Latest / INSPIRE STORY / Borrasca Pt.2

Transcript

Borrasca Pt.2 · INSPIRE STORY

• 0:18
  Speaker 1: Welcome back to God, Welcome back to creep Cast. How
• 0:22
  y'all doing today? Is the part two of Braska. If
• 0:27
  you have not seen part one yet and you're lost
• 0:29
  in this story, please go back to part one and
• 0:31
  see it. Because this story is broken up into four parts,
• 0:34
  and we're just splitting it into two parts. I know
• 0:36
  it's kind of confusing whenever I say like that, but
• 0:38
  Part one and two are covered in our first episode
• 0:41
  on Braska, and this is covering part three and four.
• 0:44
  So if you have not, if you're not caught up,
• 0:47
  this is a big, big story, you're gonna be extremely lost.
• 0:50
  So I do recommend you go and hop over there.
• 0:53
  That being said, Wendy, can you give us a recap
• 0:58
  of where we left off? And I want to do
• 1:00
  a little recap when he went off, and then I
• 1:02
  want to also hypothesize on where I think it's going
• 1:07
  to go from here, because what people don't for people
• 1:10
  who don't know or who need to get caught up
• 1:12
  as well. I have never read this before, Windygoon has,
• 1:16
  so it's kind of me playing the guessing game and
• 1:21
  kind of trying to piece this giant puzzle along as
• 1:24
  we read this and Windygoon knows all the answers, and
• 1:27
  he's just giggling like a schoolgirl. Yeah, yeah, my demise.
• 1:31
  Speaker 2: I'm the only one who knows what's going to happen here,
• 1:33
  and it makes me so happy that you are hopelessly
• 1:37
  scared and I have no idea what's going on. What's
• 1:39
  funny is he came to me and he was like, Hey,
• 1:41
  the audience is interested and here in part two, so
• 1:43
  let's get that recorded this week. But I think what
• 1:45
  it actually is is he just needs to know what happened.
• 1:49
  Speaker 1: That is I cannot lie. That is I don't want
• 1:53
  to wait. I do want to know. And also the
• 1:55
  general excitement of people also wanting to know what happens
• 1:58
  in part two, because there's a lot of people who
• 1:59
  are like me that don't know what's going on with
• 2:01
  the story. I will say on social media, I have
• 2:03
  been resisting looking at stuff. People online who have been
• 2:07
  tweeting us and stuff like that have really been they
• 2:10
  jumped the gun and they already read the other parts
• 2:12
  and they're just like why. So I've been resisting anything
• 2:15
  for any kind of spoiler indication. I haven't looked at anything.
• 2:19
  So I am I'm excited, But people are thirsty for it.
• 2:23
  Speaker 2: Yeah, I'll go ahead and say to both you and
• 2:25
  the audience, I'm sorry that I knew where this is
• 2:29
  going from the get go, and you'll know what I
• 2:33
  mean later, but I apologize anyway. In Part one in
• 2:37
  Creek Cast Part one, in our coverage over we covered
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  the first two parts of Braska. Basically, we have this
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  boy named Sam. The story begins when he's very young,
• 2:46
  like nine years old. He meets a couple friends in town.
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  Everything's going fine until one day his friends take him
• 2:53
  to a thing called the Triple Tree that seems to
• 2:56
  imply there's some kind of mystique to the area they
• 2:58
  live in. And then, sure enough, seemingly after visiting the
• 3:01
  Triple Tree, Sam's older sister, Whitney, disappears. It then cuts
• 3:07
  in part two to several years later, still living in
• 3:10
  the same town, Sam has begun to obsess over Whitney.
• 3:13
  We start to see more details of the town's kind
• 3:17
  of falling apart. We hear about the history that there
• 3:19
  used to be an old mine up in the hills
• 3:21
  that was destroyed after people perished in it. We hear
• 3:25
  that there's these various families who have political control over
• 3:29
  the town. We continue to see that there's more and
• 3:32
  more signs that something's amiss in the city. And where
• 3:36
  we ended at the end of part two is that
• 3:38
  Sam's friend Kimber, who is now dating their mutual friend Kyle,
• 3:43
  Kimber's mother jumped off the roof of a hospital, and
• 3:47
  that is where we ended at part two. So a
• 3:50
  very lovely stopping point for part three.
• 3:53
  Speaker 1: Yeah, very emotional. I mean these both the parts have
• 3:58
  ended in a very cliff I wouldn't say well cliffhanger
• 4:01
  in a way, but very dramatic, very like tension heavy
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  endings that are I mean, like pretty devastating, I mean,
• 4:11
  but pretty much two acts of loss so far. And
• 4:13
  I guess before we get into it, and I know
• 4:15
  I don't want to delay it any longer, but I
• 4:17
  will say I just wanted to put this at the
• 4:18
  top of my predictions are where I'm at with it
• 4:21
  so far, which in the town, there is the Triple
• 4:26
  Tree that is this like mysterious place. It's very large,
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  it's very elaborate. People go there. There's you know, there's
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  the marking on top of the door that says gates
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  to Hell one and there's this grinding sound that comes
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  from the mountains or from the trees or mines or
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  wherever in this town that people kind of just accept
• 4:44
  and they're like, Oh, it just is what it is.
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  But it is creepy nonetheless, and people are scared of it. Yeah,
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  there's too much emphasis on the local lore and there's
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  too much I don't I can tell you still from
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  the top upon reflection the dad, I'm still not trusting
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  the dad. The dad is moving along with things. I
• 5:05
  don't know if it's like that he doesn't care that
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  his daughter's gone or something, but I feel like out
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  of their family, which you know, usually in these situations
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  with loss, usually one parent kind of has to man
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  the ship and keep things going because the mom is
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  obviously she's mentally kind of checked out. She's very upset
• 5:23
  over Whitney's being gone. But I just don't trust the dad.
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  I can't put a pinpoint on it. But it's just
• 5:29
  the way that he has reciprocated the information that his
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  daughter's gone, even the way knowing that for sure that
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  she didn't run away with an ex boyfriend, which was
• 5:36
  a conspiracy that was kind of perpetrated through law enforcement
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  in the town. It just doesn't add up to me.
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  I don't know if it's a cold lead. I don't
• 5:45
  want to know if it's cold lead. But to me,
• 5:48
  there's something bigger. This story feels like the guilt of
• 5:51
  our fathers, is what it feels like to me. With
• 5:54
  the press God being introduced to the old man in
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  the nursing home, who kind of was very adamant that
• 5:59
  he had to do what he had to do for
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  the town, that it's his town. He's very adamant, you know,
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  even the prescott who owns the sandwich shop that no
• 6:10
  one wants to eat the sandwiches. It's very clear that
• 6:13
  no one wants to eat sandwiches. That's fine, But it's
• 6:18
  just feeling like the guilt of our fathers. And I'm
• 6:20
  wondering what these people are doing in a way that
• 6:23
  is so corruptible. I think that the minds are so
• 6:28
  heavily emphasized as well that I think that we are
• 6:31
  leading down a road where the minds are still active
• 6:34
  in some way or in some kind of some kind
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  of malicious event is happening that the town itself are
• 6:42
  very aware of. That, the children are naive of that.
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  They might even be you know, as you get older,
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  you get accepted into this kind of guilt or kind
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  of circle that we're finding. So that is I'm curious
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  to see where it goes. That's just where my mind
• 6:55
  is leading right now. And I'm very curious to see
• 6:57
  where it's going to be by the end of this,
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  and we're going to find out today, and I'm extremely excited. So,
• 7:01
  without further ado, why don't we get into the beginning
• 7:05
  of Baroska Part three.
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  Speaker 2: Let's get into it. You a little devil. You're gonna
• 7:08
  have a great time. Don't worry.
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  Speaker 1: I'm stoked. Do you want to start it off?
• 7:12
  Speaker 2: Sure, I'll kick it off. Why not?
• 7:14
  Speaker 1: Yeah?
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  Speaker 2: Stood? So again, this is picking up right after the
• 7:18
  tragedy that befell Kimber's mother. Do you think she blames herself?
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  I don't know, man, Probably I stretched out the reclined
• 7:26
  seat of my Chevy and pulled the bill of my
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  hat lower over my eyes. But do you think she's okay?
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  I didn't answer him. I certainly had it been okay
• 7:35
  when Whitney died and Kimber was even closer to her
• 7:37
  mom than I was to my sister, she was definitely
• 7:41
  not okay. Sam. Seriously, I'm freaking out here. It's been
• 7:46
  two days. I pushed my hat up off my face
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  and looked over at Kyle, who was admittedly a wreck.
• 7:52
  His eyes were bloodshot, his face sallow. Is that shallow
• 7:57
  or something?
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  Speaker 1: I think it's supposed to be a shallow Yeah, she
• 8:02
  saw them.
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  Speaker 2: Like, what is a sallo? Okay? Anyway? Sorry, his eyes
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  were bloodshot, his face shallow, and his red hair was creasy. Dude,
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  her mom committed un alive. Yeah, thank you. You know
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  how close Kimber was to her mom. She just needs
• 8:20
  some time, but she'll be okay. She hasn't answered any
• 8:23
  of my text re calls. I've left her like nine voicemails. Man,
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  I think I'm going crazy. You just have to give
• 8:29
  her space. Yeah, but she's my my He still couldn't
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  say it around me. I'm supposed to be looking after her.
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  I set up and pulled the chair up right behind me. Look, Kyle,
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  I know you want to help Kimber, and I want
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  to help Kimber too, But she hasn't answered our calls,
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  been to school, or come to the door when we've
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  stopped by her house. She doesn't want to see us
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  right now, and we have to be Okay with that
• 8:54
  right now, Kimber knows what's best for Kimber. What about
• 8:58
  the I'm alive? Ain't that I have to say that?
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  But yeah, what about the unalive note? You think that
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  has something to do with it? I sighed, we don't
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  even know if there was a note. Kimber's dad was
• 9:11
  upset and messed up when he said that, and it's
• 9:13
  possible I misheard him anyway. I asked my dad, and
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  he said there was no letter, right, because your dad's
• 9:19
  such a beacon of truth one man, even Kyle picks
• 9:23
  up on Sam's dad being a bit.
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  Speaker 1: Sup Yeah, it's just, uh, we haven't had that much
• 9:30
  that his dad, you know, has been I guess at
• 9:34
  fault or whatever. But if the other kids are trying
• 9:37
  to or like see it as well, that's just extremely suspicious.
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  I just I don't trust him. I don't know why,
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  but yeah.
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  Speaker 2: I agree. I agree off of the content, of course,
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  off of no information I'm given later in the story.
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  Just off of you know, current context clues, that's sure.
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  One look at Kyle told me he'd immediately regretted his words.
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  I shrugged. I don't know what to believe anymore. The
• 9:59
  truth was that I knew it. I heard mister Destero
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  had said something to the cops about a letter, but
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  I couldn't tell Kyle that, not right now. He was
• 10:08
  already worried that his relationship with Kimber was part of
• 10:10
  the reason her mom had been so depressed. I'd ask
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  my dad about the letter when he come home after
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  that long night, and he'd sighed and both of his
• 10:18
  hands through his hair in a tired way and said, Sam,
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  I don't know what to tell you. And Astero didn't
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  leave a note, And this is the first I've heard
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  of it. With our best friend in mourning and our
• 10:29
  investigation on hold, Kyle and I had been existing in
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  a sort of suspended state. We went to school intermittently,
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  skipping classes here and there, missing end of year test,
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  and smoking more weed than either of us could afford.
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  Without Kimber there to send us straight and keep us
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  in line, we were lethargic, brooding, and irresponsible. I never
• 10:50
  realized how much I relied on her. Colin and I
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  skipped the last two periods of the day and debated
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  on whether we should even go to school tomorrow, which
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  was the last day of our sophomore year. We finally
• 11:01
  decided to show up for second period, which I was
• 11:03
  glad we did because Kimber showed up in biology. I
• 11:08
  didn't even see her at first. I had my head
• 11:10
  down on my desk, resting on folded arms. When I
• 11:13
  felt a meek hand pat my shoulder. I turned around
• 11:16
  to see her standing there, looking unsure and uncomfortable. I
• 11:20
  gave her half a smile and pulled her into a hug.
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  But it wasn't a super comforting, not at all awkward
• 11:26
  Kimber hug. It was a longer, weaker hug, and I
• 11:29
  felt so protective in it that I was sad when
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  it was over. How are you doing, kay, I asked her.
• 11:36
  When she finally released me. Kimber wiped a tear off
• 11:39
  her cheek. I'm okay, and she gave me a wobbly smile,
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  and I knew it wasn't true. I wrapped her into
• 11:45
  a quick hug as Phoebe Dranger gave us a snotty look.
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  Have you seen Kyle yet? No? I have next period
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  with him. He's been worried about you, I know, she said,
• 11:57
  sliding her eyes to the floor. Things have been really
• 12:01
  hard for me at home. It's okay. I said, we're
• 12:05
  here for whatever you need. Yeah, that's that's what I
• 12:09
  was hoping, whatever you need. So we have here Kimber
• 12:15
  and Sam kind of having this reuniting. There's been that
• 12:18
  hint since the first couple chapters that Sam kind of
• 12:22
  has a thing for Kimber, but he's kind of like, well,
• 12:25
  that's my that's my friend's girlfriend. I don't want to
• 12:27
  you know, chase that trail obviously.
• 12:29
  Speaker 1: Yeah. On top of that, though, he it seems like
• 12:33
  Kyle refuses to say that he's Kimber's girlfriend that's true
• 12:37
  to him and like in front of Sam, which is
• 12:42
  it's it's a weird kind of thing. I it feels
• 12:44
  like there's some kind of jealousy or tension building there.
• 12:49
  We're getting a lot of separation between our main characters
• 12:51
  now too. Yeah, like these these conflicts are really like
• 12:54
  there's been a lot of pushback between Sam and Kyle.
• 12:57
  It doesn't seem as friendly anymore. I think they're a
• 13:00
  lot of like truths from their you know, with their
• 13:03
  chest that they would typically hold off. You know. It's
• 13:08
  just interesting. It feels like there's a division happening and
• 13:11
  the the the cracks are beginning to form. And I
• 13:14
  think if kimber decides to stay to get closer with
• 13:17
  Sam here, I do wonder what kind of uh, what
• 13:21
  kind of pitfall that could be for Kyle later down,
• 13:26
  like if that will send him spiraling into some kind
• 13:29
  of crazy.
• 13:30
  Speaker 2: Yeah, it's it's a weird environment when you can't tell
• 13:34
  you know your friend that you're dating, right, It's just
• 13:38
  it's kind of uncomfy all around.
• 13:41
  Speaker 1: Well, part of me and this is just me wondering
• 13:44
  is if Kyle doesn't trust his dad either and stuff?
• 13:48
  How how truthful has Kyle been to Sam this whole time?
• 13:52
  What is he not telling him or not wanting to
• 13:54
  die bulge because he doesn't want he doesn't want Sam's
• 13:57
  dad to maybe know of things or anything like that,
• 13:59
  which I don't know if it's necessarily the extent of
• 14:02
  like I don't want him to know that I'm dating Kimberly. Yeah, yeah,
• 14:05
  but I do wonder how much of stuff are you
• 14:07
  holding to your chest because you might be suspicious of
• 14:11
  this person or you might not want to fully let
• 14:13
  somebody know about something, you know what I mean?
• 14:15
  Speaker 2: Yeah, Yeah, that's a good point. Okay, So we could
• 14:19
  continue on let's skip a paragraph, because the next paragraph
• 14:22
  is describing like Kimber talking to Sam saying that they
• 14:26
  shouldn't have skipped class to get stone, but then they
• 14:28
  reunite when it says as soon as Kyle saw her
• 14:31
  from down the hall, he slammed his locker shut and
• 14:33
  walked towards us with such intensity that I began to
• 14:36
  wonder if maybe he was mad. He pushed past a
• 14:39
  dozen people without so much as glancing at them, and
• 14:41
  left a curious, if annoyed crowd in his wake. When
• 14:45
  he finally reached us, Kyle threw his backpack against the
• 14:47
  wall and swooped Kimber up in the sort of way
• 14:50
  you'd see in old black and white movies. Everyone who
• 14:53
  watched all this unfold, including me, groaned in unison.
• 14:59
  Speaker 1: Yeah nice.
• 15:00
  Speaker 2: Uh that that's a very, that's a very like Kyle
• 15:03
  strikes me is the kind of guy who's like, oh,
• 15:05
  I know, I'll make up for all this with a
• 15:08
  grand show of whatever, right.
• 15:11
  Speaker 1: Like, yeah, grand gesture, and how romantic this is? I
• 15:15
  really am gonna be This is so romantic. And then
• 15:18
  now it's you know, there's there's no way to not
• 15:20
  feel like loved, and you know, have this kind of
• 15:25
  like compassion, you know what I mean. That's just gestures
• 15:29
  that it's true. It's true. That's all they want. That
• 15:33
  That's what every rom com has ever told us.
• 15:35
  Speaker 2: Yeah, that's our advice. Like, if there's a girl who
• 15:38
  you may been like, you may be having problems with
• 15:40
  your lady or whatever, just ignore everything she says to
• 15:43
  fix it and just make a scene in.
• 15:46
  Speaker 1: Public, make an extremely public scene that puts as much
• 15:49
  attention on you both as possible, and then scream in
• 15:53
  her face I love you as many times until she
• 15:55
  reciper fits back. That's that's the best thing class love
• 16:00
  story out. I love you, I love you, I love you.
• 16:03
  Speaker 2: Please plase, plase, plase place.
• 16:05
  Speaker 1: Please let me, please let me, please let me.
• 16:10
  Speaker 2: Yeah uh so yeah. Anyway, so they have a they
• 16:16
  go to class together. Everything seems fine, but then they
• 16:20
  start to feel a little uneasy because there's a lot
• 16:22
  of unresolved tension in the air. And eventually Kyle says it. Says, well,
• 16:28
  Kyle begins Kimber. He said, quietly, did your mom leave
• 16:32
  a letter? What Kimber asked, in surprise, I heard your
• 16:37
  dad talking about a letter on the day that on
• 16:40
  the day on Tuesday, I said, oh. As we waited
• 16:44
  for her to continue the bell ring for lunch, everyone
• 16:46
  filed out of the room, but the three of us
• 16:48
  stayed still sitting on our desks. Kimber I finally said.
• 16:52
  She sighed sadly and looked over at Kyle. Yes, what
• 16:57
  did it say? He asked nervously. I don't know. I
• 17:01
  haven't seen it. I asked my dad for it when
• 17:04
  we got home, and he said I misheard him and
• 17:08
  there was no letter.
• 17:09
  Speaker 1: He said, not liar, liar, these dads. What I'm telling you, dude,
• 17:14
  it's it's it's I don't want to disrupt this, but
• 17:17
  it is the guilt of our fathers. What is happening
• 17:20
  in this town. Lies, God, damn you lies.
• 17:25
  Speaker 2: I can't for those who don't know, By the way,
• 17:27
  will you record? I can't see Hunter. It's just an
• 17:30
  audio call. So in my head, he's been sitting there
• 17:33
  eating popcorn. And then, as I said, I's like, no
• 17:37
  throwing it at the camera.
• 17:38
  Speaker 1: Most lie. Mostly I'm mostly sitting here like just forcing
• 17:43
  all the blood to my face, just like reading this clenched,
• 17:46
  clenched fist, just wanting to be like you're you're a liar.
• 17:50
  Speaker 2: It's you know, you know, Sins of the Father is
• 17:57
  actually a pretty good like uh underline for this whole series.
• 18:03
  But well we'll get to that. We'll get to that.
• 18:06
  So yeah, what what you said? Liar? Right? For real?
• 18:11
  Speaker 1: Yeah? Sorry, no, you misheard me. There was no note.
• 18:14
  It's like you came right up to me and said,
• 18:16
  your mother left a note. I was like, no, no,
• 18:19
  you actually misheard that. Though what I actually said was
• 18:21
  there was lizagna in the in the fridge. Yeah, oh
• 18:27
  it's pronounced lasagna.
• 18:28
  Speaker 2: Yeah, the old classic, your mom left a note, slash,
• 18:31
  there's lasagna in the fridge. Mix up, get some every time.
• 18:34
  It's a classic.
• 18:35
  Speaker 1: Your mom thought she was a dove and jumped off
• 18:37
  the top of the roof and unlive there self. But
• 18:39
  there's definitely lasagna in the fridge. I definitely didn't say
• 18:42
  anything else.
• 18:42
  Speaker 2: Yeah, that's what happened to Lincoln. You know that is
• 18:45
  exactly what.
• 18:45
  Speaker 1: Happened to Lincoln. Yet your father was shot in the
• 18:49
  back of the head. What I said, there's I said,
• 18:52
  there's romana cheese in the fridge. God, what is wrong
• 18:56
  with your ears?
• 18:58
  Speaker 2: Also, Dad's dead, but that's unrelated to what I just
• 19:04
  that's but there's Ramona, so you know this is really
• 19:09
  one of those you know, upside downside scenarios. Anyway, So
• 19:16
  since I asked my dad for it when we got
• 19:19
  home and he said I misheard him and there was
• 19:20
  no letter, he said not to mention it to anyone
• 19:22
  else or I just upset people. Well, then we both
• 19:26
  misheard him, I said, which seems unlikely. I've known my
• 19:30
  dad all my life and I know when he's lying.
• 19:34
  People start to filter in for next period slighting sympathetic
• 19:37
  glances at Kimber, since it was our lunch.
• 19:40
  Speaker 1: Go ahead, one second. Sorry, I've known my dad all
• 19:43
  my life and I know when he's lying. Is that
• 19:44
  to insinuate she's saying that he's telling the truth.
