeah, all right, let's get
• 11:43
  into it. I found the bunker of a prepper family
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  who went missing three years ago. Doctor Daniel Vance was
• 11:54
  a smart man, too smart for his own good. Maybe
• 11:58
  forty years old sure, and fluid dynamics, with a mind
• 12:02
  made of shapes and numbers. No one knows why. One day,
• 12:06
  on a whim, crunched the numbers on the apocalypse and
• 12:10
  came to a troubling conclusion. He didn't share exactly what
• 12:13
  it was he deduced, but given that he immediately quit
• 12:16
  his job and liquidated his many assets, it's fair to
• 12:20
  say it wasn't positive swep up in the wake of
• 12:23
  the tremendous upheaval was his wife, a twenty four year
• 12:26
  old PhD student who had grown infatuated with Daniels sometime before.
• 12:30
  She loved the strange bear of a man who could
• 12:32
  just as easily build a log cabin as he could
• 12:35
  explain the idiosyncrasies of an asteroid's orbit. Speaking to Daniel
• 12:39
  always left you with the profound impression he was right.
• 12:42
  So when he told her what he wanted to do,
• 12:45
  she agreed. Fifteen years and five children later, the Vances
• 12:50
  were living in the distant woods just beyond my hometown.
• 12:53
  They were enigmatic, richer than the pope, and extremely serious
• 12:57
  about their prepper lifestyle. But we're all so funny, easy
• 13:01
  going and incredibly compelling to speak to. This is like
• 13:05
  Ted Kazinski if he could speak to women.
• 13:10
  Speaker 2: Well I would, He's not. We don't know he's Ted Kaczinsky.
• 13:13
  Yet I will say I do.
• 13:15
  Speaker 1: Like the super smart PhD guy builds log cabin in
• 13:18
  the woods, if he didn't write about murdering women that
• 13:22
  he was afraid to go on dates with.
• 13:23
  Speaker 2: And yeah, that's that's what I mean. Is we have
• 13:25
  no he this, the doctor has no fault like that. Yet,
• 13:31
  if anything I do with that dynamic of like very
• 13:33
  scholarly MANU has wife who was like infatuated with his studies.
• 13:38
  Speaker 1: Now they like live remotely.
• 13:40
  Speaker 2: This this setup also of like I love I love
• 13:42
  this setup too, not to stop it too soon, but
• 13:46
  the idea that a learned man is doing this thing,
• 13:50
  it doesn't seem crazy, right, like these things, it's a
• 13:53
  person that is too smart for their own good and
• 13:56
  then doing it. You really don't think anything of it,
• 13:59
  but I'm curious.
• 14:00
  Speaker 1: To see where it takes that left turn. I'll also
• 14:03
  say there again not to make this about me, but
• 14:06
  I like making stuff about me. There is a surprising
• 14:11
  number of people you'll find a lot of them I
• 14:13
  found during the flood who are like preppers who you know,
• 14:19
  live off the grid, own their own generator for power use,
• 14:24
  you know, woodpellet stoves for heat and stuff like that,
• 14:26
  who will, come to find out, are incredibly accomplished doctors, researchers, inventors.
• 14:33
  There's this one guy who was one of the people
• 14:37
  bringing supplies repairing equipment for people, and it turns out
• 14:41
  that he had the patent on a bunch of like
• 14:43
  surgical technology stuff like that. Like yeah he was loaded, yeah,
• 14:48
  but no they'd rather just live off the grid put
• 14:51
  their stuff together. It's like you get to a point
• 14:54
  where you're like, hey, this whole like rat race societal
• 14:58
  thing maybe not for me. Maybe all I need is
• 15:00
  a fireplace and a wife, you know.
• 15:02
  Speaker 2: I also think that people, because of TV and stuff,
• 15:04
  have also made like every doomsday prepper person is like
• 15:09
  a religious fanatic, or like a sheltered person, or like
• 15:14
  like trying to get all of these like negatives attached
• 15:17
  to it when it could just be some people are
• 15:19
  just like too smart for their own good, and they're
• 15:20
  just like, we should probably have these backups, we should
• 15:22
  probably have these commodities, you know.
• 15:25
  Speaker 1: Yeah. Yeah, It's it's like, uh, well, I mean, you know,
• 15:29
  you never know what can go wrong. I'm so lazy.
• 15:33
  Speaker 2: If the world ends, I'm just I'm I'm going to
• 15:35
  lay on my lawn outside and I'm just gonna.
• 15:38
  Speaker 1: Let it take me.
• 15:42
  Speaker 2: I'm sure my wife hopefully and she will live or
• 15:44
  life with a with a man who wasn't willing to survive.
• 15:47
  Speaker 1: But I'm just gonna be like I just I can't.
• 15:50
  I just simply cannot just a mine or inconvenience. It's
• 15:55
  a thunderstorm all right, I'm dead. It's well played. World Yeah,
• 16:02
  world played made I get it. They're they're running a
• 16:09
  vacuum right outside of the door. Okay, if you can't
• 16:13
  hear it, we'll keep going. But it made me think
• 16:15
  of that thing I want some streamer did where there
• 16:19
  were housekeepers in the background and he was like embarrassed.
• 16:24
  Speaker 3: That's it.
• 16:24
  Speaker 2: Yeah, many mentions of exquc on this podcast.
• 16:36
  Speaker 1: We've only mentioned him twice, right, I think the many
• 16:41
  that is a surprising number to come up. But they
• 16:45
  were also funny, easy going, and incredibly compelling to speak
• 16:48
  to larger than live survivalists who swept into town with
• 16:52
  bizarre requests that thrilled local businesses. Vast quantities of cement, iron, lead,
• 16:58
  and steel were all shipped through the Moat mountains so
• 17:01
  that the Vances could build their shelter. The advanced methods
• 17:04
  they used to keep its secret were legendary. Daniel had
• 17:08
  once spent six months earning the license necessary to drive
• 17:11
  HGVs up to his compound so that no one else
• 17:15
  lay eyes on it, and on one occasion, when a
• 17:17
  company had refused their request for GPS track or free vehicles,
• 17:21
  he bought them out wholesale, so that they had no choice. Wow,
• 17:25
  what are HGVs, by the way, high something vehicles. It's
• 17:32
  like it's heavy equipment that you use to transport materials on.
• 17:37
  Speaker 2: Okay, So it's not just like a semi truck. It's
• 17:39
  something that kind of globe a mountain or something like.
• 17:40
  It's more terrain or heavy right, good lord, okay.
• 17:48
  Speaker 1: Heavy, I'm getting over the flu heavy goods vehicles, So
• 17:52
  any like tractor trailer eight okay, So it's just okay,
• 17:56
  so it's just like a semi beed or stuff like that. Yeah.
• 18:00
  And so when they stopped appearing in town during the pandemic,
• 18:02
  when requests for food and goods stopped and all contact
• 18:05
  was dropped, most attributed it to lockdown. They had a
• 18:09
  bunker and had spent their entire lives training to be
• 18:12
  self sufficient in the face of civilization's collapse. Even Alexander,
• 18:17
  the youngest to just three, was already collecting firewood as
• 18:20
  a chore and learning what local plants were edible. Most
• 18:23
  of us just assumed that if anyone could ride out
• 18:25
  COVID without breaking a sweat, it would be the Vanceas
• 18:29
  the reality turned out to be something else. When the
• 18:32
  worst came to light. We discovered that Daniel had used
• 18:35
  the pandemic as an excuse for a dry run. The
• 18:38
  family intended to spend six months in lockdown and essentially
• 18:42
  beta test their fallout bunker. Three months in and the
• 18:45
  sheriff received a distress call on the radio. Coordinates were
• 18:49
  provided by the hushed voice of a sobbing child that
• 18:51
  most assumed was Alexander, even though that's never been proven.
• 18:55
  The police arrived and found the bunkers still sealed. It
• 18:59
  took hours emergency responders to cut into the door, all
• 19:02
  the while efforts were made to contact the family within,
• 19:06
  to no avail. Once inside, police were left dumbfounded. There
• 19:11
  was no one to be rescued, no bodies, no survivors.
• 19:15
  There was evidence the door's locking mechanism had failed and
• 19:18
  trapped the vans is inside. No way out. But if so,
• 19:22
  where'd they gone?
• 19:23
  Speaker 2: Hmmm, So, let's so the that's kind of crazy. So
• 19:27
  a child called in the report to even let people
• 19:30
  know where they're at. But now it looks that the
• 19:33
  thing is basically it's sealed shut, no way of getting out,
• 19:36
  but they're gone, yes, correct, that is that's horrifying.
• 19:41
  Speaker 1: Just I mean like what kind of mystery it? You
• 19:44
  know what?
• 19:44
  Speaker 2: It just reminds you of something where it's like the
• 19:46
  kind of like the lonely broadcast station stuff of like
• 19:49
  the four one one missing reports where it's like, oh,
• 19:51
  they're gone and then all of a sudden they just reappear.
• 19:53
  Like there's kind of like weird phenomenon. It has that vibe,
• 19:57
  but also just the idea of a child escaping and
• 19:59
  like and calling the cops is such a horrified it's
• 20:03
  such a horrifying call to hear, and it's it's so
• 20:06
  creepy how like casually it's just brushed by, like a
• 20:10
  child weeping calls and we like went to work, like
• 20:12
  it's just it's so uh nonchalantly said.
• 20:17
  Speaker 1: It's probably the three year old, which how did a
• 20:19
  three year old know?
• 20:20
  Speaker 2: But you would have to assume it's older than that,
• 20:24
  right because they had fives.
• 20:26
  Speaker 1: Oh yeah, that's true. It's true. It could be any
• 20:27
  one of them. So kid calls they were sealed inside,
• 20:33
  but they're gone. Yeah, So it's like, does is there
• 20:35
  a secret door in the bunker? Does it go deeper?
• 20:38
  You know, That's what I'm wondering.
• 20:39
  Speaker 2: Do you go into a thing where they discover that
• 20:42
  he was even wilder than they expected and went even
• 20:45
  deeper into the earth or you know, like some kind
• 20:47
  of weird uh cavity or something like that.
• 20:51
  Speaker 1: They they burrow in. I don't know. Okay, you remember
• 20:57
  how at the beginning it said that he was doing
• 20:59
  like equations and then he freaked out and that's what
• 21:01
  started all this. M Okay, So they go back and
• 21:04
  look at his equations and it's like a bunch of
• 21:06
  numbers and like symbols and stuff, and at the end
• 21:09
  it just says mold people. Yeah, it's like all these
• 21:15
  just like how did he do his math? They got
• 21:17
  to mole people?
• 21:20
  Speaker 2: He has he has he has a perfectly preserved mole
• 21:22
  skull in his room.
• 21:27
  Speaker 1: That someone so so that the side they're like, if
• 21:31
  he was afraid of mole people, why would he dig down? Yeah?
• 21:34
  One of the cops I was like, why would you
• 21:35
  dig down?
• 21:35
  Speaker 2: And then there's like an obvious mole person or a
• 21:37
  cop uniform.
• 21:39
  Speaker 5: That is very strange that rus propa. Just get out
• 21:44
  of here, Rod.
• 21:48
  Speaker 1: Large, I think it's a great idea. Yeah, Bob, that's
• 21:52
  a damn fine idea. Let's get out of here. Yeah,
• 21:54
  let's start with some bruckfuss, Does anyone want to go
• 21:59
  to the caves?
• 22:00
  Speaker 5: See pardnest love the hole for the holes?
• 22:05
  Speaker 1: Of course, beds and cots lay everywhere, with molder and
• 22:16
  yellow sheets, buckets close to hand, with stains all around them.
• 22:21
  Some doors were barred, others smashed to pieces. There was
• 22:24
  evidence of makeshift quarantines and in places looked like violence.
• 22:30
  The police, usually a fantastic source of gossip, were not
• 22:34
  forthcoming until the town demanded answers, and the sheriff was
• 22:37
  forced to offer only the bearest of outlines.
• 22:40
  Speaker 2: An outbreak of water borne illness has struck the Vances
• 22:43
  down not long after they were locked inside and unable
• 22:46
  to seek help. Rumors of contagion were overstated and fueled
• 22:50
  by unrelated rise of COVID. Whatever contaminant had killed the Vances,
• 22:55
  it was non organic in nature. No need to panic.
• 22:58
  The Dvances loved ones have been known to find. The
• 23:00
  bunker was going to be demolished, and we could all
• 23:03
  put this terrible tragedy behind us.
• 23:06
  Speaker 1: Don't you hate those water borne illnesses that completely vaporized
• 23:10
  the body and closed?
• 23:11
  Speaker 2: Yeah, I mean it is one hundred percent just sounds
• 23:13
  like a cover up right. Yeah, of course, one hundred percent,
• 23:16
  not telling the public what is actually happening.
• 23:19
  Speaker 1: Just yeah, have.
• 23:22
  Speaker 5: Been on our brother water burn almost start.
• 23:36
  Speaker 1: Your whiskers.
• 23:36
  Speaker 5: That was so you have mud all of your whiskers.
• 23:40
  Speaker 1: Why is it.
• 23:44
  Speaker 6: That officer mole what seems to be the problem.
• 23:53
  Speaker 1: Yeah, that pitch was over your left shoulder and you
• 23:55
  swung at it. I know it was right there for
• 23:59
  the taking. I'm so sad.
• 24:03
  Speaker 2: This video sponsored by Hello Fresh. Why did anybody tell
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  Speaker 4: Now back to the episode, of course, we still had
• 26:34
  questions of hows and of them why hadn't the family
• 26:37
  called for help, had radios, computers, smartphones too, they were
• 26:42
  survivalist's not Amish, then where were they?
• 26:46
  Speaker 1: Like the implication that the office would it called for them?
• 26:50
  Speaker 2: We also, yeah, well, I think you trying to say
• 26:53
  that the Amish don't have cell phones but phones, but
• 26:56
  I'm pretty sure the Amish do have like a horizon plan.
• 27:00
  Speaker 1: So it's different to different groups depending on where you're at.
• 27:04
  But a lot of the homage people I know are
• 27:06
  like they'll say that it's okay to use technology for
• 27:12
  work or stuff like that, Like they'll drive vehicles for
• 27:15
  work and stuff like that. It's leisure typically stay away
• 27:18
  from so they'll they'll call you in an emergency like yeah,
• 27:22
  they need it's all like, well, I guess it's time
• 27:25
  to die here, Jedediah.
• 27:26
  Speaker 2: Jebediah, grab the message and send this to the hospital quick.
• 27:32
  Speaker 5: They can make a fucking call.
• 27:34
  Speaker 1: Dude, Verizon T Mobile. What are these evil spells you
• 27:38
  speak of? What are the what are these demons in
• 27:41
  your magic box? Yeah? I don't want any temptation from
• 27:45
  your devils away with you. That that vacuum I mentioned
• 27:49
  earlier is like shoved up on the door now, And
• 27:52
  I think it's because the Ami Shirp said, this is
• 27:55
  damage bag of in your house. Shame you're a dirty boy.
• 28:02
  Speaker 3: Yeah.
• 28:02
  Speaker 1: I opened the door and they're just dressed like pilgrims.
• 28:04
  How long can someone vacuum directly outside of the door.
• 28:09
  I've heard it for twenty five minutes. Twenty five I
• 28:13
  don't have to fucking minutes.
• 28:14
  Speaker 2: It's just been a person fucking vacuum in the same spot.
• 28:18
  Speaker 1: Go out there, Tom, it's clean. He got it, You
• 28:21
  got it. It's like it's a hallway too, that's like
• 28:25
  eighteen inches will how long is?
• 28:30
  Speaker 2: It's a seven hundred and eighty foot hallway, so it
• 28:32
  takes a while the echo.
• 28:33
  Speaker 1: Oh yeah, I forgot to tell you that you haven't
• 28:36
  visited yet. So I bought the house from House of Leaves.
• 28:39
  It's actually a non Euclidean hallway that has an unmappable entrance.
• 28:46
  Speaker 2: So I forgot to tell you I bought the Winchester
• 28:48
  mansion in that they're they're vacuuming the stairs that lead.
• 28:53
  Speaker 1: To nowhere right now.
• 28:54
  Speaker 4: So technically the house is the hallway.
• 28:58
  Speaker 1: Yeah, we are the hallway. We've got the hallway. Yeah, okay, okay,
• 29:03
  I think they left for now. It's like a shark
• 29:05
  keeps circling back. I bet you she's right.
• 29:08
  Speaker 2: Whoever's vacuating, they're like right by the they're right by
• 29:11
  the door, and as soon as you stop talking, they
• 29:13
  turn back on, or soon as you start talking.
• 29:15
  Speaker 1: They turn back on. What's awesome funny about this is
• 29:23
  I'm doing the YouTuber thing where I'm really unappreciative of
• 29:25
  people that are helping me take care of my house.
• 29:28
  Speaker 2: Listen, it's you can have all the appreciation of the world.
• 29:32
  What could possibly be near your door that they have
• 29:36
  not gone? What could have happened?
• 29:39
  Speaker 1: I don't know. It's just hardwood. It's not that it's hardwood.
• 29:44
  It's a rug.
• 29:45
  Speaker 2: They don't even vacuumting carpet.
• 29:48
  Speaker 1: No, there's not even a rug there. Oh my god, get.
• 29:52
  Speaker 5: A brooms, get a swiffer.
• 29:56
  Speaker 1: Why are you possibly vacuumated? This is this is going
• 30:01
  to go down as the most out.
• 30:02
  Speaker 5: Of touch coast wheels. It's plastic wheels in hardwood.
• 30:08
  Speaker 1: Oh my god. Okay, all right. Anyway, they were a survivalists,
• 30:13
  not amish. And where were they? What had happened to
• 30:16
  their bodies? Why didn't they simply left? We shouted these
• 30:21
  and more at the town meeting, but the police simply
• 30:23
  refused to comment. For most of us, the excitement lasted
• 30:27
  another week or two until we realized we weren't getting
• 30:30
  answers anytime soon. Besides, the pandemic was in full swing
• 30:34
  and most of us had other things to worry about.
• 30:36
  The tragic story eventually faded until it was just one
• 30:39
  of those awful things in the town's history that we
• 30:41
  didn't talk about. I was as guilty as anyone else
• 30:44
  of just forgetting about it. I certainly never expected to
• 30:47
  find the bunker out there in the woods, faded police
• 30:50
  tape still on the open door that hung wide open,
• 30:53
  scorch marks around the lock, and stood out in the
• 30:56
  woods like someone had cut a hole right in the
• 30:58
  fabric of reality. The darkness so deep and black it
• 31:02
  almost ached to look at the side of it, made
• 31:04
  my heart drop into my stomach radiated pain. Does that
• 31:08
  make sense? I think some part of my lizard brain
• 31:11
  picked out details that wouldn't become apparent to me until
• 31:14
  I got closer, like the bloody fingerstreaks that stained the
• 31:18
  handle from where someone had scrabbled furiously at the lock
• 31:21
  without success, and the tiny viewing window had been smashed
• 31:25
  with a hammer that still lay nearby, and he did
• 31:28
  only a glimpse it to imagine the family taking turns
• 31:30
  to stand there and scream into the woods, desperate for rescue.
• 31:35
  Good God. Under any other circumstances, I would have run,
• 31:39
  but I've gone there looking for my dog. My light
• 31:42
  revealed a few wet pop prints, making their way down
• 31:45
  the dusty concrete tunnel.
• 31:46
  Speaker 2: Oh god fuck, oh good? No, what I'd abandoned the dog.
• 31:52
  There's no way. No, come on, I can't, I can't.
• 31:58
  Speaker 1: Can you Okay? Go ahead? No, go ahead? Good? No,
• 32:01
  you go for it. Have you ever abandoned? Have you
• 32:06
  ever like like what's urban exploration? Is a lame way
• 32:14
  to say it, but have you ever been in the
• 32:15
  woods and like checked out abandoned structures and stuff? No?
• 32:19
  Speaker 2: No, because I'll tell you, and I'll tell you why
• 32:22
  it is, Because well, one, I've seen too many movies.
• 32:25
  And then two I don't want to I'm big, I'm
• 32:28
  a fat man, so I don't want to fall through
• 32:30
  any floors. And then three I just imagine there's like
• 32:34
  squatters or something there that is going to hurt me
• 32:38
  so now. And then also an active crime scene where
• 32:41
  there's bloody fingerprints where people have died and they haven't
• 32:44
  found the bodies. And then of course my amazing little
• 32:47
  fucking pupper had to just.
• 32:48
  Speaker 1: Well, why don't I go down there? No?
• 32:51
  Speaker 2: I'm good the story on here about like checking out
• 32:57
  the abandoned penitentiary.
• 32:59
  Speaker 1: I think stuff like that, But I love walking through
• 33:01
  abandoned buildings and stuff like that. Uh, there was. This
• 33:06
  is weirdly reminiscent of there's some game I played where
• 33:12
  you're a man in the woods and there's an old
• 33:14
  bunker and your dog goes into it. What that's a
• 33:18
  game that has that has to be no story, right?
• 33:22
  It was the blair Witch video game. Interesting. This came
• 33:28
  out a while back and it was Seid in the
• 33:29
  universe of the blair Witch, and you played as a
• 33:33
  guy who I think was a veteran who was coming
• 33:36
  home because there was a missing person out in the woods,
• 33:39
  so him and his dog went out there to look
• 33:41
  for it. And most of the game is you walking
• 33:44
  through the woods as like the blair Witch gives you
• 33:46
  visions and the dog is like your only companion out there.
• 33:51
  And there's one segment where he starts to hallucinate memories
• 33:57
  of like Afghanistan overlaid, So it's like these barracks in
• 34:01
  the middle of the woods and the dog goes down
• 34:03
  into them and you follow. That's right, that's what it was.
• 34:07
  The game actually went kind of hard. I don't know
• 34:10
  what the public reactions to, but there's a segment at
• 34:13
  the end of the game where the dog's injured, and
• 34:16
  you walk with the dog for a long time, and
• 34:18
  the message starts showing up saying leave him. So you
• 34:23
  think the only way you can get out is to
• 34:25
  lay the dog down and like leave him in the woods.
• 34:30
  But I think I did something different or went backwards
• 34:34
  or something, and it fixed it. So you can't get
• 34:36
  out with the dog. But I remember like walking around
• 34:39
  for a while not knowing what to do, and then
• 34:40
  seeing the message leave him, and I like my stomach drop,
• 34:44
  like I can't leave the dog hundred wood hunter wood leaves.
• 34:47
  Speaker 2: I would look at that pixelated dog and I would
• 34:48
  immediately turn around for a bone down into the dark
• 34:51
  dellegant and I just go the opposite direction immediately without
• 34:56
  a hesitation.
• 34:57
  Speaker 1: It's good, buddy. I'm happy to hear that my light
• 35:00
  revealed a few wet paw prints making their way down
• 35:02
  the dusky concrete tunnel. Half Bernice and half Collie. Ripley
• 35:07
  is the sort of dog who trembles in my arms
• 35:09
  when a storm buffets the windows, and these his paws
• 35:12
  held when we brush him. I love him. I do
• 35:15
  not have much of a family, or a wife, or
• 35:17
  even many friends, but I have Ripley. I can know
• 35:21
  more if turned around and gone home to an empty
• 35:23
  apartment where but I have to saw my grief away.
• 35:25
  Then I could flap my arms and fly. It was
• 35:28
  my dog, and I'd raised him since he was a puppy.
• 35:31
  I wasn't gonna leave him out of those woods. I
• 35:34
  went in after him. I didn't know what to Okay,
• 35:38
  hold on, what about your wife? What if your wife
• 35:39
  went down those stairs? Yes, I mean even the ripley
• 35:42
  things made the dogs sound very cute. Now I feel bad.
• 35:45
  I would probably go in after the dog if it
• 35:47
  was one of my dogs.
• 35:48
  Speaker 2: If it was Tugboat, no way, that selfish son of
• 35:53
  a bitch. I'd be like, you know what fucking live here?
• 35:55
  Did Oh? I would go for Crawdad.
• 36:00
  Speaker 4: I'd go for Crawdad and on, yeah, Crawdad's down there,
• 36:03
  Like yeah, I would feel.
• 36:05
  Speaker 1: Very sad for Crawdad. I'd be like, she's probably.
• 36:07
  Speaker 2: Afraid tug about them, like that selfish son of a bitch.
• 36:09
  Probably just like I love your nough whatever that makes
• 36:15
  you feeling better. I also would not go in for
• 36:17
  tug Boat. All of that is a consensus, and people
• 36:21
  online are like, oh, you're so cute blah, blah. I'm like,
• 36:23
  you have no idea the selfish hatred this dog has
• 36:26
  for all of mankind.
• 36:28
  Speaker 1: Tugboat likes to wait until I stay. I'm like by
• 36:30
  myself in the kitchen, like drinking coffee or whatever, and
• 36:33
  then get right behind me and scream as loud as
• 36:36
  you can. It's uh just unfortunate, a genetic abomination. I
• 36:45
  didn't know what to expect, but I knew it wouldn't
• 36:48
  be good. Whatever the police had found and not only
• 36:51
  kept most of the morbid details to themselves and also lied.
• 36:56
  The bunker was not demolished or even sealed off. Fat
• 37:00
  Looking at the occasional blue latex glove tossed aside and
• 37:04
  one or two broken police issue flashlights, it seemed like
• 37:07
  the last people inside had been in a hurry to
• 37:09
  get out. Given this was where seven people had presumably died,
• 37:14
  I assumed it was someone's job to clean it all up.
• 37:18
  But the corridor looked largely untouched. Just a few meters in,
• 37:21
  and manic writing started to cover the walls, the desperate
• 37:25
  scrawls of a lone survivor left there to be rediscovered.
• 37:28
  Like cave paintings, most were deliberations on how to get out. Diagrams,
• 37:34
  blue prints, equations, and formula, all focused on the door
• 37:39
  and the circuits responsible for its faulty lock. I instinctively
• 37:44
  assumed they belonged to Daniel, that he'd been the last
• 37:47
  to die, but a god awful fate for a man
• 37:50
  to outlive his children. And yet it got worse slowly,
• 37:54
  the writing change from equations and plans to a desperate scrawl,
• 38:00
  the same few phrases repeated over and over. Five doors five,
• 38:07
  not six? Six? Did it make it? Didn't make it?
• 38:12
  Six doors six?
• 38:16
  Speaker 3: God dude.
• 38:20
  Speaker 2: Also, I just want to say, I just want to
• 38:22
  say I was I was already spooked by the idea of.
• 38:25
  Speaker 6: Like the flashlights ripley doesn't seem so cute now the
• 38:35
  idea too.
• 38:36
  Speaker 2: That's like the police are like, oh yeah, I know
• 38:38
  whether things like basically broken, you shouldn't have to go
• 38:40
  up there. It's like they probably went up there it's
• 38:41
  all something and just left it completely untouched like that.
• 38:47
  Speaker 1: We're not going back. No, no, no. Also, the k
• 38:50
  painting aspect thing too, is insane, and watching it like
• 38:52
  a person slowly mentally go insane. Is did I tell
• 38:59
  you about my house? What happened? No, So the house
• 39:06
  we got previously, a guy had lived here with his
• 39:10
  wife since like they got married back in the seventies
• 39:13
  or whatever, and then she died early two thousands, and
• 39:16
  then he didn't die till like twenty twenty, so for
• 39:19
  eighteen years about he was living in the house by himself.
• 39:23
  So in the basement, he just started writing messages to himself.
• 39:27
  And some of them are like notes like need to
• 39:31
  take out the trash, need to talk to so and
• 39:33
  so about an engine part, blah blah blah. But as
• 39:36
  time goes on, they start to get more like remember
• 39:42
  to look at the dog today, like remember to blah
• 39:46
  blah blah, all this stuff. And then he started to,
• 39:50
  I think, take notes about things that made him happy,
• 39:53
  Like he wrote like flowers bloom today and wrote the
• 39:55
  date and stuff like that, and above all of them, above,
• 39:59
  like all the writing he wrote on the wall. Sometime
• 40:01
  in twenty fourteen, baby owls flew so like he was
• 40:05
  watching a nest of baby owls, and then they took
• 40:07
  off that day and he wrote it down, so all
• 40:09
  like his like near two decades of writing talking to
• 40:12
  himself is on the wall, and we were leaving that
• 40:15
  up we're going to leave that there.