• 19:46
  Speaker 2: No, I feel like that, because then she'd say my
• 19:49
  dad's not a lie or something. But when she's like
• 19:51
  I've known him all my life and I know when
• 19:53
  he's lying, I think that's her way of saying, like, yeah,
• 19:56
  I knew he was lying when he said it to me.
• 19:59
  Speaker 1: Okay, yeah, all right, just making.
• 20:01
  Speaker 2: Sure because initially if Kimber said sorry, I when asked,
• 20:06
  so she she's.
• 20:08
  Speaker 1: One, okay, because I was gonna say if she denied
• 20:11
  that he was lying there it would it would raise
• 20:13
  suspicion character to me, I think, but no, Okay, yeah, okay.
• 20:19
  Speaker 2: So it's as filter and experience. Since it was our
• 20:22
  lunch period, we gathered up our things and walked out
• 20:24
  to my car, as we always did, I sent in
• 20:25
  the back seat, letting Colin Kimber take the front. Kimber
• 20:28
  took a deep breath and continued, I know my dad
• 20:31
  is lying, and I know he has the letter. See
• 20:33
  there you.
• 20:33
  Speaker 1: Okay, I really I really should have just waited one's
• 20:37
  the next should I should have waited one literal line
• 20:41
  of dialogue? Okay, I'm going to shut the fuck up.
• 20:44
  I'm sorry.
• 20:44
  Speaker 2: Well, I know that popcorn is fun to throw. Okay,
• 20:55
  are you sure? Kyle asked. I could tell he was
• 20:58
  still terrified that some of the blame on him. Yeah,
• 21:01
  and I know it contains the name Prescott. I think
• 21:04
  I even know where it is. Oohoo, fascinating. Okay, Prescott,
• 21:10
  for those who don't remember from part one, is the
• 21:12
  main family runs the town. The grandfather, which is the
• 21:15
  old man they went to see in the nursing home.
• 21:18
  Speaker 1: So it's also yeah, the family of the people that
• 21:20
  were Sam were so the sandwich shop, he owns him.
• 21:22
  It's pretty much the like the family of the town. Yeah,
• 21:25
  I kind of own everything.
• 21:26
  Speaker 2: Yeah Prescott. Yet somehow I wasn't that surprised. He was
• 21:31
  the access around which everything that was bad orbited. How
• 21:35
  do you know it? Says Prescott. Kyle asked, I heard
• 21:37
  my dad reading it once. I think he reads it
• 21:39
  a lot. Actually he was sort of sobbing and whispering
• 21:42
  the words and throwing things in his office. My dad
• 21:46
  he hasn't been well. Do you think she was having
• 21:49
  an affair with Jimmy Prescott? I shook my head. No,
• 21:53
  I'm guessing you need to think bigger than that, Kyle.
• 21:55
  I like Kyle though. I like Kyle. He's like, ah, yes,
• 21:58
  an affair classic.
• 22:01
  Speaker 1: Yeah, it's the It's the brilliant part of the story
• 22:05
  I like is it's it keeps. I mean, it's real,
• 22:07
  you know, I mean, like, this is what I imagine
• 22:09
  a sixteen year old would be thinking, Oh, fuck, your
• 22:12
  mom's fucking another guy. Gotten down. Yeah that makes sense,
• 22:15
  you know. Yeah, you're but Jimmy Prescott, Yeah, he's ugly
• 22:19
  as fuck, but he's got a lot of money. It's like, no,
• 22:21
  of course, yeah.
• 22:23
  Speaker 2: This haam would shop owner gets the ladies every time.
• 22:28
  Speaker 1: Yeah, you know, I like how you sell six rice
• 22:30
  sandwiches every every year. No, the uh what's interesting here
• 22:36
  is I'm and I don't want to keep hypothesizing. This
• 22:39
  is me just I want to just put it out
• 22:40
  there as that goes out. But I'm like wondering if
• 22:43
  all the other men in town, and specifically the fathers
• 22:46
  are in they're doing something with the Prescott family. It's
• 22:51
  some kind of ritual something that is like, uh, a
• 22:56
  bond between these dads and the moms know about it,
• 23:00
  but they're not able to infiltrate it either, and it's
• 23:03
  like it's causing some kind of huge guilt. I would
• 23:06
  not be surprised if Sam's mom has the same fate.
• 23:09
  Is something coming up to me? It's like that that's
• 23:11
  where my mind is going that I feel like Sam's mom,
• 23:13
  something's gonna happen to her too.
• 23:14
  Speaker 2: But OK, fascinating, Okay, so let's I can't say anything.
• 23:21
  I just have to be like, wow, that's cool anyway,
• 23:23
  Like I I'm sorry, no, no, no, no, that the
• 23:26
  railing is perfect. That's what we're here for. If it
• 23:28
  was just us reading the story with no interruptions, then
• 23:31
  we might as well upload this as like an audiobook, right,
• 23:34
  so yeah, yeah, interruptions are good. Interruptions are good. So anyway,
• 23:40
  uh so, he Sam says, we need to think bigger
• 23:44
  than that, and then the story continues. I agree, Kimber said,
• 23:47
  to her hands in her lap. With everything we know
• 23:50
  about the Prescott's, I'm fairly sure this isn't about an affair.
• 23:54
  It's all connected somehow. Don't you think my dad was
• 23:57
  the love of my mom's life, but she only left
• 24:00
  letter for me. I think that's somehow. I'm the one
• 24:04
  she wronged, not him, you know. I think she did
• 24:08
  something to me, or or maybe she did it because
• 24:12
  of me. Kimber's voice broke over the lasson ands and
• 24:15
  Kyle pulled her over, kissed the top of her head,
• 24:17
  and whispered words to her that I couldn't hear. So
• 24:21
  we need to get the letter, I said, after giving
• 24:23
  them a minute, Yes, I really need to read it.
• 24:27
  Kimber's voice was still wobbly. How do we get it?
• 24:30
  I asked, If it's in the office, we just need
• 24:33
  to wait until her dad sent home. Kyle said, as
• 24:35
  he looked out the window. You don't think I thought
• 24:37
  of that, Kimber side. He never leaves his office, not
• 24:40
  since we got home from the hospital. He sleeps in there,
• 24:44
  so we need to get him out. No, we need
• 24:46
  to get me in. Tomorrow's my mom's funeral and half
• 24:50
  of Drisking will be there, including my dad. Of course,
• 24:53
  I need to leave him. I need to leave without
• 24:56
  him noticing and run home so I can get through
• 24:58
  the office. Okay, that's easy, I said, without my dad noticing,
• 25:03
  and I need to be back by the end of
• 25:04
  the service. We both nodded, but stayed silent because it
• 25:07
  looked like Kimber was Waite was weighing, saying more, Oh,
• 25:11
  it was Wayne like thinking about it. Yeah, I'm done. Okay,
• 25:14
  yeah that.
• 25:15
  Speaker 1: She was weighing, safe for she got much fatter.
• 25:18
  Speaker 2: I'm so stupid, like Wayne, that's not the word.
• 25:22
  Speaker 1: But yeah, it is.
• 25:26
  Speaker 2: My dad. He's been very cold, and I think I
• 25:30
  think he blames me. Kimber finally said, that's bullshit, Kyle spat.
• 25:35
  Can you guys help me? Absolutely? Of course, So I
• 25:39
  like too that this is like, like, sure, she's going
• 25:42
  behind her dad's back, but the reasons for it are justifiable.
• 25:45
  You know, there's a letter to her that he can't
• 25:48
  read or that she can't read, and like, sure she
• 25:52
  needs to possibly manipulate her mother's funeral to get it done.
• 25:55
  But it's understandable.
• 25:57
  Speaker 1: Yeah, but you would you would assume that if it's
• 25:59
  if your mom's funeral and she made you a letter
• 26:02
  that is trying to tell you something, the last thing
• 26:04
  your mom's ever going to tell you, and you haven't
• 26:06
  said it yet, that's a justifiable reason to where I
• 26:09
  feel like even your mom would be like you need
• 26:11
  to go do that, especially if the dad is hold
• 26:16
  I mean like holding this thing hostage. I mean, for
• 26:18
  God's sakes, he's sleeping in the office. It's like, it's
• 26:21
  just crazy. I mean, the only thing that concerns me
• 26:24
  is I'm wondering if they're going to go there and
• 26:26
  be like, oh, he took it with him, you know
• 26:27
  what I mean, like that, if he's that obsessed with it,
• 26:30
  that's that's where my thing would be. But to not
• 26:33
  have which you know, I think that this is a
• 26:35
  good plan though too. I think the dad is going
• 26:37
  to be devastated. I think he's going to be you know,
• 26:40
  at this funeral, probably completely void of thought, just filled
• 26:46
  with emotion. I think that this is the time to
• 26:48
  implement this kind of strategy if it's going to happen,
• 26:51
  especially if you've heard the name Prescott. There's just too
• 26:54
  much on the line not to try this.
• 26:56
  Speaker 2: So yeah, yeah, absolutely, So we'll skip a few paragraphs. Again,
• 27:03
  we highly recommend you read this story for yourself, but
• 27:06
  we're trying to stick to like the main plot points. Basically,
• 27:08
  what happens in some of these paragraphs in between is
• 27:11
  they make a plan together that what they're gonna do
• 27:14
  is during the funeral, Kimber is going to go to
• 27:17
  the bathroom and then she's going to text Kyle that
• 27:20
  she's having a breakdown, and then Kyle will go to
• 27:22
  comfort her. Kyle and Kimber will drive home get the letter,
• 27:26
  while Sam says at the funeral effectively to keep watch
• 27:30
  to make sure her dad doesn't get suspicious. So other
• 27:34
  than that, there's some stuff about that. He goes into
• 27:36
  work Monday, and Mira seems to be in a better
• 27:38
  mood and lets him go early, probably feeling sympathetic, you know,
• 27:42
  for the kid whose friend just went through this. And
• 27:46
  eventually it says and Destero's funeral was at an Episcopalian
• 27:49
  church on the other side of town. I fixed Kyle
• 27:52
  up at nine and saw he was also wearing a
• 27:54
  suit of his dad's, though he didn't fit it nearly
• 27:57
  as well, and he was constantly pulling at the sleeves
• 27:59
  and readjusting waistline. Unfortunately for Kyle, he was much smaller
• 28:03
  than his dad. We parked as far away from the
• 28:05
  church as possible, where we hope no one would notice
• 28:07
  a car leaving. When we went inside the church, we
• 28:10
  saw that Kimber wouldn't have to do much acting to
• 28:13
  convince people she was having to break down. We found
• 28:16
  her at the back of the room, tucked into a
• 28:17
  chair and a puddle of curly orange hair and tears.
• 28:22
  Kyle sat next to her and pulled her into a hug. Kimber,
• 28:26
  what's wrong? I kicked his foot and shot him a
• 28:28
  look that said, really, yeah, thank you.
• 28:36
  Speaker 1: Kimber is just big. Put in the ground. It's not
• 28:39
  a big what's wrong baby? What's going on?
• 28:42
  Speaker 2: What? Yoh?
• 28:43
  Speaker 1: What the hell did you? Did you see that open casket?
• 28:46
  You see an open casket? Did your mom's blooded? It's weird, bro?
• 28:50
  What does her body look like that, she's all gross
• 28:53
  and her eyes are called buggy. It's weird, Kimber, What
• 28:56
  the hell's going on with you though? Is it your
• 28:59
  time of the month or something? Timber? For real, this
• 29:01
  is just how it's gonna be. You realize we have
• 29:03
  a play today, right?
• 29:04
  Speaker 2: How are you going to fake crime? If you keep
• 29:06
  this up? Gosh, you get it together.
• 29:09
  Speaker 1: Hey baby, I know that it's you know, I know
• 29:11
  that this is probably an act, but you need to
• 29:13
  get get your game face on.
• 29:14
  Speaker 2: Okay.
• 29:14
  Speaker 1: When you find that letter, it's like, God, dude, so
• 29:20
  so oblivious throughout all of his stories. It's so just
• 29:23
  fucking oblivious.
• 29:24
  Speaker 2: I love it into a funeral then his girlfriend's mom
• 29:29
  died and he goes, what's wrong, girl, Kyle?
• 29:35
  Speaker 1: What's wrong?
• 29:36
  Speaker 2: Kyle is one of the boys. He is the most
• 29:39
  dude bro definitely ever.
• 29:42
  Speaker 1: Especially he's just like viciously pulling up his like big
• 29:44
  ass pants and his like like oversized jacket. He looks
• 29:48
  like he looks like that one Talking Head concert where
• 29:50
  they have like the giant suits on. He's like, Kimber, what, ladies,
• 29:55
  I want you to imagine that your mom dies and
• 29:58
  then at your funeral your boyfrien friend walks in wearing
• 30:01
  a suit that doesn't fit him and goes, what's wrong
• 30:03
  with you? Especially? I walked up. Oh my god, what happened?
• 30:10
  Speaker 2: What so? What someone die around here or something?
• 30:14
  Speaker 1: Oh my god, did someone else die? Oh? It's just
• 30:17
  your mom, your psychopath mom. Okay, well that's wrong.
• 30:23
  Speaker 2: Oh her, You've had like three days to know about her.
• 30:26
  Why are you crying over it now?
• 30:28
  Speaker 1: Got your mom jumped off the roof three days ago?
• 30:30
  Get over it? God? I love, I love, I love
• 30:34
  the line. I kicked his foot and shot him a
• 30:36
  look and said really, And Kyle bit his lipping and
• 30:38
  he's I mean, I mean a fuck god dash.
• 30:46
  Speaker 2: Kyle's like stupid, stupid, stupid.
• 30:48
  Speaker 1: Yeah, goat, Oh God, Kyle. As he's done, he's hitting
• 30:53
  his head. Why do you do this?
• 30:59
  Speaker 2: Kyle's my favorite? Okay, all right, back to the funeral.
• 31:04
  There's no there's no hell, there's no one here, Kimber
• 31:09
  whispered against his chest. My mom grew up here, she
• 31:12
  had hundreds of friends in this town, and no one came.
• 31:16
  We looked around, and I had to admit. The turnout
• 31:19
  was sparse. A few groups of three or four people
• 31:22
  standing together Kimber's dad, who sat in a chair opposite
• 31:25
  the room of his daughter with his head in his hands,
• 31:27
  and some family I recognized from barbecues at Kimber's house.
• 31:31
  Ex Sheriff Clary and his wife Grace were there, standing
• 31:34
  with a few of my dad's deputies and talking quietly
• 31:36
  in the corner. I could see why Kimber was.
• 31:39
  Speaker 1: Upset, as that is suspicious.
• 31:42
  Speaker 2: Yeah, yeah, the ex sheriff and stuff.
• 31:44
  Speaker 1: Well not even that, but also just the extremely low
• 31:47
  turnout to coincidentally a woman who maybe knew too much
• 31:52
  you see, or something or exact or other people's priorities
• 31:55
  are somewhere else in this small town. Like it just
• 31:57
  doesn't add up. A classic Kyle line here would be like, well,
• 32:00
  maybe your mom was a bitch.
• 32:04
  Speaker 2: Maybe people just don't like her, Kimber, Could that be it?
• 32:08
  Speaker 1: Hey, Kimber, your mom was kind of a bitch, so
• 32:10
  she's like not that crazy. So I don't know. Bit,
• 32:13
  I'm gonna go get some cookies over there on the
• 32:15
  on the table. I'll be back.
• 32:17
  Speaker 2: Yo. They got free drinks here, let's go.
• 32:20
  Speaker 1: Kemper. Yeah, he's like across the deal, yo, Kimber. They
• 32:23
  got tea, they got ice teams kies.
• 32:29
  Speaker 2: Do you want something? I know you said it makes
• 32:31
  you bloated if you have it too early, but can
• 32:33
  you have it now?
• 32:34
  Speaker 1: I know you're worried about stretch box, but if you
• 32:37
  want some chips, ahoy, let me know.
• 32:39
  Speaker 2: I know you're like fat at all, but these are
• 32:41
  pretty good. I guess you could have one.
• 32:43
  Speaker 1: He like it, takes his iPhone and puts in his pocket.
• 32:45
  He's just playing Black and Yellow by Whiz Khalifa as
• 32:47
  allow as it possibly can go. Yeah, uh huh, he's
• 32:53
  you know what it is, yellow yellow, getting snacks and
• 32:56
  cold cuts at the table. Everything I do, I do
• 33:00
  it big.
• 33:05
  Speaker 2: Just a kid were like, uh, you know what it
• 33:09
  is like? Not what would be?
• 33:13
  Speaker 1: What would be more? Not a sixteen year old listening
• 33:16
  to Whiz Khalifa Black and Yellow, or if it was
• 33:20
  Fetti Wab's trap Queen passa can and he has he
• 33:24
  has a he has a beats by dre pill speaker
• 33:27
  in his back pocket. It's not even on his phoney
• 33:29
  where he like bought legitimate bluetooth speaker with him Girl
• 33:33
  with my baby girl y Kimber's dad. The food here
• 33:40
  is kind of mad ball you know Kimber's dad. You
• 33:45
  shouldn't have got that shitty ass sandwich shopp to cater
• 33:49
  This ship sucks. Yeah, your wife looks mad funny in
• 33:53
  that box. Dude, you.
• 34:00
  Speaker 2: Hear that, didn't you? She looks awful.
• 34:03
  Speaker 1: She looks like a weird cloud. Dude, tell me you
• 34:06
  did not pay for that? Okay you didn't? Okay?
• 34:10
  Speaker 2: Cool? What happened to her face? Oh yeah, the concrete,
• 34:14
  that's right. Well you should have like put a mask
• 34:18
  on her or something.
• 34:18
  Speaker 1: My god, yo, yo, who else thinks we should bring
• 34:22
  death masks back? Anyone? Mean?
• 34:25
  Speaker 2: Meanwhile, just softly.
• 34:26
  Speaker 1: It was a fellow I like coming to yo, disrespectful,
• 34:35
  but to like go to an open casket look inside,
• 34:37
  and he was just like, I've been cooking pots.
• 34:43
  Speaker 2: What I'm bored?
• 34:44
  Speaker 1: Want exactly what I'm bored. I'm bored. Hey, baby, this
• 34:54
  is really lame. I'm gonna get out of here.
• 34:55
  Speaker 2: And you guys have like an OX square or something.
• 34:59
  Speaker 1: He guys got Ox. He actually doesn't even have a
• 35:01
  button up on. He just has one of those graphic
• 35:03
  teas and find that like Target or Walmart. It's like
• 35:05
  a fate, like I purposely faded it. It's like a segash,
• 35:08
  like a Sonic shirt. For some it's like this came.
• 35:12
  Speaker 2: It's like the shirts that Jesse Pinkman would wearing Breaking Bath.
• 35:16
  Like they've got like all the the Thrasher font that
• 35:19
  says like living Yeah, yeah, yeah, it goes down to me.
• 35:22
  Speaker 1: Yeah exactly, Yo, I came here, my Sunday's best Okay
• 35:29
  where where?
• 35:30
  Speaker 2: Yeah? Yeah, her mom's dad, Kimber's mom's dead.
• 35:33
  Speaker 1: I think she's dead. That's that's all we need to know. Yeaheah,
• 35:37
  story World credits.
• 35:38
  Speaker 2: As we waited for the service to start, I can't
• 35:42
  attach the image of Kyle in the corner just eating
• 35:44
  all the sandwiches all.
• 35:47
  Speaker 1: Right, way too many open chairs, Like definitely there was
• 35:50
  like not a turnout they expected, and there's just this
• 35:52
  fucking guy walker on the back.
• 35:54
  Speaker 2: I can't What do you mean? I can't play my music?
• 35:57
  Who's gonna care all the people that aren't here?
• 36:00
  Speaker 1: Yeah, he's he's listening nine switches over. He's like, fine,
• 36:03
  I won't play rap. He puts on rev Theory. Hell yeah,
• 36:05
  give me a yeah Mountain State. That shit's funny as fuck.
• 36:15
  Speaker 2: Oh my gosh, he's just listening to like impractical jokers,
• 36:19
  way too loud.
• 36:21
  Speaker 1: Yeah, a practical Joe Jokers clips yo, mur dont paints
• 36:25
  that little kid. Geez, guys, I don't want.
• 36:29
  Speaker 2: To, Okay, Yeah, So anyway, her mom's dad.
• 36:36
  Speaker 3: Uh.
• 36:37
  Speaker 2: As we waited for the service to start, I realized
• 36:39
  I'd never been to a funeral before. I wish that
• 36:42
  we'd had one for my sister, but I knew we
• 36:45
  never could since Whitney was still illegally alive. It made
• 36:48
  me sad to think that she would never be laid
• 36:50
  to rest. Only a few other funeral goers trickled in,
• 36:53
  and the pastor began getting people seated for the service.
• 36:57
  I noticed the casket at the pulpit for the first time,
• 36:59
  an was glad it was closed. Still, I had to
• 37:02
  wonder at the simple, unadorned, almost ugly coffin that had
• 37:06
  been chosen for Kimber's mom. I knew that de Stero's
• 37:09
  had money, quite a lot of it. Actually, it was
• 37:12
  an interesting, almost insulting choice. Poor Kimber. That's an interesting Yeah,
• 37:18
  that's sad. That's an interesting observance, Like they had money.
• 37:23
  Speaker 1: Oh man, I mean it goes into it goes into
• 37:25
  the fact again where it's like no one showed up?
• 37:28
  Is this woman? Is this woman not respected in town?
• 37:32
  Did the dad even get to choose the coffin?
• 37:35
  Speaker 2: Would have been embarrassed to get her something nice? Almost?
• 37:38
  You know?
• 37:40
  Speaker 1: Yeah? I mean it, man, I just the dad is
• 37:43
  too suspicious. I can't tell if the dad is a
• 37:46
  victim of something that's larger than himself or if he's
• 37:50
  maliciously doing part of it. Yeah, yeah, exactly exactly anyway,
• 37:55
  Klin I stood Kimber up and started over to the pews,
• 37:57
  but she stopped abruptly.
• 37:59
  Speaker 2: I'm ready, she said, and brushed the hair away from
• 38:01
  her wet face. Ready for is that Kyle?
• 38:05
  Speaker 1: Asking that it's probably Kyle?
• 38:08
  Speaker 2: Ready for? What the funeral's about? Starts?
• 38:11
  Speaker 1: Yeah? You know, Kimber Baby, where are you going the concerts?
• 38:14
  Getting ready to begin? Kyle? This isn't a concert, it's
• 38:17
  it's a funeral. Oh shit, that's why people are so sad.
• 38:21
  Speaker 2: Oh that makes sense. Should I not have found the bluetooth?
• 38:24
  I got the Wi Fi password from the guy off front,
• 38:26
  and I got blue I found the bluetooth for the speaker.
• 38:28
  So I was gonna play some like some like slow
• 38:30
  jazz or something to kind of set the mood.
• 38:33
  Speaker 1: Yeah, I found out what the airplay was, and I'm
• 38:35
  gonna play Kevin Gates music videos for the rest of
• 38:37
  the for the funeral. If that's okay, I'm gonna cue up.
• 38:42
  I'm just thinking with my dick, if that's cool. If
• 38:44
  you all.
• 38:48
  Speaker 2: Just the worst boyfriend ever.
• 38:51
  Speaker 1: But at the same time, it's he's the best character.
• 38:54
  Speaker 2: Yeah, yeah, he's hilarious.
• 38:55
  Speaker 1: It's like the worst person, but he's the best guy.
• 38:57
  Speaker 2: Yeah. I'm so glad he's here, all right, so ready
• 39:01
  for to leave. I can't be in here anymore. It's
• 39:04
  a disgrace to my mother. Kimber raised her head to
• 39:07
  notch and said her jaw. I knew this look, and
• 39:09
  it met. There would be no reasoning with her. Kyle
• 39:12
  and I looked at each other. This wasn't the plan.
• 39:15
  It'd be a lot more obvious if Kimber was missing
• 39:17
  from the service, especially with the low turnout. You guys,
• 39:20
  go over and say what we rehearsed to my dad, Kyle,
• 39:22
  I will text you in thirty seconds. Go nodded. Kyle
• 39:27
  nodded and started over, and I knew we weren't arguing.
• 39:31
  Mister Desto was finally standing looking over at the front
• 39:34
  pew reserved for him and his daughter with hesitation. Mister
• 39:38
  de Staro, I said, as we approached, I'm very sorry
• 39:40
  to hear about your wife. She was shit. I'd forgot
• 39:44
  my lines. A great woman who raised a wonderful daughter.
• 39:47
  Kyle finished, Yeah, he spat do great women commit unlive
• 39:52
  leaving their wonderful daughters alone in the world? Uh, but
• 39:56
  for what that's a crazy thing for the dad to say, Oh, yeah,
• 40:00
  my wife was a great person, really, and then like, man,
• 40:03
  that's heavy, it is.
• 40:05
  Speaker 1: I think that there's a couple of ways to read this.
• 40:08
  I think that there's a couple of ways if people process,
• 40:12
  you know, people grieve in different ways. And I think
• 40:14
  that you could be mad as somebody who did that.
• 40:16
  You know, it's people can see it's a very selfish thing,
• 40:20
  and you know, I think that like it's it is
• 40:23
  tragic and you feel horrible for the person. But I
• 40:25
  do think that people are that close do have the
• 40:27
  right to be angry and be like, you know, you
• 40:29
  left your daughter alone without a mom? Yeah, you know,
• 40:32
  as it for a dad. I mean, I think that
• 40:33
  this is very like that in a way that can
• 40:35
  be a realistic response. Granted, saying it to a sixteen
• 40:38
  year old is a bit.
• 40:41
  Speaker 2: This is the second time story that Sam has been
• 40:44
  pushed into a super adult conversation that he's not equipped
• 40:48
  to be around.
• 40:49
  Speaker 1: Yeahs his boss with the samwich. Sam was just like, basically,
• 40:53
  my pussy doesn't work. I can't get pregnant, all this
• 40:55
  kind of stuff. And then the dad comes in. He's like, no,
• 40:57
  for real, or pussy does not work if we cannot
• 40:59
  get right, and he's just like, I'm just here making
• 41:01
  maloney sandwiches. I don't know what the hell you want
• 41:03
  from me. And now this guy's just like, yeah, my
• 41:06
  my dead wife. What a selfish bitch, And he's just like, okay, okay,
• 41:11
  thank you so much. It was I just wanted to
• 41:13
  play GameCube with your daughter later. I didn't really want
• 41:16
  to get into this conversation. Still, it makes even funnier
• 41:20
  thinking that Kyle's uh beats by dre Pill bluetooth speaker
• 41:24
  is playing some kind of inappropriate music in the back
• 41:26
  makes a situation even more.
• 41:28
  Speaker 2: He's yelling about his wife leaving his daughter. You could
• 41:31
  just faintly hear I got two phones.
• 41:37
  Speaker 1: I was gonna say it's bon Jovi this time, he's
• 41:39
  thinking now that he's he's like, I'm gonna throw it
• 41:41
  back all these old heads here, and he's like, yeah,
• 41:44
  he's playing bad medicine by bon Jovie.
• 41:46
  Speaker 4: Man, yo, love, he's bad medicine. He's like, come on,
• 41:57
  you guys know this one.
• 42:02
  Speaker 1: Uh.
• 42:03
  Speaker 2: The father continues and says, do great women jump off
• 42:07
  buildings and make spectacles of themselves and leave their families
• 42:10
  to deal with the publicity and the grief?
• 42:13
  Speaker 1: Ooh, I don't know if I liked that line. The
• 42:17
  idea of well, the first one makes sense for a
• 42:22
  greed the daughter, sure, sure, it's it's a thing of like,
• 42:27
  you know, I think you can be angry, but the
• 42:30
  it's just the idea of leave, leave families to deal
• 42:32
  with publicity and grief. To me, that's selfish. He's thinking
• 42:36
  selfishly and he's not thinking.
• 42:39
  Speaker 2: Especially the word publicity kind of like, oh, no, you've
• 42:42
  been that's us.
• 42:43
  Speaker 1: You know, that's literally the whole what makes the whole sentence.
• 42:47
  You know, if you just said leave families to deal
• 42:49
  with grief, that's a completely different sentence than to deal
• 42:52
  with publicity and grief. To me, there's it's just something
• 42:54
  where he's almost embarrassed that it happened, versus he's sad
• 42:57
  about the outcome.
• 42:58
  Speaker 2: Which further explains the cheap coffin below turnout things. Yeah, yeah,
• 43:04
  he doesn't see that. I agree, that's heavy. He doesn't
• 43:06
  see that his wife deserves a coffin.
• 43:09
  Speaker 1: Well in a way, I'm wondering, you know, did he
• 43:10
  even put out that the funeral was gonna happen? Is
• 43:13
  he just embarrassed? Is he just mad that He's like, oh,
• 43:15
  I look stupid now, Like, I.
• 43:18
  Speaker 2: Don't know, man, this is that. That is a lot
• 43:20
  of heavy things, and I'm sure Sam cannot unpack.
• 43:23
  Speaker 1: Yeah. Yeah, it's especially for a sixteen year old he
• 43:26
  works as a sandwich shop.
• 43:27
  Speaker 2: Yeah, so they say Mayo is the sauce of the aristocrat.
• 43:36
  Poor kid.
• 43:37
  Speaker 1: He's like, the guy's just like what, all right, Well,
• 43:41
  clasps his hands. I'll talk too later, mister.
• 43:46
  Speaker 2: And Cal's like what was that? He's like, I just
• 43:48
  want to give him something to thank on.
• 43:50
  Speaker 1: Don't worry, he's totally bought. That's why samwich Everything's perfect.
• 43:55
  Speaker 2: Gets him every time.
• 43:57
  Speaker 3: Yeah, Mayo, Mayo's SA needs to be on a T
• 44:04
  shirt immediately with like a what the fuck is the
• 44:07
  mayo like with either like was it Helmans?
• 44:10
  Speaker 1: Is that popular mayonnaise brands? Hess or a miracle?
• 44:15
  Speaker 2: A miracle Whip's a bit different, but yeah, sure, sure,
• 44:18
  all right.
• 44:19
  Speaker 1: Kyle's phone chirped.
• 44:20
  Speaker 2: Okay, yeah, Kyle's phone shirt Thank god. Oh that's Kimber,
• 44:25
  Kyle said a little too. His phone goes off in
• 44:31
  his fuck and he's like, that's Kimber having a breakdown.
• 44:34
  I'm sure like.
• 44:35
  Speaker 1: Yeah, yeah, it'd be so funnyf he answered. He's like,
• 44:38
  what's wrong? What doing that every day?
• 44:40
  Speaker 2: But I'm trying to eat the sandwiches. Sam said that
• 44:45
  the mayo was an aristocrat sauce or something, So I
• 44:48
  got to finish that up.
• 44:50
  Speaker 1: I just bought these minutes at Walmart. Babe, you're wasting them.
• 44:54
  What's going on?
• 44:55
  Speaker 2: What? Oh that's Kimber, Kyl said a little too fast,
• 44:58
  before he had time to actually at his phone. Oh man,
• 45:02
  she is it, well, says, she's crying and feeling sick.
• 45:04
  I'm gonna go help her. No, mister de Staro yelled
• 45:07
  so suddenly that Kyle dropped his phone on the ground
• 45:11
  and where it made a loud clatter on the stone floors.
• 45:14
  Not you. You don't help my daughter. You don't even
• 45:16
  talk to her. He can go and pointed at me,
• 45:20
  whoa bro okay uh okay? I stuttered. The plan had
• 45:27
  changed too much. I needed to somehow get the car
• 45:29
  keys from Kyle without being seen. Kyle gave me a shaky,
• 45:33
  subtle nod, and then he and mister Destaro went to
• 45:35
  sit down. It was obvious Kimber's dad was keeping an
• 45:39
  eye on Kyle. Getting the car keys from him was
• 45:42
  going to be nearly impossible. I backed into the shadows
• 45:46
  at the back of the room while the pastor started
• 45:48
  the service. I texted Kyle four times asking for help,
• 45:51
  but he wouldn't dare touch his phone. He just stared
• 45:54
  straight ahead, flicking worried glances at Missus Destero every few seconds.
• 45:59
  After several minutes, I went to find Kimber to see
• 46:02
  what she wanted to do, but she wasn't in our
• 46:04
  meeting spot by the back door. The plan was falling apart.
• 46:08
  I pulled up my phone and sent her a text.
• 46:10
  Where are you? Cale is next to your dad and
• 46:13
  I can't get the keys from him. I waited in
• 46:15
  the hallway, tapping my phone against my hand nervously. After
• 46:18
  a minute or two, my phone vibrated. Kimber, I'm sorry
• 46:22
  I left without you, guys. I had to get out
• 46:24
  of there. God, I'm so sorry. I'll be back before
• 46:27
  the end of the service, I promise.
• 46:30
  Speaker 1: Can I I just want to is this is this
• 46:33
  suspicious at all? Is that? Is that suspicious at all
• 46:36
  to you?
• 46:37
  Speaker 2: I don't I don't know, Hunter, is it? Is it suspicious?
• 46:40
  Would you consider this suspicious?
• 46:43
  Speaker 1: I don't know.
• 46:44
  Speaker 2: I see that you have no lifeline here because I
• 46:46
  know where this is going.
• 46:47
  Speaker 1: Yeah, I guess, well that's true. I guess it's it's
• 46:50
  the it's the thing that I'm like when I read
• 46:52
  something like that. The face value of that is, of
• 46:55
  course she has said, it's a very difficult to turnout's
• 46:58
  low or whatever. Do you find? I mean, but there's
• 47:01
  puzzling things where she's like, I have to go be
• 47:03
  with my mom, all these different things before where she
• 47:06
  kind of just abruptly left the story and stuff. I
• 47:09
  don't know. I don't want to harp too much.
• 47:11
  Speaker 2: I'll give you this. I'll give you this. Okay. It's
• 47:14
  not bad writing. No, I'll tell you it's not. It's
• 47:19
  not just like the author is like, Okay, Kimber needs
• 47:22
  to exit scene. So she's exiting scene now.
• 47:25
  Speaker 1: Sure. No, I don't think anything that's been written is
• 47:28
  without intent. I think everything has intent. It's about how
• 47:31
  you construct. That's the brilliant thing with this story so far,
• 47:34
  and with all good stories, is what can what he?
• 47:36
  Can you be perceived at face value? How can you
• 47:39
  skew a narrative at face value?
• 47:41
  Speaker 2: You know?
• 47:42
  Speaker 1: How do you trust people? You know? I think that's
• 47:44
  a great thing. I don't want to harp on it
• 47:45
  too much. That's to me. I just wanted to raise
• 47:47
  a huge alarm. I have a giant flag that says
• 47:48
  suspicious that I'm waving. Yeah, okay, that's all I wanted
• 47:52
  to sell.
• 47:52
  Speaker 2: All right, that's fair, that's fair. Do you want Do
• 47:53
  you want to take this next part to this conversation?
• 47:56
  Speaker 1: Sure I will. So Sam says shit, and he replies
• 47:59
  by to Kimber, and he says, be safe. It was
• 48:03
  now imperative that I had not be seen. I went
• 48:05
  to the men's bathroom, locked myself in a stall, and
• 48:07
  played snake for the longest twenty five minutes of my life.
• 48:09
  I knew the service wouldn't go on much longer, so
• 48:11
  I texted Kimber again. He says, you want to wear
• 48:15
  a back yet? Did you find it? I sat waiting,
• 48:18
  watching the minutes tick by. I texted her again, I
• 48:21
  think the service is ending soon. Where are you? After
• 48:24
  another seven minutes of no response, I tried calling, but
• 48:26
  it went to voicemail. I tried again, with the same result.
• 48:29
  I was getting nervous. I was about to try a
• 48:32
  third time when two people walked into the bathroom and
• 48:34
  my phone vibrated with a text. It was Kyle. The
• 48:37
  service was over. Kyle says, Kimber has the keys. Why
• 48:41
  aren't you guys back yet? Did you find anything? I
• 48:44
  left the bathroom without washing my hands and received dirty
• 48:47
  looks from two strangers at the urinals. As the door
• 48:49
  closed behind me, I found Kyle start staring out the
• 48:52
  window looking for my car. Kyle, he jumped, where's Kimber?
• 48:57
  What did you guys find? I don't know. She left
• 49:01
  without me? What the fuck? Why where is she? I
• 49:05
  don't know, Kyle, she left without me? I reiterated. She's
• 49:09
  not answering my calls or my text fuck mine either.
• 49:12
  We have to keep an eye on her dad until
• 49:14
  she gets back. We're not the only ones, Kyle said,
• 49:17
  gesturing across the room. What the fuck is going on?
• 49:22
  Three men were talking to Kimber's dad in a corner
• 49:23
  across the room. Chief among them was killing Clary. Is
• 49:29
  that Chief Clary?
• 49:30
  Speaker 2: That's Chief Clary?
• 49:31
  Speaker 1: Yep? Okay? Who was once just a sheriff before correct?
• 49:36
  Speaker 2: Yes, that was well, he was. He was the sheriff.
• 49:39
  He was the sheriff the county. Remember, he's the one
• 49:42
  who gave you weird vibes in the first part.
• 49:45
  Speaker 1: Oh, soh yeah, okay, So it's just chief among them,
• 49:47
  so okay, but he's retired now, okay. So Clari, who
• 49:53
  was flanked by his two former deputies, Drisken's retired sheriff,
• 49:56
  had his hand on mister Distar's arm and was speaking
• 49:59
  to him in an angry, hushed tone. Kimber's dad was
• 50:02
  shaking his head and desperately objecting to something. The two
• 50:05
  deputies walked out of the front door of the church,
• 50:09
  and mister starrs sacked against Killy and Clary, who sat
• 50:13
  him in a nearby chair. Something was happening. It's a
• 50:16
  lot to take in.
• 50:16
  Speaker 2: Yeah, I can continue. Actually, you know what you are
• 50:19
  the one having the emotional collapse here so I can
• 50:24
  continue reading this part because.
• 50:26
  Speaker 1: Let me I'm having too much phone like me, Let
• 50:29
  me read just a little bit.
• 50:31
  Speaker 2: All that you want, all that you want? I just
• 50:33
  whatever facilitates your mental breakdown the best.
• 50:36
  Speaker 1: Okay, call Kimber now, Kyle said. I tried again. This time,
• 50:41
  the call ranked twice and was sent to voicemail. That's suspicious.
• 50:46
  I did the call and threw up my hands, looking
• 50:48
  desperately at Kyle again, he said, and took out his
• 50:52
  own phone. I got the same result, but felt a
• 50:54
  jolt of relieve when someone answered Kyle's call. But it
• 50:57
  wasn't Kimber. Phil, Well part of town? Are you in?
• 51:02
  I need a ride? It's an emergency, I waited. Yeah, man,
• 51:07
  I'm at Northridge Church as fast as you can. I'm
• 51:09
  a sam. I'll owe you. Kyle hung up, and then
• 51:12
  immediately tried Kimber's phone. She's sending me to voicemail too.
• 51:16
  We both stood at the window anxiously to see Phil's
• 51:18
  silver Mazda pull up. Kyle chewed his lip and I
• 51:22
  tapped my phone, Come on, Saunders. We threw occasional looks
• 51:26
  back at Kimber's dad, until Clary stood him up and
• 51:28
  ushered the now inconsolable man out of the church. Suddenly,
• 51:32
  Kyle's phone chirped. We both looked down to see Kimber's
• 51:35
  name flash up on the screen. Kyle's knees nearly buckled
• 51:37
  in relief, and he sat against the wall Kimber. Kimber texted,
• 51:42
  I found it. Kyle opened the text and furiously typed reply, Kyle,
• 51:48
  They're coming for you. K We both stared at the
• 51:50
  phone waiting for a response, just as the sun blinded
• 51:53
  us as it reflected off of Phil's approaching silver sedan.
• 51:56
  We got one. Kimber said, they're here. Oh fuck. It
• 52:01
  was the last message we got from Kimber. When Phil
• 52:03
  dropped us at the Staro house, we found the front
• 52:06
  door unlocked and no one home. My car was sitting
• 52:08
  in the driveway unlocked with the keys in the ignition.
• 52:11
  Kyle and I drove back to the church. The funeral
• 52:13
  was over and the few people that I attended were
• 52:15
  already gone. We're already gone. We drove back to Kimber's
• 52:19
  house again, but it was just as we'd left it
• 52:21
  and no one was home. Kyle had lost it by
• 52:23
  this time and was an absolute wreck. He called her
• 52:26
  so many times I was sure he killed her battery.
• 52:29
  His calls went straight to voicemail and his text run answered.
• 52:33
  After half an hour of begging from Kyle, I finally
• 52:36
  called my dad. He answered immediately, Sammy, what's wrong. It's Kimber.
• 52:42
  She's gone, Dad. We've looked everywhere, but her and her
• 52:46
  dad are missing. She left the funeral early and in
• 52:49
  killing Clary was talking to her dad, and then Samson
• 52:52
  and Grigg left and I think they went to her
• 52:54
  house and they got her dad. I think they're still working.
• 52:58
  I think they're still working for Claire on the side something,
• 53:00
  and I think they're trying to do something bad. She whoa,
• 53:03
  whoa slow down. Come by the station and let's talk.
• 53:08
  I'll take a statement for you boys, and I'll send
• 53:10
  a couple officers over to investigate the house. Right now,
• 53:12
  Just calm down, zam, we'll handle this. I hung up
• 53:15
  and threw my car violently into reverse, jerking the wheel
• 53:18
  to the left as I hit the end of the driveway. Sam, Sam,
• 53:23
  how do we know? How do we know we can
• 53:25
  trust the cops. I'm not trusting the cops. I'm trusting
• 53:28
  my dad, I said, my words, sounding hopeless even to me.
• 53:31
  I turned into the Sheriff's office and Kyle was out
• 53:33
  of the car as soon as I slowed down enough
• 53:35
  to park. By the time I got inside, my dad
• 53:37
  and had Kyle by the shoulders and was nodding solemnly,
• 53:40
  And it was nodding so solemnly at everything Kyle was
• 53:44
  telling him. My dad saw me, he motioned for an
• 53:47
  officer to take us to his office. After a few minutes,
• 53:50
  he came in and sat down across the desk from us.
• 53:53
  All right, boys, I'm going to have Raminez come in
• 53:57
  a few minutes and take a statement from me both.
• 54:00
  I want you to know that at this point in time,
• 54:02
  it looks like Destarro's left town voluntarily. No, no way,
• 54:06
  mister Walker. Kimber would never My dad held up his
• 54:09
  hand for silence. Let me rephrase, Jacob Descaro left town voluntarily.
• 54:14
  Kimber's a minor and has no legal rights here. If
• 54:18
  her dad said they're leaving, then they're leaving. But she's
• 54:21
  not answering your phone. And we went to the house, Dad,
• 54:24
  nothing was packed. Maybe they're just getting away for a while,
• 54:28
  maybe going to relatives. I can't theorize as why she
• 54:31
  wouldn't answer a phone other than maybe she wants to
• 54:34
  be left alone for a while. Kyle was exasperated, But look,
• 54:40
  I know it's hard for you to understand, but losing
• 54:42
  a family member takes a toll on a person. Sam.
• 54:45
  You know that we don't know how people are going
• 54:47
  to grieve, and we we don't have a right to.
• 54:51
  I think it's very likely that Kimber will be back
• 54:54
  by fall for school, the fall Sheriff Walker, that's two
• 54:58
  months away. You need to have now, Kyle. I know
• 55:02
  you're up cent and no one said we're not going
• 55:04
  to investigate thoroughly like you investigated Whitney's disappearance thoroughly. Oh shit,
• 55:09
  I spat, and I didn't regret the words Holy shit, Sam,
• 55:13
  He snapped with more force than I'd ever heard him use.