• 40:17
  Speaker 2: But wow, you know it probably is just a nice
• 40:21
  thing of like little moments and you get like little
• 40:23
  pieces of a person's life, but out of context and
• 40:26
  like not knowing anything about this that's horrifying. Like you
• 40:30
  have got to try to make that into a story
• 40:32
  or something. You should write that.
• 40:33
  Speaker 1: Well, I want to, So I thought about either making
• 40:36
  a YouTube video or making a story called The Man
• 40:39
  who Lived in My House because between that and like
• 40:44
  walking through the house, I see other stuff he's done,
• 40:47
  Like I see stuff I'm like, that's like, for example,
• 40:50
  in the garage, there were all these like pieces of
• 40:54
  wood that were like drilled into the wall, and I'm like,
• 40:58
  why did he do that there? That's so random Until
• 41:00
  I started using the cabinets and with the garage shore
• 41:04
  open updraft would come in and shut all the cabinets shut.
• 41:07
  But where he has the wood drilled is just the
• 41:10
  right place that you can rotate the wood and use
• 41:12
  it as like a stopper to keep the doors stuck
• 41:15
  open and stuff like that. So walking through the house,
• 41:17
  I've seen stuff that he's learned from living in it
• 41:20
  that now I'm relearning seeing where he's put implements and
• 41:23
  things like that.
• 41:24
  Speaker 2: Morphing into a man in this property, like morphing into
• 41:27
  that other man would be so crazy, you know what
• 41:30
  I mean, like a like a thing of like when
• 41:33
  you buy someone else's home, you become the last tenant.
• 41:35
  Speaker 1: That lives there.
• 41:37
  Speaker 2: Yeah, something something weird like that. That'd be like an
• 41:40
  interesting take on like almost immortality or something like I'm
• 41:43
  some kind of.
• 41:44
  Speaker 1: Person that's is that kind of what you got from
• 41:47
  the ending of the Shining As you don't know any
• 41:52
  of the shop is fucking weird. Well, the inding where
• 41:55
  it's like, you know, like, oh, you're the keeper, you know,
• 41:57
  you've always been here, and then the picture where it's
• 41:59
  him from the thirties so that he is like whoever
• 42:01
  keeps the hotel because it's like he's almost reinvigorated through
• 42:05
  the hotel again. And again Yeah, I'm not sure.
• 42:09
  Speaker 2: I mean, like possibly it's just weird too he gave
• 42:11
  birth to or he like his son is the guy
• 42:14
  that has has this power in the Shine Ti, so
• 42:16
  it just it makes him feel very paranormal in nature.
• 42:18
  Speaker 1: But yeah, yeah, but no, it's a similar idea I
• 42:22
  think of like becoming the same person over and over again.
• 42:26
  But I've thought about, yeah, the man who lived in
• 42:28
  my house, because some of those messages are kind of like.
• 42:31
  What was the one that bothered me a bit? It
• 42:34
  was something like I've got to quit talking about it,
• 42:37
  something really vague like that.
• 42:39
  Speaker 2: Well, yeah, well the things that are that are vague
• 42:41
  and you have no context for you're going to dissect
• 42:44
  that how, you.
• 42:45
  Speaker 3: Know what I mean?
• 42:45
  Speaker 2: It could you could totally miss misinterpret it, but it's
• 42:48
  just it takes on its own meeting to you in
• 42:51
  a weird way.
• 42:53
  Speaker 1: Yeah. I'm also I don't want because he's still got
• 42:56
  family around, so I don't want to dox his name,
• 43:00
  but I'll text you what his name was because it
• 43:02
  adds to the thing that was his legal name. Wow. Really,
• 43:11
  I just texted it to you on Yeah. Yeah, And
• 43:13
  I'm just I'm looking at it.
• 43:14
  Speaker 2: I'm saying it's like a Star Wars character or something. Anyway,
• 43:23
  you had a full on bounty hunter, like a Jedi
• 43:25
  living in your house.
• 43:27
  Speaker 1: It's kind of crazy. He was just walking around in
• 43:29
  a Mandalorian Yeah, stop talking about it. God, it seemed
• 43:39
  like the kind of thing you'd find in an asylum.
• 43:42
  Psychotic rambling punctuated only by six paragraphs right at the end.
• 43:47
  Each letter was impeccably neat, and each small paragraph was
• 43:50
  topped with a beautifully drawn Christian Cross.
• 43:53
  Speaker 2: Elliot advanced, age fifteen, A gifted guitarist. He liked boys,
• 43:57
  even though he thought I didn't know. I loved him
• 44:01
  with everything I had. He would have made a great man.
• 44:05
  Alicia Vanz, aged fourteen. She liked to paint and shoot.
• 44:09
  She had her mother's mean streak. Would have served her
• 44:13
  well in the future. Elijah Vans, age eight, the smartest
• 44:18
  of us.
• 44:18
  Speaker 1: All These were Daniel's memorials to his family. Seeing the
• 44:22
  words let up on my torch was haunting inside into
• 44:25
  the overwhelming despair he'd endured. Must have realized he wouldn't
• 44:30
  get the chance to speak at his family's funerals or
• 44:33
  to write their obituaries. This was his last desperate way
• 44:37
  of making sure the world might one day know them
• 44:39
  as he did. It's real people. The words mark the
• 44:42
  end of the tunnel, standing adjacent to a trapdoor in
• 44:45
  the ground. It was not open, but the tunnel came
• 44:48
  to a dead end immediately afterwards, and Ripley's prints disappeared
• 44:52
  at the hatch. I feared he might be in danger. Still,
• 44:56
  I stopped and looked at the bunker door twenty meters
• 44:58
  behind me. The once gloomy forests looked so bright even
• 45:02
  on this cloudy day. The air dotted with rain. Part
• 45:06
  of me felt like I was leaving the whole world behind.
• 45:08
  As I began to climb the ladder down, I entered
• 45:11
  a large, circular living space that was packed with furniture
• 45:14
  and little nooks and crannies. The walls were covered with
• 45:18
  folding beds and tables, and every inch was multifunctional. A
• 45:22
  dining space could become a sitting space, which in turn
• 45:25
  might be where someone slept or even exercised. It all
• 45:29
  dependent on what particular bit of furniture you unfolded or
• 45:31
  unclipped or unfurled. Seven people in close quarters, nowhere near
• 45:36
  enough privacy made sense. They went with this cluttered, overlapping
• 45:40
  use of space. But it was still a large room,
• 45:43
  bigger than most studio apartments, and there were a few
• 45:47
  corridors that led deeper into the earth, telling me the
• 45:49
  bunker had unseen depths. I looked for some sign of
• 45:53
  my dog and soon found his trail. But this far
• 45:57
  from the rainy cops Ripley's prints were starting to face.
• 46:01
  After barely a few meters, they petered out vaguely in
• 46:03
  the direction of a nearby door. I wanted to follow,
• 46:07
  but stopped myself from rushing onwards. It was unlikely Ripley
• 46:11
  was getting out any other way, and I do us
• 46:14
  and no good getting hurt myself. I decided to take
• 46:17
  a look around and quickly spotted at dinner table. If
• 46:20
  I needed proof the police had not bothered with a cleanup,
• 46:23
  this was that the plates were still out, food brotten
• 46:27
  to a strange, blackened husk. A child's hat lay across
• 46:31
  one place, setting, the once creamy fleece turned a sickly
• 46:34
  green and yellow. The chairs had their bricks reinforced with
• 46:38
  wooden beams fitted with long grooves so that something the
• 46:42
  width of a nail could slide into them, and on
• 46:45
  each of the cushions were foul smelling stains and looked
• 46:47
  oddly like an as print. I touched one with gloved
• 46:51
  hands and the material cracked audibly. Whatever it was. Similar
• 46:55
  stains were on the cutlery and plates, and there were
• 46:58
  even handprints of a place firmly on the tablecloth. At
• 47:02
  first I thought it was blood that wasn't quite right.
• 47:05
  It was too contained to be leading. Blood on the
• 47:08
  back of one of the chairs, sustained tapered exactly where
• 47:11
  a woman's waist would be, like a near perfect silhouette.
• 47:15
  I shivered as I remember that Marianda Vance had always
• 47:18
  been a slim woman, wondered how she left her imprint
• 47:20
  on the gray fabric. So is it implied that there
• 47:23
  was like a rot on them? That's what I'm thinking. Okay,
• 47:27
  it feels like some kind of decay, is what I'm thinking.
• 47:30
  Speaker 2: Because it's not blood, because yeah, because at first I
• 47:32
  was like, oh fuck, is it dried blood? Now I'm
• 47:34
  thinking it's some kind of roder decay. But it also
• 47:36
  almost seems like, you know, like the atomic bomb, like those.
• 47:39
  Speaker 1: Shadows, the shadows of Hiroshima. Yeah, yeah, like that.
• 47:43
  Speaker 2: It kind of makes me think if something like that too,
• 47:45
  Maybe not the shadows, but just in that way that's
• 47:47
  leaving silhouettes. But it does feel like a rot or,
• 47:49
  like a mold or something.
• 47:52
  Speaker 1: They were at the dinner table and the little eight
• 47:55
  year old's Mommy, look what I made it just open
• 48:00
  chaps of uranium to thirty eight Wait where'd yeah? Look, mom,
• 48:09
  the power.
• 48:10
  Speaker 2: Of God if I had to say, though, I mean,
• 48:13
  I'm probably it almost seems like a fungus or like
• 48:15
  a mold, like I'm thinking mold.
• 48:19
  Speaker 1: Yeah, I left the k or something I think of mold.
• 48:22
  He was walked into a resident Evil seven mansion, Yeah,
• 48:26
  like oh yeah, the Baker's house. Yeah.
• 48:28
  Speaker 2: It definitely puts a different kind of vibe into the story.
• 48:31
  The bunkers are now I'm picturing it like that, like
• 48:33
  swamp house kind of thing.
• 48:36
  Speaker 1: Down in Dubay. You down. And also I didn't even
• 48:39
  think of this. How did the dog go down the ladder?
• 48:42
  Speaker 4: I don't It wasn't a ladder though, it's a stairs
• 48:44
  I thought, I said he went down a ladder.
• 48:46
  Speaker 1: No, I think it's a staircase that goes down to
• 48:48
  the earth. Using my torch, British, using my torch, I
• 48:53
  saw that these stains repeated in the oddest of places. Yes,
• 48:57
  there were some on beds and blankets and even patches
• 48:59
  of playing floor, exactly like you might expect in a
• 49:02
  room full of sick people. Why did one stain on
• 49:05
  the floor bear such a strong resemblance to a child
• 49:07
  huddled in a fetal position? And why was the same
• 49:11
  stuff all over the TV remote and on books, on
• 49:14
  shelves and board games. Two. Everything from sofa cushions to
• 49:18
  TV boxes to piles of dirty laundry were covered in
• 49:22
  the same dried brownish material that gave off a bowel
• 49:25
  coppery miasthma found the jigsaw particularly baffling. Someone had set
• 49:31
  up another table with four chairs, all modified with the
• 49:34
  same back support as those by the dinner table, and
• 49:37
  a jigsaw had been laid out with four separate piles,
• 49:41
  but only one was depleted. The rest looked largely untouched,
• 49:45
  almost like someone had portioned out pieces for three other
• 49:48
  people who had absolutely no interest in going along with it.
• 49:52
  Maybe Daniel had tried to keep up morale while the
• 49:54
  family were sick. God help me if that were true.
• 49:58
  I couldn't help but imagine the or man sat there
• 50:01
  with his loved ones close to death, desperately trying to
• 50:04
  encourage them to click their own pieces into place while
• 50:06
  they faded in and out of consciousness. Okay, uh so
• 50:09
  here's my theory off of that line. His family was
• 50:13
  dead pretty early on, and he was like playing house,
• 50:19
  like setting them up right decayane in their chairs and
• 50:22
  moving them over to play jicksaw and stuff like that.
• 50:24
  Speaker 2: So, so are you saying that there was like are
• 50:28
  you saying that you think that the guy killed him
• 50:30
  and he was like messing with their bodies.
• 50:32
  Speaker 1: Or on accident they did.
• 50:34
  Speaker 2: So you're not sure yet if you're like you think
• 50:38
  that the doctor had any ill intent or anything yet
• 50:42
  you think it's just like you think you maybe just
• 50:45
  went crazy then or something. I mean, I'm just I'm
• 50:47
  trying to see, like because I like that that idea
• 50:50
  of a guy like basically playing house and like positioning stuff,
• 50:53
  and he's just like going about this like twisting.
• 50:55
  Speaker 1: And the stains are like the rotting corpse, right corpse exactly. Yeah.
• 50:59
  I think either he went crazy and took him down
• 51:03
  there and killed them or bringing them down there got
• 51:07
  them killed somehow. I feel like maybe the police were
• 51:11
  right it was a water borne illness. Just they died,
• 51:14
  But then everything that happened afterwards is like him acting
• 51:19
  like they're okay with the bodies for like a year.
• 51:22
  I feel like they.
• 51:22
  Speaker 2: Got sick or something and like they were existing with
• 51:25
  this illness that was like making them fucking ooze or do.
• 51:28
  Speaker 1: Something that could be that something about that room emanated madness.
• 51:33
  The longer I stayed down there, flicking the bright disks
• 51:36
  of light off my torch from one detail to another,
• 51:39
  the more I wanted to leave. One door had wooden
• 51:42
  beams nailed across it, one sofa had been partially disassembled,
• 51:46
  multiple beds had been burned, and all the light bulbs
• 51:50
  had been removed and put in a box on the
• 51:52
  kitchen countertop. Looking up with the ceiling, I finally had
• 51:55
  some insight into why the police were so confident the
• 51:58
  vans has had not survived despite finding their bodies. So
• 52:02
  when A jammed to human finger into one of the
• 52:04
  empty sockets, almost like they expected it to glow with
• 52:07
  the flick of a switch. What was it about this
• 52:10
  place that had caused the police to leave and never return,
• 52:14
  not to even take that finger and test it for
• 52:16
  signs of illness, or even just to confirm who it
• 52:18
  belonged to. I decided it was time to hurry up
• 52:22
  and find my dog. People had died in that place.