• 55:16
  I'm tired of listening to you insinuate that I didn't
• 55:18
  do everything I could to find Whitney. I love your
• 55:21
  sister more than you can imagine. She's my daughter, Sammy,
• 55:24
  and I will never give her up. And what about
• 55:26
  the deputies that left her funeral to go after her?
• 55:28
  Kyle rutard My Dad raised an eyebrought me Samson and Gregg.
• 55:32
  I grounded out through the clenched teeth. He sighed. Boys,
• 55:36
  Samson and Gregg left the funeral because I sent them
• 55:38
  out on a call. I stood up, violently and knocking
• 55:41
  over my chair in the process. Oh come on, Dad,
• 55:43
  all right, that's enough. The sheriff slammed his hands on
• 55:46
  the desk and stood up. I told you I would
• 55:48
  tell you what I know and have. I understand your
• 55:51
  friend is important to you, and God damn it that
• 55:53
  the stars are friends of mine too. I promised that
• 55:56
  I will use the full extent of my resources to
• 55:58
  track them down and put your minds at ease. But
• 56:01
  until then, all I can offer is the assurance that
• 56:03
  there is no sign of foul play at this time.
• 56:06
  You boys need to get off this war path and
• 56:08
  let us handle this now. Ramirez is waiting in the
• 56:11
  hall to take your statements, and that both of you
• 56:13
  are going home, understood. I said nothing and glared at
• 56:18
  my dad, seething with rage. Kyle stood up and walked
• 56:21
  out of the room with no emotion whatsoever. He walked
• 56:24
  past Ramirez and I followed him out to the car.
• 56:26
  We got in and I waited for Kyle to say something.
• 56:29
  I heard a loud sniffle and looked over at him,
• 56:31
  his face slick with tears. It was the first time
• 56:33
  I've ever seen Kyle, but not the last. It was
• 56:36
  the last time I it was the last time. It
• 56:38
  was the first time I seen Kyle cry, but not
• 56:39
  the last. He's lying, he whispered. I just shook my head.
• 56:44
  I didn't know what to believe. Kyle turned his face
• 56:47
  away from me. I know he's lying. Something bad has
• 56:50
  happened and he's lying about it. What happened? I heard
• 56:55
  more sniffling as Kyle tried to collect himself. Dude, fucking
• 56:58
  talk to me. What do you think happen? Kimber is
• 57:01
  gone like all the others, so she's at this place
• 57:04
  where bad things happen. I punched a steering wheel. How
• 57:07
  the fuck could this happen? Not Kimber? Please? Not Kimber?
• 57:12
  Was all this because of me? Had her mother killed
• 57:14
  herself because of something I'd done? Something we find out
• 57:17
  was Kimber taking? Was Kimber taken because of me? If
• 57:21
  I thought for one minute that this was true, that
• 57:23
  I knew, I would crack into tiny pieces. No, not Kimber. No, yes, Sam,
• 57:29
  fucking think about it, Kyle yelled at me. It's the Treehouse.
• 57:34
  It's all the same, Brasca, the skin Men, the Triple Tree,
• 57:37
  your sister, the Mountain, It's all the fucking same. It's
• 57:41
  the Prescott Empire. And now Kimber has been fucking consumed
• 57:44
  by it. Where do we go? I could feel the
• 57:48
  warm tears of my own desperation, hopelessness slicking down my cheeks.
• 57:53
  What do we do? What do we fucking do? Kyle
• 57:57
  threw his hands up in frustration. We have to go
• 57:59
  to Amber, right, Let's start at the Triple Tree. Sam,
• 58:03
  surely you figured that out. We've been in the Treehouse
• 58:06
  a million times. Kyle. There's nothing there. I don't know
• 58:08
  where the fuck else to go, Sam, rap rap rap,
• 58:11
  I jumped to Someone tapped on the window of the
• 58:13
  car and wiped the chairs up my face. I rolled
• 58:15
  down the window as Officer Gregg leaned down and looked
• 58:18
  in the car. You've always move along home, all right, yep,
• 58:22
  I said, and turned the key into the ignition. Officer
• 58:24
  Gregg waved us as we pulled out of the parking lot,
• 58:26
  and we didn't wave back. The Treehouse Kyle said. We
• 58:30
  drove in silence, both of us desperately trying to get
• 58:33
  a hold of ourselves. If we were going to be
• 58:37
  of any help to Kimber, we needed to calm down,
• 58:39
  calm enough to think logically. I parked in the space
• 58:43
  next to the trailhead and saw several bikes tied to
• 58:45
  the post. As we made our way to the west
• 58:47
  Rim Prescott or trail, we passed Parker and a couple
• 58:50
  of his friends coming in. I nodded to him, but
• 58:52
  Kyle said nothing, just stared at the trail, reaching for
• 58:56
  the only place he knew to go. It was almost
• 58:58
  dark by the time we got to Ambercod and there
• 59:00
  was a little light left to search for whatever Kyle
• 59:02
  hoped to find. It took an a half an hour
• 59:04
  in the darkness before I finally convinced Kyle that there
• 59:06
  was nothing there to help Kimber. And though we didn't
• 59:09
  speak of it, I knew that he and I were
• 59:12
  both painfully aware of all the sounds of the night.
• 59:15
  We were scared, terrified down to our very bones, that
• 59:18
  we would hear piercing, scraping, grinding, and metal screams of
• 59:21
  the monster at Braska, that we become so accustomed to
• 59:24
  over the years. We both dreaded it, prayed it wouldn't come,
• 59:29
  and we did not speak of it. I dropped Kyle
• 59:32
  off at home and promised we would find Kimber tomorrow.
• 59:34
  I swore we would. He gave nothing more than a
• 59:37
  shallow nod and disappeared inside this house. My dad was
• 59:40
  waiting for me in the kitchen when I got home
• 59:42
  a few minutes later. I didn't look at him and
• 59:44
  walked over the fridge, realizing I hadn't eaten all day. Sammy,
• 59:48
  sit down. I want to apologize for today.
• 59:50
  Speaker 2: Hold On, hold on, I want you to, cause where's
• 59:53
  your mind at right now? With the story.
• 59:55
  Speaker 1: It's hard. I'm like, I'm rolling through it. I'm getting
• 59:59
  I'm gonna through all of the things that I've read
• 1:00:02
  and said and acted and stuff. And obviously, the first
• 1:00:07
  thing I want to address is Clary ex Sheriff Clary
• 1:00:16
  talking to the dad Greg and them going off inconspicuously
• 1:00:21
  while Clary was like yelling at him at his own
• 1:00:24
  wife's funeral, and then they went off, and then the
• 1:00:26
  dad to be in on the lie. Basically, there's no
• 1:00:30
  way that he called them to do something that just
• 1:00:33
  doesn't make any sense to me. I think that, like,
• 1:00:36
  there's nothing to indicate as well that there was an emergency.
• 1:00:39
  To me, I just think I think Grig officer Greg
• 1:00:43
  and the other officer went in and got Kimber and
• 1:00:48
  there and they took them somewhere. Same with the with
• 1:00:50
  the dad. What the dad did is I don't know,
• 1:00:53
  there's not enough information to really clarify what the dad
• 1:00:56
  did wrong or what was going on. But all of
• 1:01:00
  these things don't feel orchestrated by the Dad or Kimber
• 1:01:03
  or any of the town's focus. Feels like maybe the
• 1:01:06
  Prescott's or somebody else is orchestrating everything that goes on
• 1:01:09
  in this town. Everything. Yeah, they are. They are the
• 1:01:12
  literal puppet masters of this town, and there is something
• 1:01:15
  that they are trying to secure and hold, and there's
• 1:01:17
  some kind of power they have that I think is
• 1:01:19
  greater than a financial gain that they have in the town.
• 1:01:24
  And I'm not sure. I don't know. I feel horrible.
• 1:01:29
  I think I don't think Kimber it's the last time
• 1:01:31
  we're gonna hear from Kimber. But I do think the
• 1:01:35
  Dad is in dire straits. I think that that kimber
• 1:01:38
  is as well. And I don't know how they're gonna
• 1:01:40
  get to this Braska place. But in my mind right now,
• 1:01:44
  it feels like Sam knows in his heart and so
• 1:01:48
  does Kyle, that she's in Braska. You know that some
• 1:01:51
  kind of like greater entity is at play here. I'm
• 1:01:56
  curious to see what the dad says, so I'm gonna
• 1:01:58
  keep reading what she says. Samy sit down and went
• 1:02:02
  to apologize for day. I took out some chicken and
• 1:02:04
  cheese and went to the pantry for bread. I know
• 1:02:07
  you're scared. I know that a lot has been going
• 1:02:09
  on and you can't exactly write too, he sighed. Anne.
• 1:02:14
  Anne has been depressed for a good long while. Now, Sam,
• 1:02:17
  over twenty years. That will weigh on a person. I
• 1:02:21
  ignored him and continue making my sandwich. I was dying inside,
• 1:02:23
  wondering if I could even trust the man I called
• 1:02:25
  him my dad for my entire life. She was suffering, Sam,
• 1:02:29
  and sometimes people who suffer that deeply don't know any
• 1:02:31
  other way out. She knew who his opressure was hurting,
• 1:02:34
  her husband and her daughter, and maybe she mistakenly thought
• 1:02:38
  she was doing them a favor. Mom's suppressed, I said,
• 1:02:41
  without taking my eyes from the task, he sighed, your
• 1:02:46
  mother is coping. Okay, this is very different, Sam. Kimber's
• 1:02:50
  mom has been depressed, and she was in her twenties
• 1:02:52
  early in her marriage an suffered multiple miscarriages. Infertility can
• 1:02:56
  be very hard on some couples, and not even Kimber's breath.
• 1:02:59
  Speaker 2: Oh my gosh, I'm sorry. I just I forgot about
• 1:03:06
  that part of the story. I hate this stupid story
• 1:03:11
  so much. It's I'm going to do something violent, all right.
• 1:03:13
  Speaker 1: Continue, let me read that again. Early in her marriage
• 1:03:17
  and suffered multiple miscarriages. Infertility can be hard on some couples,
• 1:03:20
  and not even Kimber's mother's Not even Kimber's birth could
• 1:03:24
  totally ease her pain.
• 1:03:26
  Speaker 2: That does not hit that to you, yet it will.
• 1:03:31
  Speaker 1: Dad, With all due respect, I'm tired. I'm going to bed.
• 1:03:34
  Kyl and I are getting up early to look for Kimber.
• 1:03:36
  I threw the knife in the sink with a loud
• 1:03:38
  clang and turned to look at my dad for the
• 1:03:40
  first time. Please tell me you're still trying to find Kimber.
• 1:03:43
  The sheriff stood up from the kitchen table, looking as
• 1:03:45
  tired and disheveled as I felt. I promised Sammy, and
• 1:03:49
  I finally believed him. The next morning, when I pulled
• 1:03:52
  up to Kyle's house, Parker came out to meet to
• 1:03:54
  meet me. Hey, Parker, I said, And when I rolled
• 1:03:57
  down the window and the cool morning air wafted in,
• 1:03:59
  Kyle's not here. He left herund five. No fucking Kyle
• 1:04:03
  stole my dad's truck. He's pissed, so you better go, thanks, man,
• 1:04:07
  I said, then rolled up the window and took down
• 1:04:09
  the street. I drove around all morning for Kyle and
• 1:04:12
  calling his cell, but he didn't pick up until around noon. Sorry, man,
• 1:04:16
  I couldn't sleep. Kyle sounded a bit more stable than yesterday.
• 1:04:21
  That's cool. Where are you at? I don't know exactly,
• 1:04:25
  A rare spot where I'm getting service. You in the woods. Yeah,
• 1:04:29
  she's out here, Sam, somewhere in these mountains. I can
• 1:04:32
  feel it. I know it. All right. Well, I'll meet you, Okay,
• 1:04:37
  just come down to West Room Trail and I'll meet
• 1:04:38
  you there. I was only five minutes away, so I
• 1:04:41
  arrived before Kyle had time to get down to the mountain.
• 1:04:44
  Mister Landy's red Dodge Ram was parked haphazardly in a
• 1:04:47
  no parking zone, and I figured it would probably be
• 1:04:49
  towed by the time we got back. I doubted Kyle
• 1:04:52
  care at this point, though. I crossed my arms and
• 1:04:55
  leaned against my car as I waited for him, staring at,
• 1:04:58
  staring up the dirty red trail, impatience. When Kyle finally
• 1:05:01
  showed half an hour later, he was covered in sweat
• 1:05:04
  and dirt and dejection. So I said, pushing up, pushing
• 1:05:08
  up off the car. No nothing, man, All right, well,
• 1:05:12
  let's keep searching. We hacked miles and miles on the
• 1:05:15
  mountain that day, but we didn't find any sign of
• 1:05:18
  human life for the next few days, and the sun
• 1:05:21
  it was. If the sun was out, so were we.
• 1:05:24
  Kyle was growing more and more desperate, crossing onto private
• 1:05:27
  property to look for a logging equipment and mapping out
• 1:05:30
  county counties, many miles to many mines to search for
• 1:05:34
  abandoned buildings. But the mountain was big and the needle
• 1:05:37
  buried deep in the haystack, and as the days slipped away,
• 1:05:41
  so did kyle sanity. Every time I saw my dad,
• 1:05:45
  he would give me a sober look and promise me
• 1:05:47
  that they were still looking. It seemed to me that
• 1:05:50
  even if he was growing concerned, the Dastaro house remained
• 1:05:53
  as cold and empty as the space between the stars
• 1:05:55
  above it. On the eleventh nine of our Kimberlistics Existence,
• 1:06:00
  I was awoken out of a troubled sleep by the piercing, whirling,
• 1:06:03
  screeching sound of death at Baska. I just cried myself
• 1:06:07
  back into sleep to the tortured sound of Kyle's own
• 1:06:09
  agony next door. We had failed her. Kimber was dead.
• 1:06:14
  End of part three. Man, my god, I'm actually gods.
• 1:06:22
  Speaker 2: As I'm remembering parts of the story, I'm actually getting
• 1:06:25
  kind of depressed a little bit, like I'm I'm pretty yeah.
• 1:06:29
  I don't know why I suggested we cover this once.
• 1:06:32
  I'm sorry, I don't. I hate everyone this story. I
• 1:06:35
  hate me for mentioning this story.
• 1:06:38
  Speaker 1: Do you. I mean, I don't believe she's I don't
• 1:06:45
  believe she's dead. I mean, I don't know the part
• 1:06:47
  three I mean, I am. I'm hoping she's not dead.
• 1:06:49
  I'm hoping that they can do something too, I guess,
• 1:06:56
  find some kind of solution. But man, that's just there's
• 1:07:01
  so much. It's like the gas pedal was really hit.
• 1:07:04
  It's not that it's not that even that nothing has
• 1:07:06
  happened so far in the story, but in terms of
• 1:07:08
  like actual in terms of actual things that have happened.
• 1:07:15
  I mean this this was a heavy chapter, like a
• 1:07:18
  lot more mystery, a lot more like a lot more
• 1:07:23
  tragedy happening in real time, like kimber leaving. It's just
• 1:07:27
  all it's all stacking up on me. I don't know.
• 1:07:31
  I like, I still don't trust the dad. I feel
• 1:07:34
  like the dad is just treating his kid like a kid,
• 1:07:37
  and he's just like, yep, no nothing, don't have anything.
• 1:07:40
  Their dad being mysteriously gone. It's don't you can't trust
• 1:07:43
  anybody in town now, you know. I think the kids
• 1:07:46
  are lost, and I think that it's it's reaffirming the
• 1:07:49
  fact that as you get older, you get led into
• 1:07:51
  this thing. But it does feel once again like the
• 1:07:55
  guilt or sins of our fathers is the primary is
• 1:08:01
  it's the primary focus or like north Star for the story,
• 1:08:07
  it feels like every adult has something that they are
• 1:08:10
  hiding and not telling anybody in the Prescotts at are
• 1:08:13
  at the top of it, controlling it all. I'm very
• 1:08:17
  curious to see and you know, I mean, we're we're
• 1:08:20
  on part four. It feels crazy we're on part four.
• 1:08:22
  This is the last chapter. I know that there's a
• 1:08:25
  chapter five. You were saying that was kind of a
• 1:08:26
  what if situation, but we're going to end on part
• 1:08:29
  four here, this is the last part. I don't know.
• 1:08:33
  I mean, I know, you know what happens, but is
• 1:08:35
  there anything that any thoughts you have? It's this is
• 1:08:38
  the tone of you has I don't.
• 1:08:46
  Speaker 2: Gosh, I forgot why this story stuck with I mean,
• 1:08:48
  I remember objectively what happened, but I forgot how devastating
• 1:08:54
  this story gets and why it's stuck with me for
• 1:08:57
  so many years. And like it's it's a horror story, right,
• 1:09:00
  and the purpose of horror to horrifyed to like trouble you,
• 1:09:03
  to make you think about it. And that's why I'd
• 1:09:05
  still say this is like the scariest creepy pasta I've
• 1:09:08
  ever read, because I remember I remember being like sixteen
• 1:09:10
  years old and reading this and just like thinking about
• 1:09:15
  it for weeks.
• 1:09:17
  Speaker 1: I mean, right now, the horror, the exasperated fantasy like
• 1:09:22
  horror that is, you know, you know, like when I
• 1:09:26
  say fantasy horror, I mean it's fantastical. It's out of
• 1:09:29
  this realm of belief, like you know, like Jason Vorhees
• 1:09:32
  coming back all these times and killing people is objectively scary,
• 1:09:36
  but no one comes back from the dead, you know
• 1:09:38
  what I mean. Like that's just it's like these things
• 1:09:41
  like that. This is all everything that this story has
• 1:09:45
  told us so far in terms of the horror, which
• 1:09:47
  is these sounds are coming from the mountain, the barrosca,
• 1:09:50
  the skin men that we have not seen. They're all
• 1:09:52
  urban legends. They're all things that are passed down by man.
• 1:09:55
  And more of the horror comes from the tragedy of
• 1:09:58
  deception for the tragedy of loss. These are all very
• 1:10:04
  real and it feels very impactful. It could be. I mean,
• 1:10:06
  so far it's reading as a drama, and the horror
• 1:10:08
  is the realities of being lied to. You know. I
• 1:10:12
  think that that that within itself is horror enough. But yeah,
• 1:10:16
  I mean you want to take uh, you want to
• 1:10:17
  take part four and started this last part here?
• 1:10:20
  Speaker 2: Sure? Sure that sounds good to me, So I know
• 1:10:25
  the energy I need to wake even if it is
• 1:10:29
  that you're right, You're right, I need to.
• 1:10:30
  Speaker 1: Well, I have a podcast. I just interesting. Yeah, I
• 1:10:36
  think that even the viewers are going to see this.
• 1:10:37
  I mean, as soon as that one line about Anne's
• 1:10:40
  pregnancy came up. I mean it took you. I mean
• 1:10:44
  it zapped all of I mean it zapped you forgot
• 1:10:49
  there's something palpable that's gonna happen. I mean, it's just
• 1:10:52
  I'm I'm hooked. I mean, I'm I'm wired. I need
• 1:10:55
  to know what the fuck hapened.
• 1:10:56
  Speaker 2: I'm I'm happy to see here. I can, I can
• 1:10:58
  wake up. I'm a podcast. I can, I can be better.
• 1:11:01
  It's just a story. It's just a story. It's just
• 1:11:03
  a story.
• 1:11:03
  Speaker 1: It's it's a real job. We promised.
• 1:11:05
  Speaker 2: Yeah, this is a this is an emotionally draining, important career.
• 1:11:09
  Yeah yeah, yeah, uh all right, this matters to me. Okay. Ah.
• 1:11:16
  When I pulled up to his house the next morning,
• 1:11:17
  I could tell Kyle cracked, his skin had taken a
• 1:11:21
  yellow color, and his voice was flat and void of emotion.
• 1:11:24
  It's not over yet, Kyle, I said, as he dropped
• 1:11:26
  into the seat next to me. Yes it is Sam,
• 1:11:29
  he all but whispered. No, I don't believe that Kimber's
• 1:11:33
  dad is missing too. You know, maybe it was him
• 1:11:35
  instead of that was that was I couldn't bring myself
• 1:11:39
  to say it. We're living in hell, drisking. It's hell
• 1:11:42
  in our own reality. I couldn't disagree. That town I'd
• 1:11:46
  grow to love seems so foreign to me now when
• 1:11:49
  he hadn't been an outlier, like I thought, missing people
• 1:11:52
  were the norm here, and that would make Jimmy Prescott
• 1:11:55
  the king. He's Satan himself. As soon as the words
• 1:11:59
  were out of my mouth, Kyle punched the car door,
• 1:12:01
  waking from his dead state with a rageful vigor. I'll
• 1:12:04
  kill Jimmy Prescott. Where is he? You know, he's involved
• 1:12:07
  in all this Sam You know, maybe partially, I said,
• 1:12:11
  staring out the window. His dad created the town that
• 1:12:14
  bred this ship. But I'm pretty sure the Prescotts are
• 1:12:16
  just running drugs, you know, the powder. Yeah, and so
• 1:12:19
  what he's recruiting people to be drug mules or something.
• 1:12:24
  Maybe I agreed for Kyle's sake, though I didn't really
• 1:12:27
  believe it. The sound the Great Beast Machine of Bosca
• 1:12:30
  gave off the distinct stench of death, and though I
• 1:12:33
  knew that physically that was impossible, it didn't change my
• 1:12:37
  mind about it. The air smelled different after the metallic
• 1:12:40
  wailing ended, we drove over to Fourth Street Gourmet Coffee
• 1:12:44
  and Bakery and went into by our usual provisions of
• 1:12:46
  rock stars and monsters. As I paid for the four
• 1:12:50
  packs of cans, I saw Miro waiting on coffee at
• 1:12:54
  the end of the bar. I could tell immediately that
• 1:12:57
  she was in a good mood, something that I hadn't
• 1:12:59
  seen much of. I started working for her. It was
• 1:13:02
  probably a good time to tell her I was calling
• 1:13:04
  out of work for my fifth day in a row. Hi, Mira,
• 1:13:07
  I muttered when I approached, I can't come in again today.
• 1:13:11
  I've got some really important Sam. Oh my gosh, how
• 1:13:16
  are you okay? I stuttered, good, She said brightly, don't
• 1:13:22
  worry about coming in. I'll hold down the fort and
• 1:13:24
  I'm sure I can call Emma line in if I
• 1:13:27
  need help. But really, Sam, what have you been up
• 1:13:29
  too lately? That's so important? My mind blanked. Just as
• 1:13:33
  I started to stutter out some bullshit about helping my dad,
• 1:13:36
  Kyle appeared behind me. We're trying to find Barroska, he said,
• 1:13:40
  with all du gravitas of a eulogy. Ah, yes, Owen
• 1:13:44
  told me you'd ask him about that. You know, that's
• 1:13:46
  just a story, Sam, that legend has been around since
• 1:13:49
  I was a kid. Yeah, well, we're looking for our
• 1:13:53
  missing friend Kimber. We think maybe she's there. I trailed
• 1:13:57
  off lamely. Oh really, I thought I heard the Desteros
• 1:14:01
  were staying with relatives in Maine over the summer. Oh well, anyway,
• 1:14:05
  good luck boys. Thanks. Kyle's voice was sour, and I
• 1:14:08
  knew his patience was thin. When we got back in
• 1:14:10
  the car, we each popped open a can of rock
• 1:14:12
  Star and started chugging. I knew better than to ask
• 1:14:15
  Kyle if he wanted to smoke, since I was sure
• 1:14:17
  he hadn't lit a bowl since before Kimber disappeared. He
• 1:14:20
  finished the energy drinking under a minute and crumbled the
• 1:14:22
  can in his hand. I don't like your boss, he said, Mirah,
• 1:14:26
  why not? I don't know. She's just off. Well, I
• 1:14:31
  mean she's been going through some things. I wasn't going
• 1:14:33
  to elaborate any further. Yeah, why were you asking her
• 1:14:36
  husband about Barroska? Anyway, I don't know. I was just
• 1:14:39
  making small talk, and I thought he might know. He
• 1:14:41
  seemed to know about a lot of other things, and
• 1:14:44
  did he know? Nah. I took a gulp of the
• 1:14:47
  sour drink and then choked on it. When I remembered
• 1:14:50
  something owen it said, well, actually yeah, he said a
• 1:14:53
  Barroska instead of just Burroska, you know, like it's a
• 1:14:56
  thing instead of a place. Kyle lowered his rock star
• 1:15:01
  and is it? Is it? What? Is it a thing?
• 1:15:04
  I don't know. I've never heard of it. I've googled
• 1:15:07
  everything weird about this town, but nothing ever came up.
• 1:15:10
  Did you spell it right? I don't know. I shrugged.
• 1:15:13
  Do you know how to spell it? No? I pulled
• 1:15:16
  out my phone. No. Could you read that with the
• 1:15:21
  attitude it deserves?
• 1:15:24
  Speaker 1: No fuck Google? Kyle said, thank you.
• 1:15:31
  Speaker 2: We need to talk to Katherine Scanlon. That's what Kimber
• 1:15:36
  would say, if you remember, Catherine was the historical society
• 1:15:40
  person at the library, right, So he was right. Katherine
• 1:15:45
  Scanlon may be the best, maybe the most knowledgeable person
• 1:15:49
  in town and was probably the right person to ask.
• 1:15:52
  I pulled out a Fourth Street coffee and prayed she
• 1:15:54
  was at her office already. When we parked in front
• 1:15:57
  of Drisking Arts and Antiques, I was disappointed to see
• 1:15:59
  that the store dark. Kyle pointed to a small, cheap
• 1:16:02
  open sign hanging in the corner of the door, and
• 1:16:04
  I crossed my fingers that it was for Catherine's office.
• 1:16:07
  I was relieved to find the door unlocked, and we
• 1:16:09
  hurried past all the antiques and blown glass to the
• 1:16:12
  back of the store, where we found an open door
• 1:16:14
  in Catherine sitting at her desk. Boys. She stood up
• 1:16:17
  when she saw us. You're up quite early for summer break.
• 1:16:21
  How did the essay do? Uh? Great? I said, Actually,
• 1:16:24
  we're here for more help personal interest, Kyle added. Catherine
• 1:16:28
  raised her eyebrows, color me impressed. I needed to get
• 1:16:32
  right down to it. If by some small chance Kimber
• 1:16:34
  was still alive, then every second counted. We're here because
• 1:16:37
  we want to know if Barrosco is a thing or
• 1:16:39
  a place. Catherine raised her eyebrow. I remembered that legend
• 1:16:43
  as a kid. I'd actually have to tell you. I
• 1:16:46
  didn't know if it wasn't for Wyatt. He knew so
• 1:16:50
  little about so much. She laughed, A sort of jack
• 1:16:53
  of all trades. Anyway, he told me an interesting fact
• 1:16:56
  once about Barroska. It's both what do you mean, I
• 1:17:01
  leaned on her desk. Well, the term brosca is just old,
• 1:17:05
  outdated lexicon. The word was used by miners to describe
• 1:17:08
  an underperforming mine, A mine, I whispered. Kyle shook his head.
• 1:17:14
  We've been looking at mines, so all the mines in
• 1:17:17
  Butler County are beroscas, I asked, Well, generally, it's only
• 1:17:21
  the first mine in the system to run dry. That
• 1:17:24
  is called a barrosca. Do you know which mind ran
• 1:17:26
  dry first in our minding system? Kyle asked, from where
• 1:17:30
  he stood near the door, repeatedly clinching and unclinching his fist.
• 1:17:33
  Uh not off the top of my head, No, she laughed,
• 1:17:36
  I can look, though. I think I have those records
• 1:17:39
  here somewhere. Catherine walked behind her desk and opened a
• 1:17:42
  drawer of loose files. This is an odd thing to
• 1:17:44
  be interested in for boys your age, but I guess
• 1:17:47
  I should be glad you two are so eager to learn,
• 1:17:49
  especially over the summer. Yes, ma'am, very eager, said Kyle.
• 1:17:54
  Is the barrosca? The first mind that ran out of war?
• 1:17:58
  Was that, by chance the same one those kids disappeared
• 1:18:01
  in the mccaskeys. Oh No, I don't think so. That
• 1:18:05
  particular mind was the Southwest mind and was very close
• 1:18:09
  to town. I think it was one of the last
• 1:18:12
  to close. Actually, here we go. This packet should have
• 1:18:15
  that information. Catherine spent far too long moving books around
• 1:18:19
  on the desk to make room for the stack of
• 1:18:21
  paper she had. Kyle and I paced around the room nervously,
• 1:18:24
  trying to appear casually interested, while the energy drink started
• 1:18:28
  coursing through our systems. Here we go. The first mind
• 1:18:31
  to close was the north Central mine, which was yeah,
• 1:18:35
  actually one of the first to open. But where is it?
• 1:18:38
  Kyle walked over the desk and braced his arms on it.
• 1:18:40
  Where is that mine? Um? Catherine pulled over a different
• 1:18:44
  stack of papers and started to fumble through it. After
• 1:18:47
  the longest minute of my life, she made an aha
• 1:18:50
  sound and pulled out a large yellow piece of paper
• 1:18:53
  that had been folded into a standard A four size.
• 1:18:56
  She unfolded it on the desk and leaned over to
• 1:18:58
  read the markings. I could see from where I was
• 1:19:01
  standing near the doorway that it was a map, and
• 1:19:02
  I knew we weren't leaving this office without it. Let's see.
• 1:19:06
  The mine was up further on the mountain, a little
• 1:19:09
  hard to get to see, and she pointed at a
• 1:19:11
  small dot on the map that was at least four
• 1:19:13
  miles from where we'd been looking. Can we take this,
• 1:19:16
  Kyle asked, we'll bring it back, of course, I'm sure
• 1:19:19
  I have copies. Listen, if you boys are going exploring,
• 1:19:22
  I'm bringing my dad, I lied. Oh excellent, Then you
• 1:19:25
  guys have fun, she yelled at us as we rushed
• 1:19:27
  out of the building. We did stop to answer her.
• 1:19:30
  Fun was far from our minds. It's it's so far
• 1:19:35
  from where we've been looking, Kyle stuttered. We need to
• 1:19:37
  go there now, and we need to get a gun.
• 1:19:40
  A gun. Where are we going to get a gun, Kyle?
• 1:19:42
  From your dad? It's not going to give us a
• 1:19:44
  gun man. Fine, then let's scout the place first and
• 1:19:48
  then we'll come back with a gun. That didn't seem
• 1:19:50
  like a good idea to me either, But what choice
• 1:19:53
  do we have. After studying the map for several minutes,
• 1:19:55
  we realized the easiest way to access the mine was
• 1:19:57
  still through the west Rim Prescott or trail. We parked
• 1:20:00
  at the trailhead and made the familiar hike down the
• 1:20:03
  Mark Trail and then up the Beaten Path, realizing that
• 1:20:06
  we'd have to travel past ambercot Ford on the way,
• 1:20:09
  and I knew in my heart that we were going
• 1:20:11
  the right way. We were walking the same path that
• 1:20:14
  so many people before us had on their way to Barroska.
• 1:20:18
  But what did they found there? We passed the treehouse,
• 1:20:22
  which was as silent as the morning. We walked on
• 1:20:25
  in the woods, further north than we had ever been before,
• 1:20:27
  and soon we were flying blind, hiking in the general
• 1:20:31
  direction of the dot on the map, and hoping we
• 1:20:33
  were still on course. Within an hour, it began regretting
• 1:20:36
  that we'd come without provisions, emotional and unprepared. By noon,
• 1:20:40
  we had been hiking for four hours, and it seemed
• 1:20:42
  to me that we were lost. I tempered the welling
• 1:20:45
  panic with thoughts of Kembert and Whitney and the answers
• 1:20:48
  to the mystery that had absorbed my life for so
• 1:20:51
  many years. Kyle, for his part, said nothing and kept
• 1:20:54
  his eyes straight and his mission his priority. And then,
• 1:20:59
  just as the sun teed on the apex of the day,
• 1:21:01
  we saw an emptiness through the trees and the hard
• 1:21:04
  lines of man made buildings. Kyle quickened his step and
• 1:21:07
  I rushed to keep up. When we finally broke through
• 1:21:10
  the tree line, I choked on my own deep breath
• 1:21:13
  and fell back against a tree as I looked over
• 1:21:16
  the quiet encampment. A large wooden sign post that was
• 1:21:21
  almost as long as the entire clearing was still standing
• 1:21:24
  near the entrance of the mine. It had to be
• 1:21:27
  a century old, and though most of the letters had
• 1:21:30
  rotted over the years those remaining. From those remaining, I
• 1:21:34
  could guess that it had once said drisking underground mind.
• 1:21:39
  What was left, however, was skinned men skinned there you
• 1:21:46
  go hah, yeah, yeah, wow. That's one of my favorite
• 1:21:54
  details of this story.
• 1:21:56
  Speaker 1: How that's a that's awesome.
• 1:21:58
  Speaker 2: The local legend worked its way in that the skinned
• 1:22:00
  men are up on the mountain, but no, it's the
• 1:22:03
  skinned men location the drisky and underground mind.
• 1:22:06
  Speaker 1: I love that.
• 1:22:07
  Speaker 2: Yeah, yeah, that's that's That's always been one of my
• 1:22:09
  favorite aspects of the story. How the skinned man is
• 1:22:11
  like a red herring, but it's still not you know,
• 1:22:13
  like it works its way in.
• 1:22:16
  Speaker 1: Yeah, it does. It's a it's such a it's such
• 1:22:19
  a fucking awesome. Oh that's so satisfy, isn't it.
• 1:22:22
  Speaker 2: Though. I remember reading that the first time, I was like, oh,
• 1:22:25
  that's good. That's that good.
• 1:22:26
  Speaker 1: Good it is. But the thing too, that makes it
• 1:22:29
  so good is just the aspect that how no one
• 1:22:32
  really goes up there, right, No one really knows. It's
• 1:22:35
  kind of an off the beaten path thing, so you
• 1:22:36
  usually stop at the treehouse. So it would make sense
• 1:22:39
  that kids would be like, oh, yeah, you gotta watch
• 1:22:41
  out for the skin men around here. But it's just hearsay.
• 1:22:43
  It's just urban legend that's been passed down time after
• 1:22:46
  time for over a century, essentially, you know, I mean, like,
• 1:22:49
  that's extra man, that's that's awesome.
• 1:22:52
  Speaker 2: That's good skin men, that's good. All right, Well keep going.
• 1:22:57
  How are you feeling right now? You're digging it.
• 1:23:00
  Speaker 1: I'm anxious, Well, I'm I'm anxious. I think that the
• 1:23:08
  librarian is if she feels like a saint, like I love,
• 1:23:12
  I love her guidance so far in this like I don't.
• 1:23:16
  I don't have a bad feeling about her. But the
• 1:23:19
  there's one thing about Mira being so chipper after the
• 1:23:23
  fact that Kimber is gone, makes me suspicious of possibly
• 1:23:30
  the pregnancy thing. I don't know if there's something that
• 1:23:33
  correlates there. It's making me very suspicious of some kind
• 1:23:38
  of ritualistic thing happening in town. I don't know. I'm
• 1:23:41
  relieved that it isn't actually skinned men having it like
• 1:23:45
  that's that's a really nice that's a really nice aversion.
• 1:23:49
  Not that even having the skin men would couldn't be
• 1:23:51
  something that could work, but in terms of something that
• 1:23:54
  is once again grounded in reality. It's keeping this the
• 1:23:58
  tone of this entire story extremely consistent, and we're still
• 1:24:04
  and we don't even know what the core nut of
• 1:24:06
  this story is to be had. I mean, we're getting
• 1:24:10
  to something. I mean, this is the last part, so
• 1:24:12
  we'll see.
• 1:24:13
  Speaker 2: I'm just gonna keep reading. Stop me if you need to. Yeah,
• 1:24:16
  I'm also gonna say we probably should have put this
• 1:24:19
  in the beginning of the series. I understand that, you know,
• 1:24:22
  we're adults and everything, so we can handle intense subject matter.
• 1:24:25
  But for anyone listening, this is your final warning if
• 1:24:30
  you were discretion anyway. Oh shit, that way, I know,
• 1:24:37
  I know. All right, here we go that way. Kyle
• 1:24:42
  pointed to the north end of the camp. We stepped
• 1:24:45
  out from the shadows and into the vulnerability of the clearing.
• 1:24:49
  There were several large buildings still standing, and the boarded
• 1:24:51
  up entrance to the ore mine was sent back in
• 1:24:53
  the mountain. We're not getting in there. I whispered. Let's
• 1:24:57
  try that building, he said, and pointed towards the one nearby,
• 1:25:00
  which was the largest and at least two stories tall.
• 1:25:03
  We counted three, and then ran across the camp to
• 1:25:06
  the large wooden doors of the old building. They were
• 1:25:09
  cracked open, and when we squeezed inside, I had no
• 1:25:12
  doubts that death was indeed President Barroska. We were standing
• 1:25:17
  in what I guessed was a refinery, and in the
• 1:25:19
  middle of the room was a large silver, conically shaped machine.
• 1:25:24
  A conveyor belt fed into it, and the room had
• 1:25:26
  a sour smell. Even the dirt beneath our feet seemed
• 1:25:30
  to have taken on a crimson tint. This is the machine,
• 1:25:34
  This is where they take them, I said, This is
• 1:25:37
  the place where people die. Kimber isn't here. Come on.
• 1:25:42
  I was only too happy to squeeze back out the
• 1:25:45
  door of the building and tiptoe around the side. We
• 1:25:48
  rounded a quarter and almost ran into a recently waxed,
• 1:25:51
  shiny green truck park. There, this is Jimmy prescottch truck.
• 1:25:57
  I breathed, I know, strugatives, Kyle. We were now on
• 1:26:03
  extraordinarily hy alert. Kyle dropped to the ground and began
• 1:26:06
  to commando crawl around the building. I followed him, waiting
• 1:26:10
  to hear a shout or a gunshot, but none came.
• 1:26:13
  As we crawled around to the back of the building,
• 1:26:16
  Kyle turned around to me and put his finger over
• 1:26:18
  his lips, then pointed at a one story brown building
• 1:26:21
  that was only a dozen feet away from us. He
• 1:26:24
  got into a crouch position and moved as fast as
• 1:26:26
  he could across the gap between the two buildings. I
• 1:26:30
  did the same. As soon as I reached the wall
• 1:26:32
  next to him. Kyle whirled around and put another finger
• 1:26:34
  to his lips, and then pointed up to a window
• 1:26:36
  directly above us. There were noises coming from inside, and
• 1:26:41
  even to me, a sixteen year old virgin, the sounds
• 1:26:44
  of sex were unmistakable. We could hear an animalistic grunting
• 1:26:48
  and the tired, oh man, this is rough. I forgot
• 1:26:53
  about the tired, objecting groans of an old mattress. Unable
• 1:26:58
  to help myself, I was I hed WTF to Kyle,
• 1:27:02
  but he was already gone. All cautioned abandoned. Running around
• 1:27:05
  the side of the building, I followed him through the
• 1:27:08
  first stoor we came upon and was hit in the
• 1:27:10
  face by an invisible wall of filth and suffering. The
• 1:27:14
  smell knocked me back, but Kyle kept running. I followed
• 1:27:18
  him in past crates of ramen, noodles, mrs bottled water,
• 1:27:22
  and boxes. I had no time to read. I crossed
• 1:27:25
  another threshold and I was suddenly surrounded by people, so
• 1:27:29
  many people. I skidded to a halt and realized I
• 1:27:32
  was standing in a sort of dorm, rows and rows
• 1:27:35
  of beds on either side of me, with people strapped
• 1:27:37
  to them, some of them wearing dirty rags and some
• 1:27:39
  wearing nothing at all. Many seemed to be bloated, and
• 1:27:43
  I waited for one to call out to me, but
• 1:27:45
  they all remained silent, some watching me through tired, dead eyes,
• 1:27:50
  and others turning away. Looking around, I realized they were
• 1:27:54
  all women, and the bloating I saw seemed to be pregnancies.
• 1:27:59
  Some were confined to their beds and others were not.
• 1:28:02
  Speaker 1: Okay, pause, yeah, pause, yeah, So they are going into
• 1:28:08
  just to just to let that breathe for a second.
• 1:28:14
  They found. Basically, what is essentially people being insimulated is
• 1:28:19
  that the right word in simulated is that the and
• 1:28:24
  these women I'm guessing are like almost like army barrack style,
• 1:28:29
  just like in beds next to each other, all pregnant
• 1:28:33
  in this deal. So we're basically led to believe that
• 1:28:36
  women are taken here to be impregnated. Yeah, yeah, okay,
• 1:28:42
  that is disgusting. Yeah, this is uh. Especially the responses
• 1:28:47
  to it too, where it's almost like they have no energy,
• 1:28:50
  like almost like they're sedated. They're not really saying anything.
• 1:28:53
  They're just kind of like looking or some of them
• 1:28:56
  just like look away. There's really no emotional reaction to it,
• 1:28:59
  which makes it even more haunting.
• 1:29:02
  Speaker 2: Some of them aren't even tied down, it says.
• 1:29:04
  Speaker 1: Some of them, they're just laying there.
• 1:29:06
  Speaker 2: They're just laying there there. They're broken. Okay, yeah, I'm again.
• 1:29:12
  I'm sorry to you and the audience. I looked around
• 1:29:18
  the room for Kyle and saw him standing a little
• 1:29:20
  further in the long room, looking back at me with
• 1:29:23
  the same confused, wild expression I was sure was on
• 1:29:26
  my face. I saw the realization cross his and called
• 1:29:30
  out to him, but he was already running again. I
• 1:29:33
  lost him before i'd taken five steps to follow. I
• 1:29:36
  figured it was probably best just keep running, spread out
• 1:29:39
  and look for Kimber. I didn't see her in this room,
• 1:29:42
  and I was sure she would have called out to
• 1:29:43
  us if she was look around.
• 1:29:46
  Speaker 1: Hold on, hold on, pause. Kimber's mom was held here
• 1:29:54
  through all their different pregnancies and stuff like that, probably
• 1:29:56
  forced to have a child. And she probably did that
• 1:29:59
  and left a left the fucking letter for Kimber because
• 1:30:01
  she knew this was the same fate that she was
• 1:30:03
  going to have.
• 1:30:05
  Speaker 2: Well, I will say that you are going to see
• 1:30:07
  the letter by the story's end.
• 1:30:09
  Speaker 1: Okay, all right, okay, I'll go ahead and keep going then.
• 1:30:12
  Speaker 2: Yeah, yeah. I looked around for another door and saw
• 1:30:17
  one cracked open on the left, behind a row of beds.
• 1:30:21
  I stared straight at it as I made my way there,
• 1:30:24
  desperate to avoid the wretched, void eyes of the women
• 1:30:27
  around me. First we help Kimber, then we help the others.
• 1:30:31
  I will come back and help you all, I promise,
• 1:30:32
  as soon as I find Kimber. Without a thought, I
• 1:30:35
  pushed the door wide open as soon as I'd reached
• 1:30:37
  it and found the source of the noise we'd heard outside.