• 52:26
  While I'm not superstitious, can't be the only skeptic who
• 52:29
  has done the calculations in his head and realized it
• 52:32
  cost nothing to be respectful of ghosts. That's a funny
• 52:36
  line that bunker was cramped, terrifying, and the air stinks
• 52:40
  so bad. I started to worry I'd get sick myself,
• 52:44
  serve no one any good to linger. I'd be damned
• 52:47
  if I'd just walk away and leave Ripley to rot
• 52:49
  down there. It's not like you could climb a ladder
• 52:52
  and get out of in his zone, even if I
• 52:55
  wasn't entirely sure how I'd gotten down there in the
• 52:57
  first place. Oh so you were right, I thought it
• 52:59
  was a staircase. No, yeah, so it.
• 53:01
  Speaker 2: Almost seems like it's If it's pawprints are down there,
• 53:03
  then oh my, it kind of seems like something grabbed
• 53:05
  him and took them down.
• 53:07
  Speaker 1: Mm hmm. Here's here's an even worse idea. Here's an
• 53:10
  even more terrible idea. Something has either his dog's legs
• 53:15
  or something that looks like dog legs, and like is
• 53:18
  making little stamps on the ground. Oh yeah, that he
• 53:21
  thinks is his dog. Yeah yeah. I also like how
• 53:29
  you're trying to gaslight me out of the ladder thing
• 53:31
  and it worked.
• 53:32
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• 54:46
  Speaker 1: So many what little bravery I had left, I called
• 54:48
  out and broke the silence, something which felt like a
• 54:51
  terrible taboo in that caught awful place look screaming in
• 54:54
  a graveyard ribly. I waited and hoped to hell i'd
• 54:59
  hear the pitter pat of his paws, But for the
• 55:01
  longest of moments, it's only the kind of silence that
• 55:04
  makes you wonder if something or someone in the darkness
• 55:08
  is holding its breath, trying to look like just another
• 55:11
  patch of nothing, biding its time until you finally turn
• 55:15
  around and show it your back. The TV came on
• 55:19
  with a blurt of white noise that was so loud
• 55:21
  and so sudden, I cried, threw my arms up. He
• 55:24
  nearly fell backwards onto a rolled out sleeping bag and
• 55:27
  looked like it it's been a week in the sewer.
• 55:29
  By the time I realized what had caused the noise,
• 55:32
  I could already hear a tiny rendition Daniel Vance's voice.
• 55:36
  Speaker 3: I realized the issue here.
• 55:39
  Speaker 7: I need to emphasize just how a little I understand
• 55:41
  anything that's.
• 55:43
  Speaker 1: I frowned at the screen as I approached, showed a
• 55:46
  greenish infrared view of the bunker, with Daniel up front
• 55:50
  and the dinner table behind him. It was granny and
• 55:54
  hard to see that. I could clearly tell that his
• 55:56
  family were sitting in those chairs.
• 56:00
  Speaker 7: Forced to follow at looking back, and it makes perfect sense.
• 56:04
  Miranda often went into stores to fetch food for cooking.
• 56:07
  We found it behind one of the refrigerators.
• 56:09
  Speaker 3: So that's shit.
• 56:12
  Speaker 1: One of the figures in the background slumped onto the
• 56:14
  table with a loud clank. It's in a plate spinning
• 56:17
  off onto the ground.
• 56:18
  Speaker 3: Shit, shit, shit, you know.
• 56:20
  Speaker 1: Muttered as he got up and grabbed the woman by
• 56:22
  the shoulder and set her upright.
• 56:24
  Speaker 3: Maranda never did like my cooking.
• 56:27
  Speaker 1: Snorted to laugh as he fussed with something at the
• 56:29
  back of the chair.
• 56:31
  Speaker 3: The rots are much better than tape. All those hours
• 56:34
  spent taping them upright to the chairs never worked. But rods, if.
• 56:38
  Speaker 7: You're right into the spine, with a little with a
• 56:41
  little modification, I could just slot them into the chairs.
• 56:45
  Everyone's able to enjoy, join in for dinner. I'm working
• 56:48
  on something Simla for family game night.
• 56:51
  Speaker 1: Great bear drop did.
• 56:56
  Speaker 3: Trap.
• 56:58
  Speaker 1: So a reluctant bear trap, I will say, because that's provetal.
• 57:04
  Speaker 2: Yeah, I mean shoving the rods into their spine is
• 57:07
  insane and your family spine like, ah, there's still a
• 57:11
  she never liked my clicking. Also, he's coexisting with something
• 57:15
  because he's like Miranda would go down and fetch food,
• 57:17
  so she saw the thing first, right, So.
• 57:19
  Speaker 1: Yeah, he's he's aware, he's aware of it. Should also
• 57:22
  be like a mold or some growth or something back, Yeah,
• 57:26
  that caused it. But what what's weird is he yells
• 57:30
  out ripley and then the TV just turns on, right, Yeah,
• 57:35
  and it's a recording of Daniel in this room doing it.
• 57:39
  So there's something there's something going on there right by
• 57:42
  the way, it's probably apparent at this point, but this
• 57:45
  rules so far. Christian Wallsman this story, oh my god.
• 57:50
  I mean even like he's he is one of the goats,
• 57:53
  but even amongst his works, this is one of my
• 57:55
  just just setting the stuff. This is one of my
• 57:57
  favorite setups so far, So I can like, I can
• 58:02
  see it so plainly in my head, all the details moment.
• 58:06
  I don't know if I don't know if you feel
• 58:07
  the same.
• 58:07
  Speaker 2: I feel like I'm just picturing the the bunker is
• 58:10
  the same from Cloverfield Lane.
• 58:12
  Speaker 1: Or what I was thinking about that earlier Cloverfield Lane. Yeah,
• 58:15
  I'm thinking of the room as more like a concrete openly.
• 58:21
  Don't I have in my mind of it? Yeah? I
• 58:24
  have this, you know, it's weird. I think it's the
• 58:27
  same image in my mind that came when I first
• 58:30
  read the Road and it talks about the father and
• 58:32
  son finding the supplies in the bunker. But I don't
• 58:36
  know where I got that original image from. Could have
• 58:39
  been weird, Yeah's probably because you know, the way my
• 58:43
  mind works is it builds off of stuff I've seen
• 58:45
  in real life, right sure, or like in visual storytelling.
• 58:49
  So I feel like it had to come from somewhere,
• 58:53
  but I can't remember where it came from originally. Yeah,
• 58:55
  I'm curious. Maybe it is maybe my Cloverfield Lane and
• 58:59
  I'm forgetting.
• 59:00
  Speaker 2: But mine is just when I hear like, oh, bunker,
• 59:03
  it just whatever. The first time that pops up, I
• 59:05
  feel like it just sticks. And to me, as soon
• 59:06
  as you said bunker, I was even picturing the doctor
• 59:08
  kind of looks like John Goodman. It's like just like
• 59:11
  kind of like it's building that kind of visual in
• 59:14
  my head.
• 59:15
  Speaker 1: That's not saying, it's just close. Yeah, this is pretty
• 59:18
  close to what I was thinking of. Yeah, yeah, yeah.
• 59:20
  Daniel wandered over to the camera and with a grin,
• 59:22
  he lifted it from the tripod and scanned the dinner table.
• 59:26
  I saw it nearly made me drop my torch. His
• 59:30
  family were long dead, gaunt faces, miss he noses, lips
• 59:35
  that had receded to reveal awful grins. These were corpses
• 59:40
  plain a day. Even when viewed through such a low
• 59:43
  resolution image. The only thing that made them seem remotely
• 59:46
  alive was the way their eyes still reflected the infrared
• 59:49
  back so that they glowed in the dark. Yeah, Daniels
• 59:53
  seemed oblivious to it all, tossled Elliott's hairsed his wife
• 59:58
  on the cheek, across one young girl's shoulder, even picked
• 1:00:03
  the young Alexander up from his high chair, and I
• 1:00:05
  assume he called him. I don't know for sure, because
• 1:00:08
  I looked away. I'm willing to see the poor boy
• 1:00:11
  up close. Eyes averted from the screen. I couldn't help
• 1:00:15
  pan my torch across the same dinner table and shiver
• 1:00:18
  as I finally realized what all those stains were. Not
• 1:00:21
  quite blood, a close liquefying flesh left alone for months.
• 1:00:28
  Daniel had not put his family's bodies to rest. Instead,
• 1:00:31
  he had moved them around from place to place, puppeted
• 1:00:34
  them living life as if nothing had really changed. Looking
• 1:00:38
  at where those stains had settled, I saw a clear
• 1:00:40
  pattern emerge. He had put them to bed, he had
• 1:00:44
  set them dinner, it propped them up to watch TV,
• 1:00:47
  or gave them their favorite books. They even set there
• 1:00:50
  a lifeless husks while Daniel waited for them to complete
• 1:00:53
  a jigsaw. The idea horrified me to my core work.
• 1:00:58
  Speaker 7: It's obviously not a part of the orige. No designs,
• 1:01:01
  no room on the other side, none of the blueprints.
• 1:01:05
  Elliot didn't believe me, and why wouldn't he, and why
• 1:01:07
  would he? I have made every intro this place, but
• 1:01:10
  I had not install that door in the storage on
• 1:01:12
  the bottom level. I checked the cameras and some of
• 1:01:15
  the photos I took during the build, and the walls
• 1:01:17
  is just blank. But the door is there now and
• 1:01:20
  it must lead somewhere. I don't know when or why
• 1:01:23
  it opens, but it does, and the next time I'll
• 1:01:28
  be ready because I have to know what's on the
• 1:01:31
  other side, and why it did this to us alone
• 1:01:34
  down here, often ill asleep at once.
• 1:01:38
  Speaker 3: Anything could have slit our throats and been done with it,
• 1:01:41
  but it didn't. It took its time.
• 1:01:44
  Speaker 7: I have to know why it took our radios and
• 1:01:47
  computers and phones one by one, none of us noticing
• 1:01:51
  until it was far too late. I kept telling the
• 1:01:54
  kids they need to take better care of their things,
• 1:01:56
  and even as they complained, I just assumed the phones
• 1:01:59
  were lying behind some shelf. Where else could they go
• 1:02:04
  in a locked bunker. But it wasn't the children at all.
• 1:02:08
  Looking back, there are so many signs. Who kept taking
• 1:02:12
  away the lights, okayt draining the batteries and our torches.
• 1:02:15
  How long did we live there before we finally realized
• 1:02:17
  we weren't alone. Was it here every step of the way,
• 1:02:21
  the door out of nothing that leads to nowhere, at
• 1:02:24
  least most of the time, because I know for a
• 1:02:26
  fact it does not always open onto a blank wall.
• 1:02:30
  Speaker 3: There is something behind it.
• 1:02:31
  Speaker 7: I can hear it shoveling around there with breath rattling
• 1:02:36
  in its lungs.
• 1:02:37
  Speaker 3: Horri will sound. I hear roaming these halls when it thinks.
• 1:02:41
  Speaker 1: I'm asleep so hard in the bunker. But it's weird.
• 1:02:49
  Speaker 2: It's weird because I don't know if I can trust him,
• 1:02:51
  you know, like I really don't know if I believe Daniel.
• 1:02:54
  Speaker 1: In this, in this deal.
• 1:02:55
  Speaker 2: Because also we have to consider too he brought his
• 1:02:57
  family down and locked them in this bunker. Mm hmmm,
• 1:03:00
  what like they they kind of like, you know, you
• 1:03:02
  know what I mean? So I don't I don't know.
• 1:03:05
  Speaker 1: Maybe there was an end of the world coming, but
• 1:03:08
  like it was prevented somehow because of this. I'm not sure.
• 1:03:11
  Speaker 2: I mean, there is all the calculations and stuff, but
• 1:03:13
  now it seems like it is like this kind of
• 1:03:15
  house of leaves, Like how did this get here? Like
• 1:03:18
  I did not put this here? And I'm wondering if
• 1:03:20
  that's also some of what his uh some of what
• 1:03:24
  his research on the walls, like the.
• 1:03:26
  Speaker 1: Cave pain that that does read kind of house of leaves,
• 1:03:28
  doesn't it the whole?
• 1:03:29
  Speaker 7: Uh?
• 1:03:31
  Speaker 1: What's the fast notion of like what does the door do? Yeah? Yeah,
• 1:03:35
  well this one, this one is much more obvious. But yeah,
• 1:03:38
  will Navidson didn't go in. I mean, he was obsessed
• 1:03:42
  with the door, but he didn't go insane because of
• 1:03:45
  it like this one did. Maybe he's not insane per se.
• 1:03:49
  Maybe he thinks his family still alive. Maybe he's no.
• 1:03:52
  Speaker 2: I think I think he believes they're dead. I mean,
• 1:03:54
  that's why he's also like, that's why they came in
• 1:03:56
  and did what they did to us. I think that
• 1:03:58
  he knows that this thing is there. I think he's
• 1:04:00
  just like.
• 1:04:00
  Speaker 1: He's aware of that family's dead, but he's still playing
• 1:04:03
  puppet with them exactly. I could see that who kept
• 1:04:06
  taking away the lights, who kept draining the batteries. So
• 1:04:10
  that's the idea of being in a bunker and there's
• 1:04:12
  like a shadow, there, an extra thing in there with you.
• 1:04:15
  That makes the writing from earlier makes sense too. Five
• 1:04:17
  doors not six not six doors? Mm hmm, what was
• 1:04:21
  the other thing he said In the midst of that,
• 1:04:22
  he was like, five doors, not six, and then he said,
• 1:04:25
  didn't make it, didn't make it.
• 1:04:27
  Speaker 2: M yeah, which just hamley he said. Here, He's like,
• 1:04:30
  I definitely did not put that in. Oh I didn't
• 1:04:32
  make the sixth door. Yeah, yeah, gotcha, Okay.
• 1:04:35
  Speaker 1: I listened to Daniel, fascinated by this strangely compelling rant
• 1:04:40
  movement caught my eye and for red camera running in
• 1:04:43
  the dark, it's image, a rolling mess of form noise.
• 1:04:48
  What was it? I'd seen? Pause the tape and rewound. Squinting,
• 1:04:54
  I saw two pinpricks of light in the darkness, just
• 1:04:56
  over Daniel's shoulder. Slowly image resolved itself in my mind.