• 1:30:40
  It was Jimmy, something I'd been expecting to see, but
• 1:30:43
  the scene before me was not. He was hunched over
• 1:30:46
  the bed of an almost unrecognizable, unresponsive Christy treating her
• 1:30:51
  like an animal. She watched me through the slits of
• 1:30:54
  her dead eyes, but she didn't gosh, this is who
• 1:30:58
  through the slits of her dead ey. But she didn't
• 1:31:00
  call to me for help. I thought I saw a
• 1:31:03
  tear run down her cheek before she turned her face
• 1:31:06
  away from me to face the wall on the other side.
• 1:31:08
  Oh my gosh, ah, wtf. I didn't even realize the
• 1:31:13
  words were audible. I had never seen this depth of
• 1:31:16
  human suffering. Jimmy's head snapped around to look at me
• 1:31:20
  and briefly registered surprise before he smiled at me in
• 1:31:22
  a way that turned my insides to ice. He didn't
• 1:31:25
  stop what he was doing, and oh my gosh, ah,
• 1:31:28
  I feel sick and I want nothing more than to
• 1:31:32
  run over and push him off of Christy. But to
• 1:31:34
  my utter shame, I couldn't force myself to come any
• 1:31:36
  further into the room. Sam Sam Kyle's voice echoed through
• 1:31:41
  the building and immediately cured me of my paralysis. I
• 1:31:43
  found myself running back into the miner's norm and away
• 1:31:46
  from Jimmy Prescott and Christie Kyle. Back here, hurry please.
• 1:31:50
  I found Kimbert I followed his voice through the mesa
• 1:31:54
  beds and room as a cacophony of voices began to
• 1:31:57
  follow me. Help us please. There were maybe only a
• 1:32:01
  handful of girls yelling at me, but it sounded thunderously
• 1:32:04
  loud as it filtered through my guilt. The weight of
• 1:32:08
  all their misery dropped down upon me, and it almost
• 1:32:10
  pushed me into the ground. I will I'll get help.
• 1:32:14
  I'll help you, I promised him, as I followed Kyle's voice,
• 1:32:17
  still screaming desperately from an adjacent room. I spread it
• 1:32:20
  across another threshold and saw him hunch down near a
• 1:32:22
  corner bed, helplessly yanking on a leather strap attached to it.
• 1:32:26
  I slammed it in the bed and fell to my knees,
• 1:32:28
  trying to work out what he was doing and how
• 1:32:30
  I could help him. I tried not to look at
• 1:32:32
  the bed, because I knew I couldn't see her like that.
• 1:32:35
  I couldn't be gosh man, I couldn't bear it. If
• 1:32:39
  Kimber looked at me through the same accusing empty eyes
• 1:32:42
  as Christy and the others had, I might lay down
• 1:32:44
  on the ground beneath her and curl up into a ball.
• 1:32:47
  Go around the other side unbuckle the other two straps.
• 1:32:50
  Kyle had the high pitched voice and wild, desperate eyes
• 1:32:53
  of madness. I ran around the other side and did
• 1:32:55
  as he'd said without shaking. With shaking awkward hands. Boys,
• 1:33:00
  Jimmy's voice rang out from somewhere in the building. I
• 1:33:04
  just reread Kimber's ankle and was working on her wrist.
• 1:33:06
  She whimpered when she heard him, and buried her face
• 1:33:09
  on my shoulder. Do you think you're hiding? I know
• 1:33:12
  where to find you. I know right where I put
• 1:33:14
  that girl. I'll kill you. Press Scott, you sick. I'm
• 1:33:17
  not saying that, but she's sick. Map I'll stop all
• 1:33:21
  your bows and bleed you out. Klin lost all reason
• 1:33:25
  and strategy. He was filled with rage instead of fear,
• 1:33:27
  and it scared me even more. I pulled Kimber's wrist
• 1:33:30
  from the final strap and yelled go now. We pulled
• 1:33:34
  Kimber up off the bed and quickly realized that her
• 1:33:36
  legs could barely support her. She was heavily sedated and
• 1:33:39
  breathing weakly. We braced her on either side and moved
• 1:33:42
  as quickly as we could through the near storeway away
• 1:33:44
  from Jimmy. We were in another dorm, though this one
• 1:33:48
  was filled with mostly empty beds. I could see sunlight
• 1:33:51
  shining through the door at the end of the long room,
• 1:33:53
  and we raced toward it as Kimber made little cries
• 1:33:56
  of pain. I didn't think my heart could break anymore,
• 1:33:59
  but I was wrong, because in the next moment it did.
• 1:34:03
  I almost dropped Kimber when I saw her staring eyes.
• 1:34:07
  Her eyes were hollow and uninvested, and when I turned
• 1:34:10
  toward her, she looked away immediately, as if she couldn't
• 1:34:13
  stand aside of me. Whitney, I said, weakly, stay up,
• 1:34:18
  let's go. Kyle screamed, I can't. I turned toward him
• 1:34:21
  as tears ran down my hot cheeks. Kyle saar too,
• 1:34:25
  I can't. I can't stay, Kyle said, still moving towards
• 1:34:28
  the door. I have to get Kimber away from here, please,
• 1:34:32
  But he knew I wasn't going anywhere now. Good luck, bro,
• 1:34:35
  I said, and then we were both running in different directions.
• 1:34:39
  Whitty's hair was long, but it was thin, as was
• 1:34:42
  her face. Everything on her looked brittle, except for her stomach,
• 1:34:45
  which bubbled out from her like an overblown balloon. She
• 1:34:49
  refused to look at me and flinched at my touch
• 1:34:51
  as I tried desperately to unbuckle her from the bed.
• 1:34:55
  I hadn't even finished the first belt when I heard
• 1:34:57
  Jimmy walk up behind me. I didn't bother to lo
• 1:35:00
  at him or stop trying to free my sister. I
• 1:35:01
  didn't know what else to do.
• 1:35:04
  Speaker 1: You pause, pause, pas, postpase, imagine. Oh my god, I'm
• 1:35:10
  sick to my stomach.
• 1:35:11
  Speaker 2: I am too. I am too. As soon as like
• 1:35:13
  the details started, I was like, oh boy, we were
• 1:35:15
  about to get there. That's why I had that change.
• 1:35:18
  Speaker 1: It's so it's so sure to one hundreds, like, yeah,
• 1:35:24
  and imagine finding your sister after how many years? You
• 1:35:27
  know what I mean, it's been here the entire time. Yeah,
• 1:35:31
  a decade, just a decade of being trapped here. Unbelievable.
• 1:35:36
  And then Jimmy so far, I mean, has become a
• 1:35:39
  literal fucking boogeyman with how that is. Yeah, as he's
• 1:35:43
  like walking through here, I mean disgusted, just absolutely disgusted. Yeah,
• 1:35:50
  go ahead, and.
• 1:35:53
  Speaker 2: I admire your great kid, Jimmy said, and then sat
• 1:35:56
  down on the bed behind me and continue to watch me.
• 1:35:58
  Give me no objection to what I was doing. You
• 1:36:00
  probably think your friends got away. But there's no sense
• 1:36:02
  in false hope, is there. There's no sense in any
• 1:36:05
  of this. My voice sounded frail and it cracked over
• 1:36:07
  the last word. You're wrong about that, Jimmy side. Just
• 1:36:11
  so you know, I've got Clary out there looking for
• 1:36:13
  them already, people making a lot of noise coming down
• 1:36:16
  off this mountain. Trust me on that Sheriff Clary. I
• 1:36:19
  was desperate to keep talking, anything to keep him from
• 1:36:21
  trying to stop me. Oh yeah, you know. He was
• 1:36:24
  supposed to retire from the business, but unlike the previous sheriff,
• 1:36:27
  he kept a few horses in the race horses. Nothing
• 1:36:30
  made sense. Yep. Jimmy slipt the bed next to him.
• 1:36:34
  We called these buildings the stables.
• 1:36:36
  Speaker 5: Oh my gosh, ah god ah, I'm gonna throw up.
• 1:36:45
  Speaker 1: Honestly, that made my stomach turn.
• 1:36:46
  Speaker 2: That is. Oh, we can pause for a second.
• 1:36:57
  Speaker 1: That is.
• 1:37:00
  Speaker 2: I am a bit ill. I apologize to everyone listening.
• 1:37:05
  You know what's wild. When I was sixteen and reading this,
• 1:37:08
  I remember like being freaked out by it, but I
• 1:37:10
  wasn't as sick about it. You know, I don't think
• 1:37:13
  about it.
• 1:37:13
  Speaker 1: It's such a traumatic, yeah, real thing.
• 1:37:18
  Speaker 2: Yeah, yeah, like I grew up, I.
• 1:37:21
  Speaker 1: Mean you you grew up with this as well. I
• 1:37:23
  mean you're a religious guy. I grew up in the
• 1:37:25
  Bible Belt as well. Sexual subjects are uncomfortable, they're extremely personal.
• 1:37:34
  Sex in general is extremely personal. And to do something
• 1:37:37
  that is this SA kind of content and stuff and
• 1:37:43
  to think about that, it is the utmost deprave and
• 1:37:48
  it is the utmost it is the single worst way
• 1:37:54
  to exploit someone. And it is, uh, it's so tragically sad.
• 1:38:00
  It's like there's really no other way that you can
• 1:38:05
  defile and humiliate someone, you know. It's it's it's horrible.
• 1:38:11
  I mean, like I'm and how casually I mean, it's
• 1:38:15
  just so demonic how he's talking about this, how casually
• 1:38:21
  he's talking about it, and to give it a name
• 1:38:23
  like that is, especially after he laughs after saying it.
• 1:38:26
  It's disgusting. I mean, it's it's it's beyond depravity. It's
• 1:38:31
  it's inhuman. It's oh man, this is brutal. I mean,
• 1:38:38
  I I I feel for the viewers right now. I mean,
• 1:38:40
  this is man.
• 1:38:43
  Speaker 2: I'm yeah, yeah, I'm sorry to everyone for bringing you
• 1:38:50
  into this. Those of you that didn't ask for it.
• 1:38:55
  It's you know, it's like it's like.
• 1:38:57
  Speaker 1: I also hate the I now hate the common mentors
• 1:39:00
  who now suggested this story too. I want to go
• 1:39:05
  time and be like, I'm okay, you like cover Baraska.
• 1:39:09
  Speaker 2: Let's talk about Jeff the Killer again. That's better.
• 1:39:12
  Speaker 1: Yeah, yeah, let's just talk about Jeff the Killer and
• 1:39:14
  some like weird thirteen year old like edgy shit that
• 1:39:17
  that's fine with me.
• 1:39:18
  Speaker 2: This is.
• 1:39:20
  Speaker 1: Let's just let's keep going.
• 1:39:22
  Speaker 2: There's almost a level of terrible that is, like I
• 1:39:27
  think that's why this story didn't hit like I liked
• 1:39:30
  it but for how disturbing it was, but didn't bother
• 1:39:33
  me as much at sixteen as it does now, because
• 1:39:36
  like there's a level of intensity it gets to where
• 1:39:39
  you kind of quit registering it, you know.
• 1:39:42
  Speaker 1: And it's just like when you're young, there's things that
• 1:39:45
  you can't process. Yeah, there's things that you cannot You
• 1:39:48
  cannot understand the weight of something when you're young. When
• 1:39:53
  you're young, you cannot process. You just you cannot you understand.
• 1:39:58
  People think that they know everything in that they have
• 1:40:00
  these well established thoughts and ideas and stuff. But until
• 1:40:04
  you're older, until you've experienced some stuff. Until you've lived
• 1:40:09
  a bit and you're you're able to truly have empathy
• 1:40:13
  for these things, it is extremely hard. I mean, And
• 1:40:18
  I just want to preface this as well, because a
• 1:40:19
  lot of a lot of the you know, quote unquote
• 1:40:23
  videos that I do do circulate around some of these
• 1:40:26
  ideas and stuff, and it is because it is so
• 1:40:28
  extremely tragic. There's really no other there's no other subject
• 1:40:34
  matter that is so personal and so humiliating to put
• 1:40:39
  yourself in that situation. There's really no more uncomfortable way
• 1:40:43
  than having to to deal with these things. And I
• 1:40:48
  just I guess I wanted to say that, yeah, so.
• 1:40:52
  Speaker 2: Yeah, I can continue, all right. I dropped the last
• 1:40:57
  buckle on the floor and look down at Whitney. I
• 1:40:59
  expected to hear spring up and run toward the door
• 1:41:01
  while I went at Prescott. But all she did was
• 1:41:03
  rub her wrist and knit her collar bone. Then she
• 1:41:05
  put her arms back where they'd been, turned her head,
• 1:41:09
  Oh gosh, man turned her head away from me and
• 1:41:12
  shut her eyes. I slummed down onto the bed next
• 1:41:14
  to her and picked up her and picked up her
• 1:41:17
  cold hand. If she wasn't leaving here, neither was I
• 1:41:20
  it was over. I sent a silent prayer up to
• 1:41:23
  a god I didn't know, and wish my friend's safety.
• 1:41:26
  Speaker 1: Well, damn, oh, I mean, what else do you expect
• 1:41:31
  from somebody who's been there a decade? You know, it
• 1:41:35
  would be it would be almost irrational for her to
• 1:41:38
  be in the mental state to just be like, yeah,
• 1:41:39
  let's flee.
• 1:41:40
  Speaker 2: Yeah.
• 1:41:41
  Speaker 1: I mean she's broken, completely broken.
• 1:41:47
  Speaker 2: Do you know what this is? Sam? I shrugged. It
• 1:41:49
  didn't seem to matter now, it's all about the babies.
• 1:41:53
  I stared down at Whitney, and her swollen belly gave
• 1:41:55
  no indication I was listening. Butt gave no indication I
• 1:41:59
  was listening. You wouldn't believe how much money's in the industry.
• 1:42:02
  I mean, my dad was a smart man, and he
• 1:42:05
  knew we didn't have anything a value to sell. And
• 1:42:07
  back then the Prescotts were dirt poor, out of work miners,
• 1:42:10
  just like everyone else in town. He first got the
• 1:42:12
  idea when he sold my older brother off to pay
• 1:42:15
  for the legal feast to fight the city. I mean,
• 1:42:17
  some people will pay five figures for a newborn, you know,
• 1:42:20
  even back then, and the organizations that buy them, well,
• 1:42:24
  they buy in bulk, but we still make a killing
• 1:42:27
  off them, and our overhead is very low.
• 1:42:30
  Speaker 1: Oh my god, wind again. Please please tell me that
• 1:42:33
  the dad did not fucking sell that daughter. I don't
• 1:42:38
  don't tell me. I'm just saying, Please tell me Sam's
• 1:42:41
  dad did not know about that. Like, keep going, please.
• 1:42:46
  Speaker 2: Jimmy stood up. Jimmy stood up and pulled the gun
• 1:42:51
  out of his waistband, then threw it on a bed
• 1:42:53
  across the aisle. You know, try to understand, Sammy. It's
• 1:42:58
  not just about the money. You use the stables for
• 1:43:01
  community services too.
• 1:43:03
  Speaker 5: Oh my gosh.
• 1:43:06
  Speaker 2: Lots of people in town come to us, you know,
• 1:43:08
  ever since the fifties. I couldn't take it anymore. I
• 1:43:11
  didn't want to be here listening to this. I didn't
• 1:43:14
  want to see Whitney so broken, and I didn't want
• 1:43:16
  to wait for inevitable death. It was torture in its
• 1:43:18
  purest form. What do you wait for? Why don't you
• 1:43:21
  just kill me? This isn't a James Bond movie. I
• 1:43:24
  don't care about any of this shit. Jimmy laughed loudly,
• 1:43:27
  as if it was the funnest thing you ever heard.
• 1:43:29
  Kill you, kid, If I could, then I already would have,
• 1:43:32
  but I'm not allowed to kill you. I've been trying
• 1:43:34
  to decide if I want to. Okay, I'm not reading that.
• 1:43:38
  Speaker 5: Ah ah, gosh, what the heck I forgot?
• 1:43:42
  Speaker 2: This story is almost too like, yeah, sure, it's it's
• 1:43:45
  disturbing themes, and I understand.
• 1:43:48
  Speaker 1: This thing's disgusting to praise. I mean they're really selling them.
• 1:43:51
  They're really selling Jimmy as I mean, a monster. I
• 1:43:56
  mean there's a thing too when you're dealing with this
• 1:43:57
  subject matter. If I can say anything about story, is
• 1:44:00
  that a person like this would not be holding back.
• 1:44:03
  I mean, this is all still once again, very thorough
• 1:44:06
  through it. They're not trying to This is a thing.
• 1:44:09
  When you approach a subject like this, you cannot just
• 1:44:12
  be like, I'm just gonna hint at it and that's it.
• 1:44:14
  I think it's either all or nothing. So in the
• 1:44:17
  realms of believability where the writer has been so far,
• 1:44:20
  it makes sense to me.
• 1:44:21
  Speaker 2: Yeah, I think it does make sense. I just want
• 1:44:23
  to throw up, is all. She's not one of mine,
• 1:44:27
  but it might be worth it to see her face.
• 1:44:29
  Just just kill me and let her go. I'll kill
• 1:44:32
  myself if you let her go. I stood up from
• 1:44:35
  the bed, and Jimmy took two steps toward me and
• 1:44:36
  punched me so hard in the face that I fell
• 1:44:38
  back down on it. I moaned as I fought the
• 1:44:40
  tears and stars behind my eyes. I can't let her go.
• 1:44:45
  She's got one of our community service babies in her.
• 1:44:48
  Oh my gosh, h Grace says she's got another week
• 1:44:52
  to go. Two tops.
• 1:44:54
  Speaker 1: Jimmy, when do you and youman read this?
• 1:44:58
  Speaker 2: I know this is like all kind of like pretty, Yeah,
• 1:45:02
  a baby girl, I'm just gonna throw up.
• 1:45:03
  Speaker 1: And yeah, I don't want you to have to skirt
• 1:45:07
  around the stuff.
• 1:45:08
  Speaker 2: Go ahead.
• 1:45:09
  Speaker 1: I can't let her go. I can't let her go,
• 1:45:11
  you little fuck. She's got one of our community services
• 1:45:14
  baby in her. Grace says, she's got another week to go.
• 1:45:16
  Two tops. Jimmy looked down at Whitney and frowned. She's
• 1:45:20
  been putting out ship babies though, and as soon as
• 1:45:22
  this one's out of her, she's got a date with
• 1:45:25
  Shiny with the Shiny gentleman. Oh my god. Yeah, so
• 1:45:29
  now we were Oh my god, what the fuck does
• 1:45:32
  that mean? I yelled at him, with a loud ring
• 1:45:34
  suddenly filled in the room. Jimmy held up his finger
• 1:45:36
  and pulled out a phone out of his pocket. I
• 1:45:38
  gotta take a business call. Two minutes and we get
• 1:45:41
  back to our conversation. Jimmy walked over to a corner
• 1:45:43
  of the room and desperately started to pull out to
• 1:45:46
  and I desperately started to pull on Whitney. We gotta go,
• 1:45:48
  We gotta go. We can't stay here. She go out
• 1:45:51
  with her eyes shut and her body. Relax, Whitney, they're
• 1:45:53
  going to kill you. My head whipped toward the door,
• 1:45:57
  and I heard a truck skid in the dirt just
• 1:45:58
  outside of it. Jimmy, he ended his phone call and Killian.
• 1:46:01
  Clary walked in, pushing a limping, bloody Kyle in front
• 1:46:04
  of him. Oh no, loose someunthan Prescott. Oh shit, where's
• 1:46:09
  the girl? Couldn't find her? Oh thank god, I'm adding
• 1:46:12
  these things. Sorry, I'm adding these these reactions. This is
• 1:46:15
  my reactions to me writing couldn't find her, couldn't find Kimber,
• 1:46:18
  Thank god, God, damn it, Clary, you fucked us. Go
• 1:46:23
  back out there and find that girl. Jimmy snatched his
• 1:46:25
  gun off the bed and shoved it into the back
• 1:46:27
  of his waistband. Now listen here, you little shit. Clary growled,
• 1:46:32
  I ain't your fucking employee, and I don't have all
• 1:46:34
  fucking day to play and hide seek in the woods.
• 1:46:36
  I'm telling you she wasn't with him, So I guess
• 1:46:38
  if you want to know where she is, you should
• 1:46:40
  get out of him. You should get it out of him.
• 1:46:43
  Clary threw Kyle down on the floor and spit near
• 1:46:45
  his feet. I got to do your fucking job now.
• 1:46:48
  Jimmy walked over and, without hesitation, kicked Kyle so hard
• 1:46:52
  in the ribs I heard some of them snap inside
• 1:46:54
  his chest. I tried to stand up and that was
• 1:46:57
  still and was still dizzy and fighting off the darkness.
• 1:47:00
  Where's your girlfriend? Landy Prescott raised his boot and then
• 1:47:03
  stomped down hard on Kyle's ankle. He screamed in pain.
• 1:47:06
  I can do this all day, kid. Claire sat down
• 1:47:08
  on the bed across the aisle and lit a cigarette,
• 1:47:10
  watching him impassively. Jimmy pulled Kyle to his feet and
• 1:47:14
  then punched him in the face. A few of Kyle's
• 1:47:16
  teth scattered across the floor. Tell me. Jimmy punched him
• 1:47:19
  again in the face, and Kyle went limp you're killing him,
• 1:47:22
  I scream jumped off the bed, running blindly towards Jimmy
• 1:47:25
  in a red rage. Clarire stood up and caught me
• 1:47:27
  with no effort at all, holding my arms down my sides.
• 1:47:30
  He laughed, cigarette still tucked in the corner of his mouth,
• 1:47:33
  and I struggled helplessly against his chest. Jimmy had straddled
• 1:47:36
  Kyle by now it was rapidly punching him in the
• 1:47:39
  face and chest. Kyle was barely conscious, and I prayed
• 1:47:42
  he'd passed out from the pain. After a full minute
• 1:47:44
  of this, Jimmy stood up and rubbed his bloody fist.