• 1:05:01
  I knew what I was seeing, and it turned my
• 1:05:04
  blood to ice. Randa dvance it turned her head and
• 1:05:08
  her lifeless eyes closed as she fixed them on the
• 1:05:11
  back of Daniel's head.
• 1:05:13
  Speaker 2: Oh my god, not at this stage.
• 1:05:19
  Speaker 7: I'm no doctor, but that door is giving off enough
• 1:05:22
  radiation to well to kill a family of seven.
• 1:05:26
  Speaker 3: If none of us had touched it.
• 1:05:27
  Speaker 7: Being in the same room as risky but not lethal,
• 1:05:30
  But given how sick would become, it's pretty obvious.
• 1:05:33
  Speaker 3: Our curiosity got.
• 1:05:34
  Speaker 7: The better of us one by one and we all.
• 1:05:37
  Speaker 3: Got too close.
• 1:05:39
  Speaker 7: Maybe not remember that thing on the other side came
• 1:05:42
  through and did this.
• 1:05:43
  Speaker 1: I don't even.
• 1:05:46
  Speaker 3: What was.
• 1:05:48
  Speaker 1: Daniel turned the camera stopped recording. The image of Frozen
• 1:05:52
  was of a lone man right as a star in
• 1:05:55
  the camera's lens, facing off against unknowable darkness, broken only
• 1:06:00
  by six pairs of white glowing eyes. Good god, bro Uh,
• 1:06:07
  that's so good. So, by the way, implication that his
• 1:06:10
  family's possessed by something or they're still alive in the
• 1:06:13
  rotting bodies, I'm not sure.
• 1:06:14
  Speaker 2: I mean, like it could be a thing of radiation
• 1:06:16
  poisoning or something like something radioactive is getting them. But
• 1:06:20
  one hundred percent, one million percent, the family is going
• 1:06:24
  to crawl out of that six fucking door like that.
• 1:06:26
  They took the dog and they're going to get our
• 1:06:29
  our protagonist. Yeah, well, by Ripley. You know you were
• 1:06:34
  a good dog.
• 1:06:35
  Speaker 1: You know. I'll miss you dearly. Nice to meet you. Yeah,
• 1:06:39
  I'm glad I got to know you when I did.
• 1:06:41
  But you're you're the.
• 1:06:42
  Speaker 2: Also, it makes it instan why the cops aren't going
• 1:06:45
  back is because it's a fucking radio.
• 1:06:47
  Speaker 1: It's a radioactive mess. The police were like, no, no, no, no, no,
• 1:06:52
  that's okay. Nope. I became painfully aware of my position
• 1:06:56
  relative to the table, and I had the painful premonition
• 1:06:59
  that if I turn, those chairs would not be empty.
• 1:07:02
  I would see the vances, all of them, Daniel as well,
• 1:07:06
  waiting for me. Head's turned, bodies left to rod for
• 1:07:10
  years in the dark. Behind me, something shifted. It breathed
• 1:07:16
  loud quick. I knew what it was. I knew came
• 1:07:21
  at me so fast that when I felt something hot
• 1:07:23
  and wet touched my hand, I screamed, only for the
• 1:07:26
  presence to suddenly recoil, but then, without hesitation, it leapt
• 1:07:31
  at me and bore me to the ground. I wept
• 1:07:33
  as Ripley looked at my face. He was shivering and,
• 1:07:36
  worst of all, silent, which was not normal. He was
• 1:07:40
  not a quiet dog, not when greeting me, and not
• 1:07:42
  when excited like he was now. But whatever he'd seen
• 1:07:46
  down here, he clung to me and Doug's paws into
• 1:07:48
  my shoulders like he wanted to be cradled over the shoulder,
• 1:07:52
  something he had been too big to do for years.
• 1:07:55
  Fucking idiot I cooed in a soft whisper, and even
• 1:07:58
  in the dark, I could feel his tail joking aside.
• 1:08:02
  Felt nothing but relief it finding him.
• 1:08:04
  Speaker 3: Let's get the hell out of here.
• 1:08:06
  Speaker 1: I picked him up, straining a little under the weight,
• 1:08:08
  but refusing to give into tired muscles made for the ladder.
• 1:08:12
  It wasn't easy climbing the three or four rungs to
• 1:08:14
  the hatch, but I managed it and gave the hatch
• 1:08:17
  a shove, first one hand, then two, again and again
• 1:08:21
  with everything I had. Still, the hatch refused to budge shit.
• 1:08:27
  I cried while pounding at it with my fist, but
• 1:08:29
  all I achieved was a sore wrist. The hatch had
• 1:08:32
  jammed when somehow the handle had been snapped clean off.
• 1:08:36
  Now I'd need a pair of plyers or something to
• 1:08:39
  cut through the metal bar locking it shut. My fingers
• 1:08:43
  couldn't move it, nor could I brute force the hatch open.
• 1:08:46
  Metal bar was an inch thick, and at the very
• 1:08:48
  least I need some tools to get at it from
• 1:08:51
  the side. At least it's fixable, I thought. As I
• 1:08:53
  climbed back down and caught my breath on one wall,
• 1:08:57
  I noticed a simple diagram of the bunker made in chalk.
• 1:09:00
  It had three floors. The bottom was storage, and you'll
• 1:09:03
  mention that before. And I noticed that he had drawn
• 1:09:06
  through it with a large red X. And the top
• 1:09:09
  floor was labeled quarters where I stood now, but the
• 1:09:12
  middle floor was labeled workshops. And it was there I
• 1:09:15
  realized that I'd find what I needed. There was one
• 1:09:18
  door that opened onto a concrete stairwell, and standing at
• 1:09:22
  the top, I shone my light down the spiraling guard rails.
• 1:09:25
  Unsure of what it was I hoped to see, there
• 1:09:28
  were only harsh shadows and the sense of something foul
• 1:09:31
  rising up on the air, a smell that tickled my
• 1:09:34
  throat and burned a little in my lungs. Had the
• 1:09:37
  police even gone down this far? They seen what I
• 1:09:41
  had seen on the TV and just left Somehow, I
• 1:09:43
  thought it was unlikely that had been enough to send
• 1:09:46
  the entire Sheriff's department running. So was it something else
• 1:09:50
  that had done it, Something that had been enough to
• 1:09:52
  terrify dozens of armed men, something that was almost definitely
• 1:09:57
  down there? Door went down quietly. At first I considered
• 1:10:03
  leaving Ripley behind, but after losing him the first time,
• 1:10:05
  I decided I'd rather risk it just to know he
• 1:10:08
  was right next to me. Besides, he was being quieter
• 1:10:11
  than I was, and I didn't feel much like going
• 1:10:13
  down those stairs on my own. He accompanied me with
• 1:10:16
  only the quiet click clack of his paws on concrete,
• 1:10:20
  sound I found deeply comforting. So I barely managed to
• 1:10:23
  keep my torch from shaking to my hand and my
• 1:10:25
  breathing steady. Down one floor and I found the workshop
• 1:10:28
  exactly as you might expect, a large space filled with
• 1:10:31
  generators and fuel and water tanks and boilers and heaters
• 1:10:35
  and pretty much anything and everything that you need to
• 1:10:37
  survive which you couldn't put outside due to fallout. Wires, pipes,
• 1:10:43
  and tubes ran from one end of the room to
• 1:10:45
  the other, and even years later, most of the machinery
• 1:10:48
  still hummed in the pitch black emptiness, an idea I
• 1:10:51
  found deeply unsettling. Taking one look at the strange tangle
• 1:10:55
  of harsh shapes and industrial figures looming out of the
• 1:10:58
  walls and floor, I shivered and looked around, quickly, finding
• 1:11:02
  a small area Daniel according off for his own use,
• 1:11:06
  but the fifth of the total floor space. There was
• 1:11:08
  a large work bench and some seriously high end machining equipment,
• 1:11:12
  all very well used lathes, buzzsaws, drills, belt sanders, welding torches,
• 1:11:18
  everything a man needed to do it himself. Daniel had
• 1:11:22
  been busy. I'm not sure exactly what it was he'd
• 1:11:26
  been working, but there was an arm on the bench.
• 1:11:30
  It's a I know it's like a scary visual, but
• 1:11:39
  the reading of all the equipment, I thought he had
• 1:11:41
  been building contraptions, like creatures or something, and it's like
• 1:11:46
  my prized work on arm.
• 1:11:50
  Speaker 2: I wonder do you think it's Do you think it's
• 1:11:52
  a Daniel's arm?
• 1:11:54
  Speaker 1: It could be good chance, very good chance. It set
• 1:11:57
  atop a pile of papers that had slowly turned brown
• 1:11:59
  over the years until the whole thing looked like it
• 1:12:01
  had been soaked in tobacco spit. On the whiteboard was
• 1:12:04
  a faded but still a visible diagram of what looked
• 1:12:07
  to me like a ball and socket joint. I thought
• 1:12:10
  of the tape, Daniel's little mechanism to keep his family upright,
• 1:12:13
  and then looked at the arm and suppressed a momentary
• 1:12:16
  gag reflex. I don't know if Dan had been working
• 1:12:19
  on posable limbs or just a way to put the
• 1:12:21
  decomposing remains back together after they started to fall apart,
• 1:12:25
  but the size of the arm suggested a preteen child.
• 1:12:29
  He left it out on the surface like it was
• 1:12:31
  a disassembled clock. It was also a missing a finger.
• 1:12:36
  Just how crazy was he? I wondered, as I pinched
• 1:12:38
  my nose with one hand and began overturning boxes looking
• 1:12:41
  for a hefty pair of plyers or maybe a hacksaw.
• 1:12:45
  Really backed away from the noise, but once I made
• 1:12:47
  sure he wasn't going anywhere, I carried on, grabbing and
• 1:12:50
  pulling a box after box, hoping i'd find what I
• 1:12:53
  was looking for, anything to break that metal bar. In
• 1:12:58
  the end, I managed to get a pair of bolt cutters,
• 1:13:01
  a crowbar, and a heavy duty pair of plyers. One
• 1:13:04
  went in my pocket, one went down the back of
• 1:13:07
  my jeans, and the other was clutched in my fist,
• 1:13:10
  too large to be tucked away in my clothes. The
• 1:13:12
  bolt cutters felt hefty in my hand, which was a
• 1:13:15
  bit of comfort. The feeling didn't last long. Something moved
• 1:13:19
  in the darkness out there, in the twisted jungle of
• 1:13:22
  shadows cast by all those pipes and wires that ran
• 1:13:25
  from one machine to the next. A figure moved then,
• 1:13:29
  but unmistakably human in its outline. I couldn't help but
• 1:13:33
  remember what I'd seen on that tape. Surely it couldn't
• 1:13:37
  have been real. Maybe Daniel would rigged something up, some
• 1:13:41
  fishing wire and a motor. Maybe the idea that those
• 1:13:44
  bodies had been moving on their own couldn't be sure
• 1:13:47
  of that, could I? It was a frightening idea on
• 1:13:51
  my mind had lashed onto a a sheer panic, that
• 1:13:54
  was all. Then I saw them. A pair of white
• 1:13:59
  pin pricks were selecting back at me from the depths
• 1:14:01
  of that cluttered room. Ripley already behind me, head nuzzled
• 1:14:05
  into my leg, pushed even closer against me, and let
• 1:14:08
  out a barely audible wine under his breath, The behavior
• 1:14:11
  of a dog who was terrified, close to pissing himself
• 1:14:13
  with fear. Just just a bit of metal, I told myself,
• 1:14:17
  as the light shook so violently in my hand I
• 1:14:19
  struggled to see straight. Just two shiny bits of metal.
• 1:14:23
  They blinked and began to come towards God. If I
• 1:14:28
  had any doubts left, they were dispersed by the side
• 1:14:30
  of a pale, white hand emerging into the light, I
• 1:14:34
  ran straight to the stairs and went to climb them.
• 1:14:36
  But only one or two steps in and I saw
• 1:14:38
  something gripping the handrail on the top floor, moldy clump
• 1:14:42
  of flesh only just recognizable as a fist. The flesh
• 1:14:46
  withered until the fingers were basically bone. Without meaning to,
• 1:14:50
  I brought my light up out of habit and saw
• 1:14:52
  the bloated face of a hairless corpse glaring down at me.
• 1:14:57
  I couldn't even tell you if it had been a
• 1:14:58
  teenage scroll or a sixty year old Daniel. Either way,
• 1:15:01
  I instinctively turned and found another body shambling towards me.
• 1:15:05
  Out of the workshop, I was trapped, nowhere to go.
• 1:15:09
  By the feel of warm fluid on the back of
• 1:15:11
  my leg, I could tell ripley it finally pissed himself.
• 1:15:14
  An adult dog tailed between his legs, shivering like a
• 1:15:17
  puppy and desperate to be picked up. God, I needed
• 1:15:20
  him to just stay together for a little longer. I
• 1:15:23
  couldn't take him in my arms, but I couldn't leave
• 1:15:25
  him behind either. With nowhere to go, I ran down
• 1:15:29
  and entered storage. There was a temptation to stop once
• 1:15:32
  I hit the bottom. Down here, the air was thicker
• 1:15:36
  and the sounds of my breathing were muted somehow distant.
• 1:15:40
  But I only had to look back up to see
• 1:15:41
  three pairs of eyes glaring down at me. So without
• 1:15:45
  giving any of it much further thought, I barreled down
• 1:15:47
  the corridor and stumbled onto a door at random. Opening it,
• 1:15:53
  I saw what looked like your standard Sworde room, only
• 1:15:55
  most of the shelves had been overturned and the food
• 1:15:57
  left or rod on the floor. Or two shelving units
• 1:16:01
  were still upright, though, and their shelves were covered in
• 1:16:04
  tall opake boxes that made them a fantastic hiding spot
• 1:16:08
  that I decided would have to be. Where I crouched
• 1:16:11
  down and turned off my light. I was already inside
• 1:16:15
  when I realized that wasn't all that was in there.
• 1:16:19
  The door almost looked normal. I said, what a menacing sentence.
• 1:16:26
  Speaker 4: I I, oh, gosh, this is excellent.
• 1:16:33
  Speaker 1: This story is excellent because it's in my head. I'm like,
• 1:16:35
  there's no way he would ever go further down, but
• 1:16:38
  then you put a threat that makes him go further down,
• 1:16:41
  which lets us see the rest of the layout and stuff,
• 1:16:43
  and also the presentation where we had a map of it,
• 1:16:46
  so we know what's coming while he's in the workshop.
• 1:16:49
  Like it's all it's all very well done. This is
• 1:16:51
  an excellent story. I could see why Daniel must have
• 1:16:54
  been confused by it, because it looked a little bit
• 1:16:56
  like all the other doors down there. But it was
• 1:16:59
  different too. It was too tall and too wide, about
• 1:17:04
  a foot and a half off the ground, and the
• 1:17:06
  metal rested in its entirety like it had aged out
• 1:17:09
  of sink with everything else down there. All around the
• 1:17:12
  jamb was a profusion of wet, soppy moss, like the
• 1:17:15
  kind you find hanging off trees in a swamp, and
• 1:17:17
  every few seconds the door would leaks something strange and oily,
• 1:17:21
  like the kind of thing you find in a parking
• 1:17:24
  lot on a rainy day. Of course, that wasn't too
• 1:17:26
  strange in itself, but the leak was horizontal to find gravity,
• 1:17:31
  so that every few seconds, large glob of the stuff
• 1:17:33
  would whip across the room and slap into the wall opposite,
• 1:17:36
  riding a puddle about the size of a man that
• 1:17:38
  to fight all reason interesting, So it's like gravity's thrown
• 1:17:43
  down there. Remembering Daniel's words about radiation, I instinctively inched
• 1:17:47
  away from this puddle and the door on the opposite wall,
• 1:17:50
  backing myself into the darkest, quietest corner I could. I
• 1:17:54
  pulled Ripley behind me and hoped to hell he wouldn't
• 1:17:56
  give me away. Once I was in there, I turned
• 1:17:58
  off my light and waited. Must have taken longer than
• 1:18:01
  I thought to hide in the spot, because it was
• 1:18:03
  barely two seconds later when a few figures entered the room.
• 1:18:07
  It was pitch black after I turned off my torch,
• 1:18:10
  but they made enough noise to let me know that
• 1:18:12
  at least two of them had stumbled in after me.
• 1:18:15
  I stayed there, unable to see anything, not sure if
• 1:18:18
  they were heading straight for me or just getting ready
• 1:18:21
  to leave, forced to hold out and let luck deside
• 1:18:24
  my fate. When I finally heard something scrape against the
• 1:18:27
  wall barely two feet from where I stood, he gave
• 1:18:30
  up and switched my light on, desperate to know what
• 1:18:32
  was coming for me. Sound had been terribly misleading. Daniel
• 1:18:37
  Vance was no more than six inches from my face. Oh,
• 1:18:46
  he hissed from a toothless and cracked mouth, a living corpse,
• 1:18:50
  just like the others. Somehow, a flash of intelligence were
• 1:18:52
  made in those wide, terrified eyes. And then I heard
• 1:18:56
  it creaking of a door. Without even thank you, I
• 1:19:00
  turned the light and saw it on the wall. I
• 1:19:02
  saw it open. Behind the strange still, there was more
• 1:19:06
  than just plain old concrete, much more. I saw a
• 1:19:10
  raging gullet of flesh, a ring tube of pulsing muscle,
• 1:19:15
  lined with teeth the size of hands, a spiraling to
• 1:19:18
  send into madness. Hot floated air washed into the room,
• 1:19:22
  buffeting me and the rotting corpses, all of us paralyzed
• 1:19:26
  by what we were seeing, even if for most of
• 1:19:28
  the figures, besides Daniel and myself, they didn't have eyes
• 1:19:31
  to see with.
• 1:19:32
  Speaker 3: What the fuck?
• 1:19:34
  Speaker 1: I muttered, unable to take my eyes from the flesh
• 1:19:36
  to beyond the doorway. Daniel whispered as he grabbed me
• 1:19:43
  with one fist and hurled me out of the room.
• 1:19:46
  I hit the floor and skidded along a slick fluid
• 1:19:48
  left by Vance's footprints, the smell of which turned my stomach.
• 1:19:53
  Perhaps the worst detail was that it was cold. I
• 1:19:55
  don't know why. I just expected whatever oozed off of
• 1:19:58
  them to be feverishly hot. It wasn't soaked my shirt
• 1:20:02
  like I'd fallen into a muddy puddle.
• 1:20:04
  Speaker 3: It's coming.
• 1:20:05
  Speaker 1: His voice wasn't Daniel's. I couldn't say for sure, but
• 1:20:08
  it sounded like a child's whisper. One by one, the
• 1:20:11
  body shuffled over to the open door and knelt before it.
• 1:20:15
  I don't know why, but I got the impression. The
• 1:20:16
  others had lost pretty much everything left of their minds,
• 1:20:19
  but Daniel remained aware. He looked back at me once
• 1:20:22
  more and spoke before he pressed his head to the
• 1:20:24
  floor in supplication. With the others, the only thing we
• 1:20:28
  did wrong was big here for it, the torture.
• 1:20:33
  Speaker 3: It didn't need a reason, just an opportunity. It won't
• 1:20:40
  let us go. It won't even let us die. And
• 1:20:45
  if he catches you, it won't let you go either.
• 1:20:49
  Speaker 1: His forehead kissed the dirt, and something reached through the
• 1:20:53
  door and gripped his head in its palm, the way
• 1:20:56
  you or I might pick up an apple. In full panic,
• 1:21:00
  ran over and grabbed my dog in bolt cutters, and
• 1:21:02
  I ran like my legs were pistons machines who signals
• 1:21:05
  of exhaustion and fatigue could not slow me down or
• 1:21:08
  caused me to fall. I had to move, I had
• 1:21:11
  to leave a hand that had grabbed Daniel. The side
• 1:21:14
  of it flushed my mind clean like some kind of enema.
• 1:21:17
  It hurt to see the image for playing my mind.
• 1:21:20
  There was nothing else in my head echoing around except
• 1:21:22
  the side of fingers with one too many knuckles and
• 1:21:25
  nails as large as a smartphone. I reached the top floor,
• 1:21:29
  nearly collapsed from breathlessness, but I wouldn't let myself stay
• 1:21:33
  down for long. I crawled over to the ladder and
• 1:21:35
  climbed up and immediately went to work trying to cut
• 1:21:37
  the metal lock. It was hell with just one hand,
• 1:21:41
  the other clinging to the torch that I kept frantically
• 1:21:43
  pointing at the door behind me. And it wasn't long
• 1:21:45
  before I fumbled one too many times and dropped my
• 1:21:48
  only source of light. No no, no, no no, I mewed.
• 1:21:52
  There was no time to look for it. I had
• 1:21:54
  to get out, and I had to get out fast.
• 1:21:56
  I couldn't see, but I was sure I could hear
• 1:21:58
  something climbing up those stairs. Not the steady thump thump
• 1:22:01
  of human feet. Now this was different. This was a
• 1:22:04
  rapid pitter patter of a spider, maybe something with hundreds
• 1:22:07
  of feet or hands or God knows. What skittering along
• 1:22:10
  the floor and walls and ceiling, pulling itself along with
• 1:22:12
  the body whose merre shape would offend God. Using all
• 1:22:16
  my strength, I leaned hard on the bolt cutters, and
• 1:22:18
  at last the bolt gave I threw the hatch open.
• 1:22:22
  It got just enough ambient light to see Ripley hovering
• 1:22:24
  at the bottom of the ladder, growling ineffectually at the doorway.
• 1:22:29
  Crouched down, scooped him up, and fled up the ladder
• 1:22:31
  so quickly that my muscles turned to jelly at the
• 1:22:34
  top and I fell over onto my hands and knees.
• 1:22:36
  But still I was out. The long corridor covered in
• 1:22:40
  riding was ahead of me, and at the very end
• 1:22:43
  a doorway, capped now by the tired blue light of
• 1:22:46
  him in the full moon. Ripley needed no encouragement. He
• 1:22:50
  whipped down the corridor with canine's feet, and I followed
• 1:22:52
  it a broken and stumbling crawl, eventually shouldering past the
• 1:22:55
  open door and collapsing onto the forest floor. For a
• 1:22:59
  few seconds I drifted in and out of consciousness, But
• 1:23:02
  when I looked up and saw the canopy overhead moving
• 1:23:05
  the branch, just back lit by a full moon, I
• 1:23:08
  snapped awake and glared down at something gripping my ankle.
• 1:23:11
  Oh shit. The hand reached out of the dark and
• 1:23:15
  seized me and was slowly dragging me back into the
• 1:23:17
  earth below. Whatever it was, most of its body lurked
• 1:23:21
  out of sight in the shadows beyond the doorway. But
• 1:23:24
  the hand that crushed my leg was the size of
• 1:23:26
  my torso, an arm that looked like it belonged to
• 1:23:29
  a mole rat.
• 1:23:34
  Speaker 8: God damn it, officer, right, all right, now, that that's
• 1:23:46
  my bear trap.
• 1:23:50
  Speaker 1: That's a bear trap. I've hit two heavy ones this episode.
• 1:23:55
  That one was like a that was like a prophetic pull.
• 1:23:59
  Oh my gosh. Oh, I know it's a blying like
• 1:24:04
  under dwellers and stuff like that. But just the fact
• 1:24:06
  that that prought up, Oh his equation did in fact
• 1:24:12
  say mole people. I struck it with my own fist.
• 1:24:15
  I dug my nails in. I cried and kicked and screamed,
• 1:24:18
  but nothing could stop it. From behind the door, something
• 1:24:21
  like a face grinned and leered at me with joy.
• 1:24:24
  It was taking its time, sure enough, pulling me in
• 1:24:26
  so slowly that it gave my mind all the time
• 1:24:29
  in the world to appreciate the nightmare that awaited me.
• 1:24:32
  I think, if in that moment you're giving me a gun,
• 1:24:35
  I would have shot myself. Because God helped me. I
• 1:24:37
  couldn't escape the look in Daniel's eyes. Now he knelt
• 1:24:40
  to worship this thing like a man who knew that
• 1:24:42
  hope or pride, or joy, or anything with even a
• 1:24:44
  hint of goodness to it was so far out of
• 1:24:47
  reach for him it might as well be a dream.
• 1:24:49
  How long was this thing going to keep them down there?
• 1:24:52
  How long did it intend to keep me? I wept
• 1:24:55
  like a child, feeling like my mind was slowly crackling,
• 1:24:58
  as I tried everything to stop from pulling me into
• 1:25:01
  the shadows. I kicked at the earth. I dug into it,
• 1:25:04
  using my hands, looking for a root or a pipe
• 1:25:06
  or anything to hold on to. Nothing nothing I did
• 1:25:10
  would slow it down. I was no more than a
• 1:25:13
  foot from the doorway when Ripley appeared. A dog afraid
• 1:25:16
  of hoovers and plastic bags and doors that move on
• 1:25:19
  their own, dog who once got stared down by a
• 1:25:23
  particularly feisty rabbit, who stopped midchase and turned around, baffling
• 1:25:27
  the predator on his tail. Dog you couldn't even watch
• 1:25:30
  scary movies around and he launched at the arm like
• 1:25:34
  he was a wolf, hey, you know, like he'd always
• 1:25:37
  been one had a boy ripley. While he didn't quite
• 1:25:41
  break the skin, the pressure was enough to make the
• 1:25:43
  things grip weaken, and I slid my leg out. Unable
• 1:25:47
  to stand, I knelt and grabbed the dog, pulled as
• 1:25:50
  hard as I could, and now that thing bled at last,
• 1:25:53
  as the pressure of the jaws and the sliding teeth
• 1:25:55
  ripped into its flesh together last ripley, and I let go, said,
• 1:26:01
  rolling backwards, head over heels. I wasted no time waiting
• 1:26:05
  or looking processing. I heaved the dog to my chest
• 1:26:09
  and crawled until I passed out, making it maybe half
• 1:26:12
  a kilometer away. Only when I could no longer see
• 1:26:16
  the door did I let myself fall to the ground,
• 1:26:18
  face first, give up consciousness. The doctor said I had pneumonia,
• 1:26:23
  which I suppose made some kind of sense. I might
• 1:26:26
  have even believed them were it not for the sheriff's visit,
• 1:26:29
  asking strange questions of me as I lay in bed
• 1:26:32
  about what I may or may not have seen. I
• 1:26:36
  dismissed them to the best of my ability. I wasn't
• 1:26:39
  interested in chasing that particular nightmare down figuring out if
• 1:26:43
  it had been real or not, at least not while
• 1:26:45
  I lay there half drowned in my own infection. To
• 1:26:49
  be fair, I had at least some sympathy for why
• 1:26:52
  the police had done so little to seal that place off.
• 1:26:55
  I have, on occasion thought about going and doing the
• 1:26:58
  job myself, But to say, I still have nightmares about
• 1:27:01
  being pulled into the dark beyond that door, not just
• 1:27:04
  the bunker door, the one I narrowly avoided at the end,
• 1:27:08
  with the one below. What I saw was a kind
• 1:27:11
  of madness, I'm sure of it, and often think of
• 1:27:15
  Daniel's words.
• 1:27:17
  Speaker 3: It didn't need a reason, just an opportunity.
• 1:27:20
  Speaker 1: Somehow, the vances were that opportunity. Maybe they've built their
• 1:27:24
  bunker on the lay line, or a weak spot between dimensions,
• 1:27:28
  or the side of former Satanic rituals. Not sure if
• 1:27:32
  it even matters. They went into the dark thinking it'd
• 1:27:35
  be a safe place to wait out the world's troubles.
• 1:27:38
  But something had been down there waiting for them, waiting
• 1:27:41
  for a chance to get out, A family of seven
• 1:27:43
  people to lock them in and deprive them of escape
• 1:27:46
  and slowly take from them everything it could. I've moved
• 1:27:50
  since then, couldn't help it. It wasn't just the memories,
• 1:27:54
  you see. It was a short wave radio I kept
• 1:27:56
  in my basement, something my father passed on to me
• 1:28:00
  when I was just a boy. God, I'd forgotten about it,
• 1:28:03
  at least until I woke up one day to the
• 1:28:05
  sound of a blaring white noise down in the dark.
• 1:28:09
  Buried in that sound was the faint whispering of a man,
• 1:28:12
  his voice fairly recognizable, but unmistakeably is. And that is
• 1:28:27
  the end. Did you read? Did you read the Let
• 1:28:30
  Them Go? Yeah? I did? Okay, Wow? Uh my god.