• 1:47:47
  Last chance, Landy, fuck you, Kyle said, through a wheezing,
• 1:47:52
  rattled breath of air. Jimmy spin on him and raised
• 1:47:54
  his foot up as high as he could and brought
• 1:47:57
  it down in Kyle's face with so much force that
• 1:47:59
  I heard his skull break. I sagged and killing Clary's arms,
• 1:48:02
  and he dropped me in the puddle of his feet.
• 1:48:04
  Oh my god, So Kyle just got murdered right in
• 1:48:06
  front of Sam. Yeah, Oh my god. Jimmy bummed a
• 1:48:10
  cigarette off Clary and they stood next to Whitney's bed,
• 1:48:13
  watching me cry, Jesus, what a mess. After a few minutes,
• 1:48:18
  Clarire flicked his cigarette out and pulled out his phone.
• 1:48:20
  All right, Sam, take your friend. I couldn't have heard
• 1:48:25
  him right. Fuck that, that little lady shit ain't leaving here.
• 1:48:29
  You want to clean up this mess, up, Prescott. I
• 1:48:32
  stood up, and my knees didn't buckle beneath me. I
• 1:48:35
  stood up, and my knees didn't buckle beneath me. I'm
• 1:48:37
  not leaving without my sister, I told them. Jimmy laughed,
• 1:48:40
  Yes you are. Clary said, if you want to save
• 1:48:44
  your friend's life, he ain't dead yet. He ain't dead yet, Sam,
• 1:48:48
  but he will be soon. He tossed his keys at me.
• 1:48:51
  The road off this mountain is backed by the refinery.
• 1:48:54
  I let the keys bounce off me and followed the floor.
• 1:48:56
  Clarily swore at me. I knew he was right. I
• 1:48:59
  was a coward, and I I would leave my sister
• 1:49:01
  and all the others just to hear here, just so
• 1:49:03
  I could get away and save Kyle's life. I picked
• 1:49:05
  up the keys, and then, without looking at the two
• 1:49:07
  other men, I picked up Kyle by his shoulders, and
• 1:49:11
  his head rolled back as if no longer attached to
• 1:49:13
  his spine. His face was a collage of pulp and blood,
• 1:49:16
  and I struggled to stay calm and breathe as I
• 1:49:18
  dragged him out of the building. Claire and Prescott watched me,
• 1:49:22
  taking drags off their cigarettes and saying nothing. I knew
• 1:49:25
  they were probably lying to me. Kyle would be dead
• 1:49:27
  by the time I got down to the mountain, if
• 1:49:29
  he wasn't already. I opened the door to Claire's old
• 1:49:32
  ford and placed Kyle in the front seat, wincing as
• 1:49:35
  his head rolled around like a ball on a string.
• 1:49:38
  It took me almost an hour to get down the mountain,
• 1:49:40
  even though I took the overgrown road and ridiculous speeds
• 1:49:43
  and did everything I could destroyed the shocks on the truck.
• 1:49:46
  I sped into the hospital Mercy's Zone and found a
• 1:49:48
  medical team waiting in the inside door. It was clear
• 1:49:50
  they had gotten a call to expect me, because they
• 1:49:52
  already had a crash cart with them in an ivy
• 1:49:55
  rate to put in Kyle's wrist. I left Claire's truck
• 1:49:58
  where it was and spent the next two hours in
• 1:50:00
  the waiting room, calling my dad over and over again,
• 1:50:02
  crying over an Architectural Digest magazine. No one came to
• 1:50:06
  take a statement from me or ask any questions. Kyle's
• 1:50:08
  mom arrived before my dad did and started screaming as
• 1:50:12
  soon as she saw me. My dad walked in behind
• 1:50:14
  her and had a deputy restrain her. He drove me
• 1:50:16
  home in silence, but I couldn't take it for much longer.
• 1:50:19
  Is anyone going to file a police report? Does anyone?
• 1:50:23
  Does anyone even fucking care what happened? Sam? He didn't
• 1:50:26
  turn and look at me. I'm doing my best to
• 1:50:28
  do damage control in the situation, but if Kyle dies
• 1:50:31
  or his parents sue, there's nothing I can do to
• 1:50:33
  keep you out of court. You think I did this,
• 1:50:35
  I screamed at him. We're not going to tell your mother,
• 1:50:38
  all right. She has enough to worry about. Dad. It's Kimber.
• 1:50:42
  It was fucking Prescott and Sheriff Clary. Yes, you arrived
• 1:50:46
  at the hospital and a killian's truck we already took.
• 1:50:49
  We already talked to them both. I was so frustrated,
• 1:50:53
  full of rage, that my next words came out jumbles,
• 1:50:55
  stuttering mess, ended in a helpless scream. We pulled into
• 1:50:58
  our driveway and my Dad turned off the and finally
• 1:51:01
  turned to look at me, and I struggled to catch
• 1:51:03
  my breath. Samuel will never speak at this again. Do
• 1:51:05
  you understand? Are you fucking kidding me? Dad? Kyle might die.
• 1:51:10
  I saw Kimber enough. If you want this to go away,
• 1:51:14
  you will keep your mouth shut about it, make no
• 1:51:16
  statements to anyone, and I'll hire the best lawyer I
• 1:51:18
  can afford to clean up your mess. I don't know
• 1:51:20
  why you beat your best friend almost to death, and
• 1:51:22
  I frankly don't want to you. Fuck you. I screamed
• 1:51:26
  at him and threw open the door of the cruise
• 1:51:27
  or I ran then away from him and the house
• 1:51:30
  and my broken life. He didn't come after me, not
• 1:51:33
  that day or the other. Since everyone in town thought
• 1:51:35
  I was a violent thug, no one would let me
• 1:51:37
  stay with him, and and I called around. Sorry, I'm
• 1:51:41
  all jumbled up. I eventually went to a motel far
• 1:51:45
  outside of town and drained the last of my savings
• 1:51:47
  from working paying for the room. I went back to
• 1:51:50
  pick up my car from the trailhead. It was gone,
• 1:51:52
  and I hoped it was Kimber who had it, and
• 1:51:55
  now a towyard. I read the paper every morning for
• 1:51:58
  someone mentions Kyle's condition. I saw Daily's birth announcement about
• 1:52:02
  ten days later. They had just had a what's that?
• 1:52:07
  Speaker 2: That's uh the the Dailies is his boss. Remember Mira,
• 1:52:14
  right Mirah? Yeah, so they had a birth announcement. So
• 1:52:17
  what does that mean that? Uh? Remember how Mira can't
• 1:52:23
  have kids? And then she told her husband, Okay.
• 1:52:25
  Speaker 1: Oh so they so they so they took a baby
• 1:52:28
  from it. Took a baby fucking from the skin. Yeah, yeah,
• 1:52:32
  from the skin man, My god, yep. I saw the
• 1:52:37
  Dailies birth announcedent ten days later. They had just had
• 1:52:39
  a son that they named William. The whirling, twirling, shiny
• 1:52:43
  gentleman lit up the valley with its stretching song of
• 1:52:45
  death that night. It was the last time I ever
• 1:52:47
  heard of it. I stayed the drist Skins long after
• 1:52:50
  the money had run out. I stayed in Drisking long
• 1:52:53
  after the money had run out and I was sleeping
• 1:52:55
  on the concrete behind the motel. I stayed until Kay
• 1:52:57
  was released from the hospital, a mute, empty eyed, soles vegetable.
• 1:53:01
  I went to see him once while only Parker was home,
• 1:53:05
  and threatened him until he let me inside the house.
• 1:53:10
  When I assured myself that the Kyle I knew was
• 1:53:12
  dead and only his empty hust remained. I left his
• 1:53:15
  house and hitchhiked out of town. And after I spent
• 1:53:18
  four drunken, drug fueled years in Chicago, I came home
• 1:53:21
  one day to find a letter waiting for me. It
• 1:53:24
  didn't have a return address. It was postmarked California. I
• 1:53:29
  knew it was from her before I even picked it up.
• 1:53:31
  She'd written so many of my assignments for me that
• 1:53:34
  I knew Kimber's handwriting better than my own. Oh my god,
• 1:53:38
  Oh my god. Inside it was a letter. The letter
• 1:53:41
  I read, the letter I read only once many years ago,
• 1:53:45
  until I sat down and transcribed it today. And I'll
• 1:53:48
  if you want, yeah, go ahead, and yeah, go ahead.
• 1:53:52
  Speaker 2: And this is the letter that her mom left for her. Yep,
• 1:53:57
  my Kimber, I know you are going to understand and
• 1:54:00
  why we did the things we did. It was all
• 1:54:03
  born out of love. At least it started that way.
• 1:54:07
  You're everything to me and you'll always be my daughter,
• 1:54:10
  do you understand. And I'm leaving this world because of
• 1:54:13
  what I've done to you, not because of what you are.
• 1:54:17
  I don't want you to be upset about what you are,
• 1:54:21
  because who you are is beautiful. My dearest, this town
• 1:54:25
  has done horrible things, and all of us who live
• 1:54:28
  here are guilty. Read this letter and leave this place.
• 1:54:33
  I need to tell you all of this. I need
• 1:54:35
  to start at the beginning. Somewhere along the way. Decades ago,
• 1:54:39
  the major population of Driskine became unable to bear children.
• 1:54:43
  Most people blamed the town for letting the iron ore
• 1:54:46
  leak into our water table during the collapse of our minds.
• 1:54:50
  This is the same water table that still provides the
• 1:54:52
  town's water today. They were never quite able to fix
• 1:54:55
  it and or as toxic and exposure causes infertility. The
• 1:54:59
  town and still does, suffer greatly from its effects. And
• 1:55:04
  the Prescotts they solved the problem that no one could solve.
• 1:55:08
  It was an ugly, crass solution, but most people were
• 1:55:11
  happy to look away when they were able to raise
• 1:55:14
  families again. You see, they took girls, mostly women, from
• 1:55:17
  other places, and they impregnated them and gave us their babies.
• 1:55:21
  And the town came under the care of Thomas Prescott
• 1:55:24
  when he started to sell some of the babies on
• 1:55:27
  the side for a prophet to rich couples. And the
• 1:55:31
  sheriff he helped him do this. But then an ugly
• 1:55:34
  rumor started that they were selling to human traffickers. I'm
• 1:55:40
  an ugly rumor. We wouldn't want one of those. We
• 1:55:43
  wouldn't want to room.
• 1:55:44
  Speaker 1: No, it's been fine, too hard, but yeah, I don't
• 1:55:46
  want that ugly, don't want it that hard.
• 1:55:48
  Speaker 2: We don't trust the client sell. I'm I'm like mad now,
• 1:55:52
  I'm not sad anymore, I'm like upset at these fictional characters. Okay,
• 1:55:57
  and the Prescotts had to offer trip the price for girls,
• 1:56:01
  and in town we began to murmur, but once again
• 1:56:05
  turned the other treek when the city was suddenly flooded
• 1:56:08
  with money because of how well the traffickers paid. People
• 1:56:12
  had well paid jobs. Again, and we're proud to call
• 1:56:14
  drisking home. So we said nothing, and those that did
• 1:56:18
  were taken to the mountain because that is where they
• 1:56:21
  do it. There's a place on the mountain where the
• 1:56:24
  women are taken kimber drifters, runaways and if their parents
• 1:56:28
  choose it. Sometimes the girls in town are even sold back.
• 1:56:33
  They arranged to sell the girls and they meet them
• 1:56:35
  at a tree halfway between our town and their baby mill.
• 1:56:38
  Sometimes kids play there now, I think you played there.
• 1:56:42
  The Prescotts and the Sheriff are the ones who impregnate
• 1:56:45
  the girls, and the children are named after them. Pee
• 1:56:48
  children for the Prescotts and Kai children for the Sheriff.
• 1:56:52
  Oh my god, I'll let you go ahead and do
• 1:56:54
  the math, yeah, Colin Kimper my god. Yeah. Then when
• 1:57:00
  the women become too sick or too old to deliver
• 1:57:03
  profitable babies, they are sent through a giant machine that
• 1:57:06
  was used where fine or and their bodies are crushed
• 1:57:08
  and the blood and skin stripped away, and what remains
• 1:57:11
  of them are their stolen children and the dust of
• 1:57:15
  their bones, And all that's left of their bodies is
• 1:57:18
  the powder that they spread over the mountain to hide
• 1:57:21
  our crimes. If you'll remember, of course, that's the powder
• 1:57:24
  has the power to build the town. As he said,
• 1:57:28
  I'm telling you this, Kimber, because you are one of
• 1:57:31
  those children. Most of your friends are one of those children.
• 1:57:36
  Please get out of drisking before your father finds this letter.
• 1:57:40
  Run away and never come back, and never speak of
• 1:57:42
  it to anyone. Their industry has deep roots now, and
• 1:57:45
  the traffickers have lofty connections, don't tell anyone, don't keep
• 1:57:50
  this letter, don't look back. I love you, I'm sorry
• 1:57:53
  I have to leave you. We all have to answer
• 1:57:56
  for our sins. And I'm ready to burn in hell
• 1:57:58
  for mine, love always and forever.
• 1:58:02
  Speaker 1: Mom oh god, what a fun episode of creep cast right,
• 1:58:13
  holy shit.
• 1:58:17
  Speaker 2: And of course the shiny gentleman the meat grinder that
• 1:58:21
  they threw people in. That was the metal noise that
• 1:58:23
  they heard growing up.
• 1:58:26
  Speaker 1: Yeah, that's the the loud grinding thing of people, of
• 1:58:29
  women dying in the mountain, the mines. Yeah, oh my god, Wow,
• 1:58:37
  I need to go hug I it's this idea. First off,
• 1:58:45
  I just well, here's the thing, I guess. I just
• 1:58:48
  want to talk about the story as a whole. The
• 1:58:52
  story does such a great job about setting up this town,
• 1:58:55
  this idea, so many subversions, so many amazing things that
• 1:59:00
  you want to believe in lead even through like your
• 1:59:02
  own creepy pastas, right, you want to like you hear
• 1:59:06
  these things in the context of a creepy pasta. You
• 1:59:09
  hear skin men, and you, I mean you legitimately like, okay, well,
• 1:59:11
  there's going to be a creature or something. The hellish
• 1:59:16
  reality of this all being something that could literally take place.
• 1:59:21
  Is so horrifying, it's so hard to believe. I think
• 1:59:25
  that they handled the subject matter very well. I think
• 1:59:29
  that a lot of people that are not as experienced
• 1:59:33
  of writers would have written this in a way that
• 1:59:36
  is more vulgar and depraved, and I think it could have.
• 1:59:38
  Like I it is hard, like there's I'm not trying
• 1:59:41
  to sell this fact that this is the first part
• 1:59:44
  that for me is so hard.
• 1:59:45
  Speaker 2: Is the final stuff with Prescott, sure, Like that's like
• 1:59:49
  unbearable thing. It is.
• 1:59:52
  Speaker 1: Yeah, Oh gosh, it's such a cold, bleak reality of
• 1:59:57
  him and the sheer fact of the matter that when
• 2:00:00
  we read this there is simply nothing that can be done.
• 2:00:03
  I mean, we're coming through the lens of a sixteen
• 2:00:06
  year old kid who, at the end of the day
• 2:00:08
  is helpless, hopeless. Right with this thing too, I guess
• 2:00:13
  there's a couple of things. So that is the dad
• 2:00:15
  obviously knows.
• 2:00:17
  Speaker 2: Yeah, So to me, the dad's the most evil character
• 2:00:20
  in the whole story, like sures Prescott's evil, Like he's
• 2:00:24
  the devil. But you can I mean, I give him,
• 2:00:27
  I say it, please. You can imagine some level of
• 2:00:30
  detachment he's made between them and the people he's killing Prescott,
• 2:00:33
  I mean the dad Sam's dad gave his daughter, he.
• 2:00:39
  Speaker 1: Sold her, He sold her.
• 2:00:41
  Speaker 2: To become sheriff. That guy is the devil. I want
• 2:00:44
  to see his face get carved in. I hate that guy. Also,
• 2:00:48
  I'm looking at the replies right now for part four.
• 2:00:50
  On Reddit, someone names Missus Spriggs made an interesting connection.
• 2:00:55
  Do you remember how they said the P names were
• 2:00:57
  for Prescott and the K names were for Killian. How
• 2:01:02
  like the names that the kids come after who their
• 2:01:04
  fathers are. At the end, it says that his boss
• 2:01:08
  had had a son named William, William for Walker, Sam's
• 2:01:12
  last name. So now his father if that's which is
• 2:01:15
  a good analysis. But if that's to be believed, now
• 2:01:17
  his dad's up there, father and kids too.
• 2:01:20
  Speaker 1: I mean, why would you not believe that?
• 2:01:22
  Speaker 2: I mean yeah, yeah, Like like if you're going to
• 2:01:25
  be the devil and give your daughter, I guess it's
• 2:01:27
  just the next step. I hate. I hate. This story
• 2:01:30
  makes me so mad.
• 2:01:32
  Speaker 1: You have the thing about it though, you have to
• 2:01:34
  keep you have to keep in consideration too. Is that
• 2:01:36
  for a subject on our slash no Sleep? This is
• 2:01:39
  something that will keep you up, This is something that
• 2:01:42
  will stay with you. This is something that makes you
• 2:01:44
  think about the intentions of strangers you know and the
• 2:01:47
  strangers of people that you that you don't know. I mean, like,
• 2:01:52
  it is so vilely evil, so realistic, and so disgusting.
• 2:02:00
  It's one of one of the really, like truly one
• 2:02:05
  of the best stories that I've read in terms of impactful,
• 2:02:10
  emotional depth and stuff. I mean, it makes sense too,
• 2:02:12
  why you this author goes on to write, like Haunting
• 2:02:15
  of Hill House, you know, has such a beautiful setup,
• 2:02:19
  such a beautiful setup, but especially you know what they
• 2:02:21
  did too. Sorry to keep rambling, but to have this,
• 2:02:24
  to have this story start with children, because you are
• 2:02:27
  starting in an optimistic, fantastical place. Kids are gonna believe
• 2:02:31
  urban legends, they're gonna be it's gonna be larger than
• 2:02:33
  life and everything. And to have something happen when you're
• 2:02:36
  a child of your sister disappearing, Whitney disappearing. When you're
• 2:02:39
  a kid, you assume that it is something fantastical that
• 2:02:42
  took her, and that relays into Part three or into
• 2:02:46
  part two with that time jump. So the narrative starts
• 2:02:52
  off almost as if when you're reading this you are
• 2:02:54
  a child when you first read this and you are
• 2:02:56
  growing with the characters as well, and you're still under
• 2:02:59
  that optimistic, young hope that this is something that is otherworldly,
• 2:03:04
  that can't be you know, that can't be explained. But
• 2:03:07
  it is so grounded in vile, human fucking depravity that
• 2:03:14
  snaps you back into reality very very quick. It is
• 2:03:17
  so disgustingly good at doing that.
• 2:03:22
  Speaker 2: Ugh. I think I think one of the parts that
• 2:03:24
  bothers me about it so much is because, like you know,
• 2:03:28
  we've read our fair share of like supernatural stories and
• 2:03:31
  stuff like that. But sure, sometimes sometimes like the brevity
• 2:03:34
  of news makes it not set with us. But when
• 2:03:36
  we hear phrases like human trafficking or like you know,
• 2:03:40
  kidnaps or like women abducted, we kind of let it
• 2:03:43
  like roll off our backs because we don't think about it.
• 2:03:46
  But hearing the intensity of those moments described it hurts
• 2:03:50
  so bad because unlike unlike Jeff the killer Russian sleep
• 2:03:54
  experiment or whatever, it's like, this is a this is
• 2:03:56
  something that's happened, not like, sure, not to the scale
• 2:03:59
  of every single person in the town's in all right,
• 2:04:02
  but there's there's rings where this kind of evil happens
• 2:04:06
  and it is.
• 2:04:08
  Speaker 1: It is exaggerating a very real thing. Yeah, it's exaggerating.
• 2:04:12
  Like the exaggeration is just like what if the whole
• 2:04:14
  town is on it?
• 2:04:15
  Speaker 2: It's like the size of it. Yeah, what what if
• 2:04:17
  instead of like hundreds of gang members so to speak,
• 2:04:21
  who are part of it? What if it was one
• 2:04:22
  town that's in on it. What if it was consolidated
• 2:04:25
  almost and it makes it?
• 2:04:26
  Speaker 1: Gosh, man, there's a lot of there's a lot of
• 2:04:30
  speculation and argument with this, even in film, you know,
• 2:04:34
  should this be the subject matter of a film? Usual
• 2:04:36
  when people see these things and they're like, I don't
• 2:04:37
  want to see this, This is disgusting, And I think
• 2:04:41
  it is all about what the what the artist's in
• 2:04:43
  tension is of writing these stories and stuff. But I
• 2:04:45
  think that these kind of stories are I'm not going
• 2:04:50
  to say important as like they need to be made
• 2:04:52
  or anything. I'm not going to go as far to
• 2:04:54
  say that, you know, but I think that to ignore
• 2:04:58
  base level human atrocities because they're hard to swallow is wrong.
• 2:05:04
  I think that like this story preps up these things
• 2:05:09
  so real, and I think it brings to light something
• 2:05:12
  so tragically human and so tragically real that that's what
• 2:05:16
  makes it so impactful and so horrifying. And it's the
• 2:05:20
  idea too that you can do nothing to stop it
• 2:05:26
  is truly impactful, truly truly impactful. And man, god, I
• 2:05:35
  mean at the end two with Sam's time jump, so
• 2:05:41
  he's basically homeless now living in Chicago. You know where
• 2:05:48
  does he end up?
• 2:05:49
  Speaker 2: He ends up saying, says, he goes to Chicago for
• 2:05:51
  a while, then eventually to California. He just becomes a drifter.