• 1:28:40
  Speaker 2: One thing I love about Chrishian Wallace's work is the pacing.
• 1:28:44
  But not only that, but the way that he does
• 1:28:46
  exposition and the build up to where like he spends
• 1:28:49
  It seems like he spends a lot of the very
• 1:28:51
  beginning of the stories instead of just being like I'm
• 1:28:53
  going down to this deal, and then you get a
• 1:28:55
  lot of the exposition of like oh yeah, like when
• 1:28:57
  you're down there, you get the exposition. It's like I
• 1:29:00
  like that you get a lot of this like a
• 1:29:02
  little bit of backstory, exposition of what's happening, and then
• 1:29:05
  it just seems like also my dog, and I think
• 1:29:08
  it just takes it takes a turn. It's like my
• 1:29:10
  dog went missing and he's down in that very bunker.
• 1:29:14
  That's a fun way to present that.
• 1:29:16
  Speaker 1: Yeah, all the little because sometimes story writers have trouble
• 1:29:20
  with their connectors. It's like I want the character to
• 1:29:23
  do this, and I want them to see this thing,
• 1:29:26
  and they need to go here, and it needs to
• 1:29:27
  be this, but it needs to be believable, and sometimes
• 1:29:30
  the things that will push the character to those different
• 1:29:33
  points doesn't work as well. But Christian Wallace doesn't have
• 1:29:37
  that problem because it's like, okay, well he loves this dog.
• 1:29:40
  He establishes how much he loves the dog, so he
• 1:29:42
  goes into the first layer. Well, now he's trapped. He
• 1:29:45
  has to go the second to get supplies, and now
• 1:29:47
  he has to go the third because there's something on
• 1:29:49
  the second. So it's everything flows very well and you
• 1:29:53
  get to see all the set pieces and it feels
• 1:29:55
  natural and it keeps attention up. There's never a point
• 1:29:57
  where you're like, well, I don't know about that, because
• 1:29:59
  a lesser story teller would be like I was in
• 1:30:03
  the first floor, but I had to know what happened
• 1:30:04
  to the family. So I go down to the second
• 1:30:06
  where it's like, sure, we the reader wants to know
• 1:30:08
  what happened to the family, but no way this guy would, right,
• 1:30:13
  So everything feels very reasonable. Well why do you think that?
• 1:30:16
  Why do you think the TV just turned on randomly? There?
• 1:30:21
  I feel like I almost feel like I missed a
• 1:30:22
  line or like I'm forgetting a line about.
• 1:30:24
  Speaker 2: Like yeah, I feel like I'm maybe I didn't read
• 1:30:26
  it right. I wonder if in the shadow of the
• 1:30:28
  guy turned it on or something, or what it seems
• 1:30:31
  like knowing that Daniel is down there, he's still which
• 1:30:34
  also I just want to say, how God, how like
• 1:30:39
  daunting and horrifying is that of like your family? Your
• 1:30:43
  family are husk Like they're basically just zombies that just
• 1:30:46
  won't die, right, and you are rotting with them and
• 1:30:51
  you're but you're still conscious and you're still able to
• 1:30:53
  understand all of this shit. And I love that Daniel's
• 1:30:57
  character was not used as a vessel to like kill.
• 1:31:01
  He was used as a vessel to be like, get
• 1:31:03
  the fuck out of here, don't end up like us,
• 1:31:05
  which is which is kind of interesting too, because the
• 1:31:09
  parallel of like Daniel and his family were doomsday preppers.
• 1:31:13
  They went and they went into the dark to hide
• 1:31:15
  for the troubles of the world, right, but they found
• 1:31:17
  a bunch of evil or whatever. It almost seems it's
• 1:31:20
  just it's like a it's like a fun way for
• 1:31:22
  that character who did that to go out and just
• 1:31:25
  be like, don't live your life like this and like
• 1:31:27
  basically like get out of here, which I think still
• 1:31:30
  to me translates to.
• 1:31:31
  Speaker 1: Something of like don't live in fear and get out
• 1:31:33
  of get out of yea, this place, you know what
• 1:31:36
  I mean? What was the there was a picture of
• 1:31:45
  what am I trying to think of? It was why
• 1:31:52
  am I stupid? I was about to say something and
• 1:31:54
  then I completely I hate it when that happens. Yeh oh. Yeah.
• 1:31:57
  The door opened up and it was like a throat, right,
• 1:32:01
  it was like this thing of twists that reminded me
• 1:32:05
  of Dianea House a lot. Yeah, Diania House.
• 1:32:09
  Speaker 3: I know that.
• 1:32:09
  Speaker 2: I say this probably every other fucking podcast, but the
• 1:32:12
  Final Prayer or something where it's like an entity living
• 1:32:15
  in the hills, living in the ground or something.
• 1:32:18
  Speaker 1: And there's an arm or something comes out of it
• 1:32:20
  and it's like it's like keeping them in a purgatory.
• 1:32:23
  I like that thing that Daniel says. It didn't need
• 1:32:26
  a reason, just an opportunity. It's just something that causes
• 1:32:29
  you know, it's just eve death, misery, decay. Yeah, it's
• 1:32:31
  a pure it's a pure wickedness, which goes off of
• 1:32:34
  what you were saying. How it's like the family was
• 1:32:37
  paranoid of the world, something going wrong with it, but
• 1:32:39
  then they found the essence of wrong down in their
• 1:32:42
  hiding hole, right, yeah, well in the hiding hole.
• 1:32:46
  Speaker 2: I think that it's interesting that the creature the sixth
• 1:32:49
  Door is like an appendage. It almost seems like of
• 1:32:52
  this thing. Yeah, that just appears, so it's like uncanny.
• 1:32:55
  It's like luring people in. But it's like you are
• 1:32:57
  trying to hide from the unknowns, from like an unknown precedent,
• 1:33:01
  like an unknown accident that would happen, right, You're trying
• 1:33:04
  to prepare yourself for something that could happen, and then
• 1:33:06
  of course the thing they go down there for they're
• 1:33:07
  completely unprepared for.
• 1:33:09
  Speaker 1: I think it's just kind of an interesting I also
• 1:33:12
  like the uh which this is. This is gonna sound
• 1:33:16
  really rude. People aren't gonna be happy with this. My
• 1:33:19
  one critique is I think the dog should have died.
• 1:33:25
  I knew it. I knew. I knew you would, you would,
• 1:33:27
  you would fall in line.
• 1:33:28
  Speaker 2: I know what's the weird it is because I I
• 1:33:30
  am so happy the dog didn't die.
• 1:33:33
  Speaker 1: My heartuse Here's why, because here's why. Here's why. Because
• 1:33:37
  there is a cautionary aura to the family, right, Like
• 1:33:45
  they feared the world, so they hid from the world,
• 1:33:48
  and they found something beneath the world, right, And we
• 1:33:52
  see Daniel who is being punished for that and is
• 1:33:58
  witnessing the punishment of his family, right. Because it's almost
• 1:34:02
  a curse, or it is a curse that he keeps
• 1:34:05
  his consciousness right, Like if he has made it to
• 1:34:07
  some mindless zomnie puppet thing, that'd probably be better than
• 1:34:10
  the alternative where he's completely aware of what's going on,
• 1:34:13
  that his family's down there. Even in the final moments
• 1:34:15
  of the story when he's listening to a shortwave radio
• 1:34:19
  and he can hear Daniel saying let them go, let
• 1:34:21
  them go, he has to watch his family be kept
• 1:34:24
  in this puppet state, which is like a hell of
• 1:34:27
  it's literally a hell of his own making, right, and
• 1:34:31
  then there is a weird connection established between Daniel and
• 1:34:37
  our author because similarly, the author went into this bunker
• 1:34:43
  for something he loves, right the dog. So we have
• 1:34:48
  Daniel goes down there to preserve something he loves, and
• 1:34:51
  we have the author that goes down there to preserve
• 1:34:53
  something he loves. But in both cases going down there
• 1:34:56
  is a narratively moral wrong right, do not go into
• 1:35:02
  the bunker, do not go away. Maybe for author it
• 1:35:05
  wasn't necessarily to escape the world, but he is going
• 1:35:07
  into something he knows he shouldn't go into, right, even
• 1:35:11
  if it's for good reasons, to help what he wants.
• 1:35:13
  So that scene where Daniel's speaking to the author and
• 1:35:16
  he's like, get out of here, that is like Daniel
• 1:35:20
  getting the author to do what he could not to leave.
• 1:35:22
  But nevertheless our author goes in. So I feel like
• 1:35:26
  if in that final moment where the dog came over
• 1:35:28
  and bit the hand, and then if then the dog
• 1:35:30
  was dragged down and maybe our author passes out or
• 1:35:34
  gets away or whatever and the police find him, it's like, yeah,
• 1:35:39
  because he wanted to go down there something he loved
• 1:35:43
  paid the price. I feel like that would be the
• 1:35:44
  final bow tie between him and Daniel, I feel like
• 1:35:47
  it work better. I feel like it's a bit too
• 1:35:48
  easy for him to go down there and there'd be
• 1:35:50
  no consequences, right, Oh sure, No.
• 1:35:52
  Speaker 2: I mean I you know, I think going on top
• 1:35:54
  of that too, like I think like and this is
• 1:35:57
  all hindsight whatever, just subjective, but like sure, sure Daniel
• 1:36:02
  being more of like maybe not like less of us,
• 1:36:06
  Like picturing him up too is like he was just
• 1:36:09
  like you know, like basically like not a mentally unwell man,
• 1:36:13
  but just something where it's like expecting the worst. Always
• 1:36:16
  he believed that it was going to go. It was
• 1:36:17
  more of a detriment, right Uh. And then that way
• 1:36:21
  later when he's sitting there with his dead family, it
• 1:36:24
  almost feels like you infect and you burden your family
• 1:36:27
  with that kind of mentality, or you change them, you
• 1:36:30
  zombified them into that state of belief or something, right,
• 1:36:33
  the same way that with our protagonist, it would have
• 1:36:37
  been something funny if it were not funny, but it
• 1:36:39
  would have been something entertaining if he was a conspiratorial
• 1:36:43
  guy as well, except maybe like doomsday, he was just like,
• 1:36:46
  they're not telling us these things. It's another case that
• 1:36:48
  they're just covering up or whatever some type of conspiratorial
• 1:36:52
  thing to where he goes down into the bunker, which
• 1:36:55
  is similar to Daniel going down for his own reasons,
• 1:36:58
  and then he has to like have that kind of price,
• 1:37:01
  basically having some kind of motive to where our protagonist
• 1:37:04
  could learn where Daniel could not, like the ying and Yang,
• 1:37:07
  I think, need to have the opposites right there. It
• 1:37:11
  would have probably felt a bit more satisfying or something
• 1:37:14
  where it's just like, don't go digging for things that.
• 1:37:16
  Speaker 1: Are going to get you in trouble or YadA YadA YadA.
• 1:37:19
  Speaker 2: Which I'm paraphrasing and it probably sounds stupid, but I dude,
• 1:37:21
  I agree, is what I'm saying with you. I think
• 1:37:23
  like it is a bit too convenient of like I'm
• 1:37:25
  going down here. I do wish that they had a
• 1:37:27
  bit more motive of being like this is there's just
• 1:37:30
  something weird, or like these fucking cops are covering something up,
• 1:37:34
  something that is more about like something larger than himself
• 1:37:37
  is putting others in risk, the same way that like
• 1:37:40
  a doomsday thing of like an Adam baumb dropping or
• 1:37:43
  something and fending for yourself or helping your family.
• 1:37:46
  Speaker 1: I feel like it's also a bit like the dog
• 1:37:51
  bides it and then it bleeds and it lets go.
• 1:37:53
  It's like, okay, so this is a creature that you
• 1:37:55
  can hurt and you can make a bled in stuff.
• 1:37:57
  I think it makes more sense if the dog biting
• 1:38:00
  it was more of a sacrifice. It would have sacrifice.
• 1:38:06
  It would be heavier if the dog it's not like
• 1:38:08
  the thing bleeds. The dogs just like, oh okay, I'll
• 1:38:10
  take this instead, So it'd be like the dog's sacrifice
• 1:38:14
  in itself to say, but which it kind of does, well,
• 1:38:16
  put myself on the line to bite him.
• 1:38:18
  Speaker 2: I think that if you have the dog get like
• 1:38:20
  an ounce of courage, because it's kind of a funny
• 1:38:22
  character growth for the doll, like you know, dog's a
• 1:38:25
  big whimp and then he steps up. But if it
• 1:38:27
  does nothing, it's still like a noble gesture. I thought
• 1:38:30
  that what it was going to happen is Daniel was
• 1:38:32
  going to pop up and like grab it or something.
• 1:38:35
  The dog try no, no, no, the monster, oh.
• 1:38:38
  Speaker 1: The monster, Like he was going to bring it down
• 1:38:39
  with him.
• 1:38:40
  Speaker 7: Yeah.
• 1:38:40
  Speaker 2: Yeah, something of just being like this is my burden
• 1:38:42
  to carry and he sits off like that kind of
• 1:38:45
  thing Like to me, that would have been also a
• 1:38:47
  fun way to like tie that together, because yeah, I agree,
• 1:38:51
  then it just feels like it's the thing, isn't it
• 1:38:54
  wasn't hurt or something, because yeah, with these like big
• 1:38:58
  I don't know, like mon stress, deity kind of things
• 1:39:03
  you almost want to see. Like to me, it's always
• 1:39:05
  effective when it's like man made things cannot hurt this thing,
• 1:39:07
  like a human being could do nothing to this source.
• 1:39:11
  Which is also why it feels like, of course he
• 1:39:13
  like bows to it because also it might be like
• 1:39:15
  fucking with his family or something, and of course Daniel's
• 1:39:18
  going to do where he can just to keep.
• 1:39:20
  Speaker 1: Yeah, he can't. He can't do anything other than supplicate himself.
• 1:39:24
  Speaker 4: There's no resistance. Yeah, I think.