• 2:05:56
  Speaker 1: Yeah, when I assured myself that Kyle, I knew was dead.
• 2:06:00
  So basically he left after he knew that Kyle was
• 2:06:03
  basically gone. He's a vegetable. There's no remnant of his friend.
• 2:06:07
  He's alone in this town. He realizes that his dad's
• 2:06:10
  a fucking monster. And then I spent four drunken drug
• 2:06:14
  field years in Chicago. Came home one day to find
• 2:06:16
  a letter waiting for me. He didn't have a return address,
• 2:06:18
  but it was postmarked California. I knew it was from
• 2:06:22
  her before I even picked it up. She'd written so
• 2:06:24
  many of my assignments I'd written. So he's assumed. He's
• 2:06:27
  saying that Kimber sent him the letter. Is that what
• 2:06:31
  that's supposed to say.
• 2:06:32
  Speaker 2: Yeah, Kimber found him and sent him the letter to
• 2:06:35
  kind of give him closure, because remember, Kimber gets away
• 2:06:38
  because of what Kyle did. Kyle died, I mean he
• 2:06:40
  became like a vegetable. But Kyle died to get Kimber
• 2:06:43
  off the mountain, which.
• 2:06:45
  Speaker 1: You'd have to assume that kim Yeah, but we're not
• 2:06:47
  sure where she ended up, as she did leave and
• 2:06:49
  she is she lived. Yeah, I think that even her
• 2:06:53
  return address is she doesn't want anybody to find her.
• 2:06:55
  She probably has her own new life started, and I
• 2:06:58
  think that she probably doesn't even want to see him,
• 2:07:01
  just to the fact too, that it would remind her
• 2:07:03
  of that time.
• 2:07:04
  Speaker 2: You know.
• 2:07:06
  Speaker 1: Really, what's funny too, is that really is he is
• 2:07:11
  the most oblivious, most like kid like almost like most
• 2:07:18
  you know, dope like kind of like stoner asque character
• 2:07:21
  of them all, and he does the most selfless thing
• 2:07:24
  and pays the ultimate price for every other character to survive.
• 2:07:28
  Kyle truly is the hero of the story. Sam is
• 2:07:31
  as well. I mean Sam, you know the credit needs
• 2:07:34
  to b where crowd is given to Sam, though you
• 2:07:36
  know you do want him to fight for his sister
• 2:07:39
  at the end, but it is a hopeless thing. I
• 2:07:40
  think that he realizes that he would that if this
• 2:07:43
  person is well, not of that, but if his sister
• 2:07:47
  is already gone. I think that he needs to like
• 2:07:49
  he's putting priority in this thing and hoping that justice
• 2:07:52
  will come, which is naive. But for a for a
• 2:07:55
  sixteen year old kid, what I mean, what else can
• 2:07:57
  you expect? I think the I just I guess I
• 2:08:01
  want to reiterate that. I think this story did a
• 2:08:03
  very good job not HARKing on the difficult subject matter.
• 2:08:07
  I think they played into it in a way where
• 2:08:09
  they didn't shy away from it. They weren't shying away.
• 2:08:11
  They were very much telling you this is the reality
• 2:08:14
  of the matter. I mean, like the story unveils the
• 2:08:17
  subject matter as much as the kids who stumble upon it.
• 2:08:20
  That's the best way I can describe it. How the
• 2:08:23
  characters react to it is how you react to it
• 2:08:25
  in the real time. It doesn't glorify it. We're not,
• 2:08:29
  you know, reveling in the idea of what it is.
• 2:08:32
  It is the simple and blunt truth that is revealed
• 2:08:35
  to these characters, and it is just fantastical enough to
• 2:08:40
  be I mean, it's just fantastical. I mean, like the
• 2:08:46
  idea of rose and rose of like an army barrack
• 2:08:49
  style thing and no one knows and no one cares.
• 2:08:53
  Is so sad. It's so unbelievably sad and painful, and
• 2:08:56
  it's so like you're like, houses happen, you know what
• 2:09:00
  I mean. But it's still based in a level of
• 2:09:02
  reality that is it's so scary to think that this happens.
• 2:09:07
  It does happen, maybe, like you said, maybe not to
• 2:09:09
  this scale, but it does happen, and it is. It's horrifying,
• 2:09:13
  I mean, honestly, man, unbelievable story, unbelievably impactful story. No wonder,
• 2:09:20
  it stays with people. Nobody want, no wonder, people want
• 2:09:22
  you to read this and kind of come across this
• 2:09:25
  ending and this realization because it truly is something that
• 2:09:28
  is monumental.
• 2:09:29
  Speaker 2: It is like, uh.
• 2:09:32
  Speaker 1: God, God, it's like crashing into a wall. It's like
• 2:09:36
  you're soaring through and you're having fun theorizing on all
• 2:09:40
  these things that you know Creepypasta is to be about,
• 2:09:42
  monsters are weird, interdimensional travelal bullshit, whatever, and then you
• 2:09:47
  just literally crash into a wall at one hundred miles
• 2:09:50
  an hour. It is devastating.
• 2:09:54
  Speaker 2: I mean, I guess I can talk about now because
• 2:09:57
  I've spent the whole time like noll no where it goes,
• 2:09:59
  you know. But while we were reading it through, there
• 2:10:02
  were so many like things I'd forgotten about lead up,
• 2:10:06
  like the mention of his boss at the sandwich shop
• 2:10:09
  being like, Okay, I want to do it. I called them,
• 2:10:11
  let's have a kid. And at the time I told
• 2:10:13
  you it's adoption, because you know, I didn't want to
• 2:10:15
  give it away, but I knew where it was going.
• 2:10:16
  But I'd forgotten that element was earlier in the story
• 2:10:19
  where there's the part where uh, they're over. They're over
• 2:10:23
  at Kimber's place where she's babysitting and the kids are
• 2:10:26
  playing in the yard and they're like, oh, the skinned
• 2:10:28
  man got you. Now you have to go meet the
• 2:10:30
  shiny gentleman like God. It's like there was there was
• 2:10:35
  so much trickle down, or the mention that Mina was
• 2:10:37
  happier after she after he saw her after she had
• 2:10:40
  made the phone call because she was getting a kid. Now,
• 2:10:42
  the fact that Mina was so depressed crying in her
• 2:10:45
  office was because she didn't want to utilize the trafficking
• 2:10:48
  ring the city had, but she eventually goes along with it.
• 2:10:52
  It's gosh, dude, it's it's But like you said, I
• 2:10:57
  think it's an incredibly well written story. It's it's ridibly heavy.
• 2:11:01
  But as far as what I initially said getting into
• 2:11:04
  this at part one that this is my favorite, this
• 2:11:07
  has always been to me the best creepypasta, I think
• 2:11:10
  I still stand by that, at least as far as
• 2:11:14
  I can remember right now.
• 2:11:16
  Speaker 1: Because of how I'm definitely not going to say I'm
• 2:11:18
  an expert and that I know all the I have
• 2:11:20
  like a rolodex of creepy pasta in front of me.
• 2:11:23
  But in terms of impactful storytelling and impactful creepypasta, is this.
• 2:11:28
  I really don't know how this is going to be
• 2:11:32
  topped in terms of like an absolute train wreck, and
• 2:11:36
  I don't think that it uses this is a nothing too,
• 2:11:39
  because I'm curious if people have criticisms of this for
• 2:11:42
  being shock value of like, oh, they're just doing this
• 2:11:44
  because that's disgusting, blah blah blah, when really I don't
• 2:11:48
  know if I agree with a sentiment like that. I
• 2:11:51
  think that this is something that like it's just such
• 2:11:55
  a real heavy subject matter and it's such honestly in
• 2:11:59
  a way, and I don't want to I'm not saying
• 2:12:00
  that I'm glorifying it or anything, but it is a
• 2:12:02
  creative way of using what is a pre known like
• 2:12:08
  creep what is a creepypasta? You know, what is the
• 2:12:10
  fantastical element of what a creepypasta is. It's taking that
• 2:12:14
  and then being like, fuck you, We're not going to
• 2:12:17
  a fantastical place. We're going to a very real place.
• 2:12:19
  This is real world, and this is something that you're
• 2:12:23
  going to have to like face and you know when
• 2:12:26
  when you read it and the characters realize it too,
• 2:12:29
  that's when you're realizing it. And I think one thing
• 2:12:32
  that's brilliant about this too, that I think is like
• 2:12:35
  kind of hitting me in waves is the use of
• 2:12:40
  using what you assume people's losses, the loss of people
• 2:12:46
  in the town, and how people are reacting to it,
• 2:12:48
  and the sympathy you give these things at face value,
• 2:12:53
  when really there is something so much more depraved underneath
• 2:12:57
  the surface of that that it feels like, by the
• 2:13:00
  end of this, you simply cannot trust anybody. I don't
• 2:13:03
  know how Sam or Kimber would ever trust a single
• 2:13:05
  soul again, I honestly don't don't. I don't think that
• 2:13:07
  they would ever have a stable relationship again. I don't
• 2:13:11
  think that they would ever have even like a remote
• 2:13:13
  like a like even friendships. I don't know how you
• 2:13:17
  would ever have that again, with how traumatic and disgusting
• 2:13:22
  this is. And I the only thing that I would
• 2:13:24
  want from because I'm hesitant to read part five because
• 2:13:27
  I don't know if I want to have that what
• 2:13:28
  if situation, The only thing that I would want is
• 2:13:31
  just a very cartoonish, childish reaction of Sam goes back
• 2:13:36
  with a flamethrower and burns every person to the ground.
• 2:13:39
  Speaker 2: I happen to Sam's.
• 2:13:41
  Speaker 1: Dad, That's what That's what you that's what we think
• 2:13:44
  we need. And I do wonder if it did happen,
• 2:13:50
  it would feel good in the moment. But I think
• 2:13:52
  that the reason this is so impactful that it stays
• 2:13:55
  with you is that because you have to embrace that
• 2:13:58
  grief yourself as a reader.
• 2:14:01
  Speaker 2: Well, I've had eight years to embrace that grief. So
• 2:14:05
  I'll read it.
• 2:14:07
  Speaker 1: Yeah, I mean, I I kind of, I mean, like
• 2:14:09
  you know, and this is what we'll do too. I'll
• 2:14:10
  say this, I mean I don't know if you agree,
• 2:14:12
  but if people say that they want us to read
• 2:14:14
  part five, we can read part five and do that
• 2:14:16
  at the same time. I can tell you right now,
• 2:14:18
  as a new reader, I don't want to read it.
• 2:14:21
  Speaker 2: I want to Well, it needs to simmer for a bit.
• 2:14:24
  Speaker 1: Granted though, you know, Wendy, you've you've sat here for
• 2:14:27
  eight years, so I'm curious to if anything, I would
• 2:14:31
  be curious to have you read it and just text
• 2:14:32
  me and be like, would no spoiler kind of thing,
• 2:14:35
  just be like is it worth it or not? And
• 2:14:36
  just kind of be like I think it's worth it
• 2:14:38
  or you know whatever, and then in time I can
• 2:14:40
  make that own, my own kind of decision on it.
• 2:14:42
  But as of right now, I need time to process
• 2:14:46
  what the fuck I just got exposed to.
• 2:14:49
  Speaker 2: Yeah, I think I will. I think I'll read part
• 2:14:51
  five and then report back if I think it's worth.
• 2:14:54
  Speaker 1: What is the not what is the time delineation between
• 2:14:57
  part four is published and part five?
• 2:14:59
  Speaker 2: That's what I was the mention. So all all four
• 2:15:03
  parts that we've covered now were published in twenty fifteen,
• 2:15:07
  within like like at the same time, right, so they
• 2:15:10
  all got published twenty fifteen. That year, Barroska won No
• 2:15:14
  Sleep's Best Series and Scariest Story Award, so it won
• 2:15:20
  a bunch of awards, was highly thanned. So the next year,
• 2:15:22
  in twenty sixteen, Rebecca released Part five. So it's only
• 2:15:26
  one year separated. Okay, I should also mention, oh, this
• 2:15:32
  is also this isn't just for me and you, but
• 2:15:34
  this is especially for audience listening. So there was a
• 2:15:37
  very high production audio version of the story that came
• 2:15:41
  out in twenty twenty. As a matter of fact, Cole Spruce.
• 2:15:44
  So it's like a radio show, like it's almost like
• 2:15:46
  a stage acted thing audio Cole Sprouse plays Sam, and
• 2:15:51
  a bunch of other actors and actresses who you know
• 2:15:54
  from television appears different roles. It adds a lot more,
• 2:15:57
  it's longer than the normal four parts. It's kind of
• 2:16:00
  like her remastered version of the story. It even has
• 2:16:04
  I was a big fan of House growing up, So
• 2:16:06
  if you remember the girl that played Cutty the hospital chief,
• 2:16:09
  Lise Edelson, she's in it. So there's like there's a
• 2:16:13
  ton of like new characters added and stuff, and a
• 2:16:18
  bunch of people who are very familiar with Brosca say
• 2:16:20
  that the podcast webisode is the way to go for
• 2:16:23
  first time listeners. So they did a whole audio show
• 2:16:28
  in twenty twenty that got a lot of acclaim and
• 2:16:30
  as we mentioned earlier, Rebecca, Rebecca Klingles her name, got
• 2:16:34
  so much praise over this story that Mike flan again
• 2:16:38
  invited her on to work on the Haunting of Hill House,
• 2:16:42
  the Haunting of Blind Manner, and the Fall of the
• 2:16:44
  House of Usher. So and I see why, like we talked.
• 2:16:47
  Speaker 1: About, this is a very a great professional relationship blossomed
• 2:16:52
  out of that and all of the show's rule. I mean,
• 2:16:54
  anything Mike Flannagan does I just adore. I mean like
• 2:16:58
  he's fucking amazing and have this is just awesome. I
• 2:17:01
  mean the thing too, you know, Rebecca, all of the
• 2:17:06
  praise goes to how amazing this is. And I really
• 2:17:09
  look forward to anything that she does moving forward as well.
• 2:17:12
  Even I'm hoping that there's some you know, like not
• 2:17:16
  that I don't appreciate the collaborative stuff, but I am
• 2:17:18
  curious to see what she does on her own. Again.
• 2:17:21
  Speaker 2: After the fact, I'll say this, I'm kind of depressed
• 2:17:25
  right now remembering all the details. But through that depression
• 2:17:28
  I can say Rebecca incredible story absolutely blewed up. There's
• 2:17:33
  a reason I've remembered this for the last eight years.
• 2:17:35
  It's one of the scariest stories I've ever read. It
• 2:17:37
  earns the praise. I'm hurt over it, but it so
• 2:17:40
  well does so like you read so many creepypasta that
• 2:17:43
  can barely keep their English together, much less deliver like
• 2:17:46
  you know, foreshadowing, tension, conclusion, stuff like that, and it's
• 2:17:51
  like reading like a true author at work all the
• 2:17:54
  way back then, so well earned success off of it.
• 2:17:57
  You did a great job.
• 2:17:59
  Speaker 1: It just makes me The thing here is for the
• 2:18:02
  thing here is uh. You know, art is meant to challenge,
• 2:18:06
  It's meant to make you question things. It's meant to
• 2:18:10
  provoke emotion. And I think art that is centered in horror,
• 2:18:13
  I mean the horror. The definition of horror is an
• 2:18:16
  intense feeling of fear, shocked, or disgust. And I think
• 2:18:20
  that this is this story is the true definition of
• 2:18:23
  what horror is. I think it's horror that is unfiltered.
• 2:18:26
  It is completely true. And the reason that it's so
• 2:18:29
  horrific is that you, I mean, like, it just instills
• 2:18:32
  that fear in your own life. And I think that
• 2:18:35
  truly truly impactful. I mean, honestly, what a great recommend
• 2:18:39
  I mean, like, yeah, it's the feeling of whenever we
• 2:18:42
  got done with this, the feeling was I want to
• 2:18:45
  throw up. I want to almost like imagine my life
• 2:18:48
  without this story. But then again, I do think that
• 2:18:53
  this is something that's going to stick with me, and
• 2:18:55
  I think that this is this is just amazing storytelling.
• 2:18:59
  It's so so tragic. I mean, once again, hats off,
• 2:19:02
  hats off, and you know what, wind we made it through.
• 2:19:06
  We made it through. I think that's you. What's funny
• 2:19:08
  is that you came into this, your your big balls
• 2:19:10
  were swinging and you were like, you know what, I've
• 2:19:12
  already read this. But I think that like a part
• 2:19:14
  way through part four, you're like, oh fuck, wait, I
• 2:19:17
  forgot to you kind of what you want to hear you.
• 2:19:21
  Speaker 2: Win, everything hurts and I'm dying.
• 2:19:27
  Speaker 1: I think all I'm saying is we made it through together,
• 2:19:31
  and I think we made it through with our viewers
• 2:19:32
  as well. And like I said, we'll be sure like
• 2:19:35
  hopefully we we will put a viewer discretion thing at
• 2:19:39
  the beginning of this episode as well, and we'll leave
• 2:19:41
  that discretion in before that moment as well, so people
• 2:19:46
  should be you know, warranted. So if you did follow
• 2:19:48
  along with us and you're mad at us, just know
• 2:19:49
  we put the signs up.
• 2:19:51
  Speaker 2: Okay, the sign was there, just like the skinned man
• 2:19:54
  sign was in front of the thing that was there.
• 2:19:57
  So you should have known.
• 2:19:58
  Speaker 1: Whether our signs were a lot for our signs were
• 2:20:00
  a lot more literal and a lot are nothing hiding
• 2:20:04
  we were We were like runaway.
• 2:20:06
  Speaker 2: The last thing I want to mention about Rebecca Klingle
• 2:20:09
  is she published these stories under the name c. K. Walker,
• 2:20:13
  So if you find the author c. K. Walker online,
• 2:20:15
  you can find a lot of her other works. She
• 2:20:17
  does a series that I believe her about real life
• 2:20:20
  disappearances like missing for one one type stuff in which
• 2:20:23
  my audience is probably very into. And also if you're
• 2:20:26
  interested in listening to the audio, which we can leave
• 2:20:29
  a link to them to description. If you're interested in
• 2:20:32
  listening to the podcast version of Burroska, it was published
• 2:20:36
  under a company called q Code here on YouTube, so
• 2:20:39
  you can just head over and check that out for
• 2:20:41
  yourself too.
• 2:20:41
  Speaker 1: Kind of is that the one with Cole Sprouse and stuff?
• 2:20:44
  Speaker 2: Or is that one with Cole Sprouse and everywhere?
• 2:20:45
  Speaker 1: Okay, I've heard ever since that we talked about this
• 2:20:48
  one that was like one of the big comments is
• 2:20:49
  that people said that that is it's a very very
• 2:20:52
  good re enacted take it. Yeah, I mean, I hear
• 2:20:56
  it's very well performed. I imagine it's probably a lot
• 2:20:59
  more emotional impactful than us tripping over our words and
• 2:21:02
  stuff and me stopping the story every three minutes. So
• 2:21:06
  please be sure to go give that a checkout as well.
• 2:21:08
  But man, what an impactful one. I mean, you know,
• 2:21:11
  I'm curious. I'm not nervous because people usually suggest all
• 2:21:16
  kinds of stories. Now, I'm very nervous to take people's suggestions. Now,
• 2:21:20
  if I'm being honest, this is this is it is,
• 2:21:26
  you know, it is.
• 2:21:27
  Speaker 2: This is.
• 2:21:28
  Speaker 1: This was by far the most requested one. I'm curious
• 2:21:30
  to see what people are going to gravitate towards the next.
• 2:21:33
  And you know, people are depraved. They're monsters. They're little goblins,
• 2:21:39
  is what they are. They're little goblins that want to
• 2:21:40
  hurt us. And that's the beautiful thing I think about
• 2:21:44
  the storytelling and horror in general that I think is
• 2:21:46
  maybe a good way to end on is that horror
• 2:21:49
  can be fun. Horror can be very real. I think
• 2:21:54
  the way that people can navigate this space is so
• 2:21:57
  interesting and so amazing. And I love this community. I
• 2:22:01
  love I love the fact that people can make horror
• 2:22:04
  that is scary but it's fun. I like, it's fun
• 2:22:06
  to be scared, and then you can have a story
• 2:22:08
  like this that makes you question your own sanity and
• 2:22:11
  makes you question humanity as a large. I think that
• 2:22:13
  it's like it's such a large spectrum and people should
• 2:22:16
  be so stoked to be a part of to be
• 2:22:19
  a part of this community and to be fans of
• 2:22:21
  this community. It's it's awesome, really really cool.
• 2:22:23
  Speaker 2: So yeah, fun, that's how I would describe it.
• 2:22:27
  Speaker 1: I would say too. I don't know if that I
• 2:22:29
  don't know if fun was if there's a cheeky little
• 2:22:31
  grin behind that, behind that screen of yours, but I
• 2:22:34
  think it is. It is fun.
• 2:22:37
  Speaker 3: Uh.
• 2:22:38
  Speaker 1: Well, that was that was Morasca got what you asked
• 2:22:42
  for everyone, A nice little round of applause. We made
• 2:22:45
  it through. We made it through to the other story
• 2:22:47
  and so much. That's how I That's how I feel
• 2:22:50
  as well. And until next time, I don't know what
• 2:22:53
  we're going to cover next. It'll be a surprise. I
• 2:22:55
  know we've been trying to kind of tell people what
• 2:22:57
  we're covering next to the India's episodes, but I think
• 2:23:00
  I think it's gonna be a little surprise for next time.
• 2:23:02
  I think we're still trying to figure out what we
• 2:23:05
  what we want to sink our teeth into. But until
• 2:23:07
  next time, this has been creep cast and we will
• 2:23:10
  catch you on the next one.
• 2:23:12
  Speaker 2: Thank you all so much for watching. It means the world.
• 2:23:15
  Bye for now, see you in the next one.