• 1:39:28
  Speaker 1: I also want to clarify that my critiques of the
• 1:39:31
  story saying the dog should die, because I feel I
• 1:39:34
  feel bad sometimes when I read a great story and
• 1:39:35
  I spend most of the time talking about critique. The
• 1:39:37
  reason that's all I have to talk about is because
• 1:39:39
  everything else about the story banged. The workshop segment, the house,
• 1:39:43
  the living room, the like, it was excellent.
• 1:39:46
  Speaker 2: It was such a It's also it's also just part
• 1:39:48
  of the to me, that's part of the fun of
• 1:39:51
  reading a story. I mean, how many times you've seen
• 1:39:53
  the movie stuff you're talking about things and you're just like,
• 1:39:55
  it would have been cool if they would have done this.
• 1:39:57
  Speaker 1: Yeah, it's just the idea because I enjoyed it.
• 1:40:00
  Speaker 2: It's definitely not undermining or trying to undermine the work.
• 1:40:02
  It's just something of like, these are just like little
• 1:40:04
  subjective thoughts because also you can implement these things and
• 1:40:06
  they could suck, you know, like who knows, it's just
• 1:40:09
  fun to riff and all that kind of stuff.
• 1:40:11
  Speaker 1: So I definitely, uh, you know, with these things. I
• 1:40:14
  will say this, I am a proponent in most media
• 1:40:17
  that the dogs should probably die more often because dogs
• 1:40:22
  are like an untouchable thing for people do because they're
• 1:40:28
  the ultimate persona of innocence. But if the point of
• 1:40:31
  your story is that the personification of innocence is being injured,
• 1:40:35
  then it you have to kill the thing that is
• 1:40:38
  totally innocent. Right. The best example of that at which
• 1:40:43
  I didn't even realize this happened until I try to
• 1:40:44
  watch the movie with my wife, who hates it when
• 1:40:46
  dogs die in movies, and No Country for Old Men,
• 1:40:49
  like Three Dogs die, And it makes sense in that
• 1:40:52
  movie because the whole movie is about the laws of
• 1:40:55
  good good guy, bad guy, you know, the share of
• 1:40:58
  writing and to clean up the town. That doesn't work here,
• 1:41:01
  Like things die even if they don't deserve it. So
• 1:41:03
  the dogs die in their works. And I feel like
• 1:41:05
  there's too many horror movies that can get through with
• 1:41:08
  like a message like that and it be effective, but
• 1:41:10
  they won't kill the dog because people are going to
• 1:41:12
  be uncomfortable about it, because people need to feel comfortable
• 1:41:16
  in a genre that the root word is horrific.
• 1:41:20
  Speaker 2: And it drives me a lot. Yeah, I mean I
• 1:41:23
  see where you're coming from. I think it all just
• 1:41:25
  comes down to, like what is the point. It's kind
• 1:41:28
  of I think it's the same thing of like I
• 1:41:30
  don't know, having like sexually sexual assault in the movie,
• 1:41:34
  or like you know, child death. There's these things that
• 1:41:37
  are just kind of untouchable, things that are just like
• 1:41:39
  you shouldn't include them. It's I will say cruel, but
• 1:41:42
  I mean I think that it just it just comes
• 1:41:45
  down to the intention. Like if you just randomly kill
• 1:41:47
  these things, you randomly do this stuff, it feels like
• 1:41:49
  a fetish or it feels like you're fetishizing something and
• 1:41:51
  it's for it's like more for the director. I know,
• 1:41:54
  like a critique that my wife has with a lot
• 1:41:56
  of stuff that has like overly sexual assault type stuff,
• 1:42:00
  it feels like it's a fetish for the director or
• 1:42:01
  it feels like it's for men or something, which I agree.
• 1:42:04
  But I do think that there's elements where it is
• 1:42:07
  like important, it is a horrific thing that can happen,
• 1:42:10
  But it's the same thing with like a dog death
• 1:42:11
  or something. Does it Is it just like a cheap
• 1:42:13
  way to make you feel something?
• 1:42:15
  Speaker 1: Yeah, yeah, well I think honestly, I feel like modern
• 1:42:19
  movies are more liable to kill a kid than they
• 1:42:22
  would a dog. Yeah, And I feel like that's weird.
• 1:42:26
  I feel I don't like that.
• 1:42:28
  Speaker 2: Well, you even see it in like social media posts
• 1:42:31
  too about people, like you'll hear like it's something where
• 1:42:34
  it's like the Ruby Frankie thing where she like abused
• 1:42:36
  her children or whatever that was big media attention. But
• 1:42:39
  like sometimes I still feel like you hear about like
• 1:42:42
  somebody like like a dog abuser will be hung from
• 1:42:46
  the gallows before like a person that child.
• 1:42:48
  Speaker 1: Hit their kids, like a YouTuber who hits their kids
• 1:42:51
  or something like that, which is just clarify. They're both bad,
• 1:42:53
  they're both awful.
• 1:42:54
  Speaker 2: It's good, but it's just crazy that a human lie.
• 1:42:57
  It's just it's just that there's a weird.
• 1:42:58
  Speaker 1: There's a weird disparity between like innocence of like the
• 1:43:01
  young and innocence of animals. Yeah, they're both innocent, but
• 1:43:05
  it's weird that people are so uncomfortable by the death
• 1:43:08
  of an animal and not the death of a child
• 1:43:10
  a lot of times in horror movie senses, which I
• 1:43:12
  don't know, there's probably some greater conversation to be had
• 1:43:14
  with that. Yeah, I feel like the dog should die more.
• 1:43:16
  Speaker 4: I feel like not, it shouldn't be gratuitous, Like anything
• 1:43:20
  should be gratuitous. So I feel like, if I think
• 1:43:22
  the purpose of your stories is a loss of innocence,
• 1:43:24
  and you have to lose the innocence, you know.
• 1:43:26
  Speaker 2: I think yeah, And I think that the only way
• 1:43:29
  I think I agree with you on that because in
• 1:43:30
  this one, I do like that the dog stepped up,
• 1:43:32
  like just as like this short film went, because this
• 1:43:35
  was like a very punchy short story. I liked that
• 1:43:38
  the dog made it out. It was a nice ending,
• 1:43:40
  even though like him coming there and all that stuff
• 1:43:42
  is his fault. I think that you have him get
• 1:43:44
  stripped of that if if he went there for a
• 1:43:47
  selfish or like like some kind of reason that is,
• 1:43:51
  like you should plenty of signs warned that you shouldn't
• 1:43:53
  have went down there, which there was a couple here.
• 1:43:55
  But I do think like if he was a guy
• 1:43:58
  that was just like fuck this, I'm doing it anyways,
• 1:44:00
  they're hiding something blah blah blah, and you that loss
• 1:44:04
  has to stay with you forever. I think it feels
• 1:44:05
  so much more like deserve, like this is like a punishment.
• 1:44:08
  This is something that like you could have avoided this
• 1:44:10
  if you just stepped out of your own way, if
• 1:44:12
  you weren't so selfish, YadA YadA YadA, that kind of stuff.
• 1:44:15
  Speaker 1: But I mean, I don't know.
• 1:44:15
  Speaker 2: People might totally agree with you too, and some people
• 1:44:18
  I know will get comments being like, you know, it
• 1:44:20
  just seems gratuitous. There should never be a reason for it.
• 1:44:23
  But I think that that's all open for discussion. And
• 1:44:25
  that's the thing too, is it's all subjective, you know,
• 1:44:27
  like it's just your opinion and what you think and
• 1:44:29
  all that kind of stuff.
• 1:44:30
  Speaker 1: So I'll say a couple notes, Like I remember with
• 1:44:35
  the dog dying thing. I was writing this story one time.
• 1:44:38
  I was telling Cale about it and I had a
• 1:44:40
  dog dining in there. She's like, you can't do that,
• 1:44:42
  and I'm like, well, it's like a flesh thing that
• 1:44:45
  consumes all, like consumed the family and all the wildlife
• 1:44:48
  and stuff like that around the house. So you know,
• 1:44:51
  the family had a Dog's asked you the dog and
• 1:44:53
  she was like, well, you can't kill the dog. I'm like, okay,
• 1:44:55
  so you want it to kill everything but the dog.
• 1:44:57
  She's like, yeah, you have to write a reason why
• 1:44:59
  it didn't kill the dog. I'm like, that's stupid. But
• 1:45:04
  also I'm reading through the comments of the post and
• 1:45:08
  someone raised an interesting point. They're like, perhaps Daniel did
• 1:45:13
  find a way to survive the apocalypse that's about to come,
• 1:45:17
  like his family has immortality now, but it's not the way,
• 1:45:21
  which is an interesting thought.
• 1:45:24
  Speaker 3: Yeah.
• 1:45:25
  Speaker 1: Yeah, like he felt like he did find equation, like oh,
• 1:45:26
  if we build a bunker here, if we do this,
• 1:45:29
  we'll survive to come into apocalypse. And they will. It's
• 1:45:31
  just not in a good way. Also, I'd say all
• 1:45:36
  that stuff about the dog dying, and I'm like, who's
• 1:45:39
  this for? Why would they kill the dog?
• 1:45:41
  Speaker 4: And then I read I read some of these comments
• 1:45:44
  and then where's that one that cracked me up? It
• 1:45:47
  was like I was starting to do the same thing
• 1:45:50
  here until the paragraph about Ripley.
• 1:45:52
  Speaker 1: I audibly went, well, I do that. I would do
• 1:45:54
  the exact same thing to save my dogg oh from
• 1:45:56
  being stuck somewhere. Yeah, it's definitely me, you know. I mean,
• 1:46:02
  it's just that there, It's it's pure innocence. You know. Also,
• 1:46:08
  there's multiple people asking what the last part about the
• 1:46:11
  radio meant and if they could get some clarification about
• 1:46:14
  the radio, and it's like, okay, maybe you can't kill
• 1:46:16
  the dog. Maybe these people would get way too fired
• 1:46:19
  up if you killed the dog, would you know? People
• 1:46:22
  people fucking they get they do. It's it's it's fucking
• 1:46:25
  I'm not Yeah, I'm not critiquing Christian Wallace for not
• 1:46:28
  killing the dog because the because like people get mad
• 1:46:32
  about it. I'm critiquing the audiences to be like, you
• 1:46:35
  gotta let the dog die more. You gotta just be
• 1:46:37
  okay with some dog deaths. Okay, I love dogs too,
• 1:46:40
  but I also love people and when I read a
• 1:46:42
  horror story, they both got to go. That's just part
• 1:46:45
  of they both got to go.
• 1:46:47
  Speaker 2: Nobody bats an eye when a guy gets his fucking
• 1:46:49
  head blown off.
• 1:46:50
  Speaker 1: For sure. You know how many horrific mutile mutilations of
• 1:46:54
  men I've seen in movies, and believe it or not,
• 1:46:57
  all of my guy friends men. So oh, you know,
• 1:47:00
  maybe I don't want that to happen to him. I
• 1:47:03
  don't want that to happen to dogs. Show me it
• 1:47:05
  in a movie.
• 1:47:06
  Speaker 2: So I'm glad though Christian Wallace three for three, man,
• 1:47:09
  what I think we've.
• 1:47:10
  Speaker 1: Covered more than three of his I am positive we've
• 1:47:15
  covered more than three of his Well, if.
• 1:47:16
  Speaker 2: We have that, I mean it's fuck. He's a perfect
• 1:47:18
  hitter in my book right now, I think that there
• 1:47:20
  are great leaders too, at least for reading. You know,
• 1:47:23
  I know, I know, like a lot of people that
• 1:47:24
  listen to this podcast, they really want longer, big episodes.
• 1:47:27
  But like somebody that can can that can like give
• 1:47:30
  a story in such a in such a fucking lean,
• 1:47:34
  punchy like it just doesn't have a lot of fat.
• 1:47:37
  Speaker 1: It's just like right to the jugular.
• 1:47:39
  Speaker 2: I think it's just extremely impressive and it just makes
• 1:47:42
  for like a fun, casual reading like this is the great,
• 1:47:44
  which is also why I want to say, be sure
• 1:47:46
  to pick up if you are interested in more of
• 1:47:48
  like reading his stuff, be sure to support his uh
• 1:47:51
  his book. Well, like I said, we'll leave it at
• 1:47:53
  the description. Blow, these are going to be like just
• 1:47:55
  such fun like you know, you're you're at work or
• 1:47:59
  before bed or all that kind of stuff. He's just
• 1:48:01
  like real fun, easy like that, easily digestible stories that
• 1:48:04
  I think leave a really fun uh mystery or you know,
• 1:48:08
  they leave a nice thought loop in your head of
• 1:48:10
  just thinking about the story.
• 1:48:13
  Speaker 1: Yeah, the guy is like man, he punches with some stuff.
• 1:48:15
  He's an all the time. Oh yeah, the one about
• 1:48:17
  the deer meat, the daddy didn't dear meat. That was
• 1:48:19
  Christian Wallace.
• 1:48:20
  Speaker 2: Yeah, okay, so she's got four. Yeah, we've you know
• 1:48:24
  what though, it's been a while. It's it's easily been
• 1:48:26
  like I feel like a year since we've read one
• 1:48:28
  of his things.
• 1:48:29
  Speaker 1: Well, the deer meat one wasn't a year ago. But
• 1:48:31
  other than that, oh oh sorry, yeah then whatever, but
• 1:48:35
  don't ignore everything you said. Yeah, I don't know.
• 1:48:38
  Speaker 2: I thought I thought we were talking about another story.
• 1:48:40
  But the Uh yeah, it's good stuff. What can I say?
• 1:48:43
  Thanks for listening on audio platforms, guys, We appreciate you. Also,
• 1:48:46
  thank you to our patrons for uh supporting the channel
• 1:48:49
  and getting all the bonus episodes. We appreciate that as well.
• 1:48:52
  Until the next time, guys, be sure to check out
• 1:48:54
  Christian Wallace's website. Will leave some links to his website
• 1:48:58
  or where you can find his book below, and uh,
• 1:49:00
  just support the author. You know, if it wasn't for them,
• 1:49:02
  we wouldn't be reading the story.
• 1:49:03
  Speaker 1: So until next time, guys, stay creeped. We see you
• 1:49:06
  the next one, stay creeped, and uh look, just gotta
• 1:49:09
  kill the dog. Okay, got kill the dog mores, So
• 1:49:12
  get on that. Thank you
• 1:50:00
  Speaker 4: Then then then then damask