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Ep 16 | TRANSCRIPT

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0:00.970

ANNOUNCER

For information on upcoming episodes, merch, and other ways to support the podcast, follow us on Instagram @JacobsStanleypodcast or on Twitter @InappropriateF and check out our website, jakobstanley.com to submit your own story to the podcast.


00:22.050

BARKBOX

Got a doggo and wanna support the poddo? Use the affiliate link in our show notes BarkBox.com/jakobstanley, that’s Jakob with a “K” and sign up for BarkBox! Each month BarkBox brings your dog more than $40 worth of toys, treats and chews tailored especially for your pup, curated from each month's unique themed collection. Is your puppers is into Stranger things? Would they dig some Beggo Waffles, or a Demo bat? Maybe they prefer the Wizarding World of Harry Potter? And want a sorting hat or Hedwig of their very own. So, click on the link in our show notes barkbox.com/jakobstanley that’s Jakob with a “K” or go to our website jakobstanley.com and use the link provided to help support our pod and bring monthly dog joy right to your door. OH! And by using our link you get an additional month FREE! That's barkbox.com/jakobstanley.


01:09.150

NARRATOR

In October of 2011, 4 college students disappeared in the woods near Porter Township Pennsylvania while researching a documentary on children’s author Jakob Stanley. They remain missing to this day. Last month their recordings appeared online. In an effort to aid in the investigation, the families of those missing have agreed to release the following sound files. If anyone has information on those missing or the identity of the person or persons who uploaded these files, please use the contact information provided. Anything submitted may be used in future episodes. Certain materials referenced in this podcast, including the published works of Jakob Stanley, are currently protected under U.S. copyright law and may be redacted. For legal reasons, some names have been withheld and voices altered. The views and opinions expressed in this podcast are solely those of the podcasters and participants, and do not represent the official policy or position of the Iphigenia County Police Department of Porter Township Pennsylvania or its associates. This podcast contains adult themes and language. Listener discretion is advised.


02:19.190

PROFESSOR WHITAKER

For ten years, we have been desperate to find any shred of information on what has happened to Tolen, Avery, RJ and Chuck since going to Porter Township. These recordings have provided our first real glimpse into their experiences before going missing. And we hope by sharing them others may be able to help. It has been a long ten years with no leads on this case. I want to make a plea to those with information on the possible whereabouts of Tolen Reid, Avery Fischer, Ruby Jean Alvarez and Charles Young. Please - I beg of you to come forward. If you reach out anonymously, I personally guarantee your anonymity will be preserved. To the person or persons who posted these recordings, we have done everything you asked of us. It is now time for you to return the favor, and help us find our missing. Tolen Reid, Avery Fischer, Ruby Jean Alvarez and Charles Young. We love and miss you.


SFX: Beep.


03:47.770

PROFESSOR WHITAKER (CONT’D)

The following are the final round of sound files posted. For clarity, we have revised the order based on metadata.


04:01.130

PODCAST INTRO SEQUENCE


NEWS ANNOUNCER

WN [BEEP REDACTED] TV New York.


MUSIC: [80’s NEWS INTRO THEME]


NEWS ANCHOR ‘83

If your child has been to a school book fair recently, chances are they came home with one of this author’s scary books-


MUSIC: [80’s SUNDAY TALK SHOW THEME]


SUNDAY MORNING TALK SHOW HOST ‘81

Our guest’s first anthology leapt to the top of the New York Times Best Sellers list -


MUSIC: [LATE NIGHT TALK SHOW INTRO APPLAUSE]


LATE NIGHT TALK SHOW HOST ‘86

- Thank you. Thank you! Over the past few years, he has become a household name -


MUSIC: [PODCAST THEME]

PUBLIC RADIO HOST ‘92

- Bridging the gap between Alvin Schwartz and Stephen King -


TV PREACHER

- The devil is among us, friends.


CONGREGATION

AMEN!


TV PREACHER

He’s among us, in the form of a writer. -


SUNDAY MORNING TALK SHOW HOST ‘81

- The book might have struggled during it initial release in 1977, but now “Tell Me A Story: Under the Bed That’s Over My Head”, has skyrocketed -


ALSC COMMITTEE REP

- So many parent organizations complained that his work was too sophisticated for children-


TV PREACHER

- He has infiltrated your homes, and your children’s minds-


PUBLIC RADIO HOST ‘92

- His second macabre anthology “Tell Me A Story: Moonless Sky and Other Friends” sold out from bookstores in mere minutes. Becoming a controversial -


NEWS ANCHOR ‘83

- Stanley's books ranked on the American Library Association’s “100 Most Frequently Challenged Books” from 1981-1993 -


TV PREACHER

- Stanley’s books promote disobedience, violence and the occult! Lord have mercy -


PUBLIC RADIO HOST ‘92

- The 3rd volume in his “Tell Me A Story” collection “The Floor That Creaks, the Closet That Speaks and the Tip Toes That You Walk On” was released in 1986 to mass acclaim -


ALSC COMMITTEE REP

- All that fussing, just made his work more popular -


TV PREACHER

- Check your children’s rooms, check their bookshelves, check their back-packs! -


YOUTUBER

- I do think his final book, released in ‘99, “TMAS: The nightmare, The Dream and the Places Between,” was by far his best work.-


PUBLIC RADIO HOST ‘92

- His work has been described as “subversive” and “dark,” I simply describe it as genius.


SUNDAY MORNING TALK SHOW HOST ‘81

- It is my pleasure to introduce -


LATE NIGHT TALK SHOW HOST ‘86

- Please welcome -


PUBLIC RADIO HOST ‘92

- Ladies and gentleman, please welcome -


SUNDAY MORNING TALK SHOW HOST ‘81

- Jakob Stanley.-


LATE NIGHT TALK SHOW HOST ‘86

- Mister Jakob Stanley.


PUBLIC RADIO HOST ‘92

- Author, Jakob Stanley.


[Applause.]


MUSIC: [POD THEME SYNTH]


AVERY/NARRATOR

Little to nothing is known about the life of this elusive author. And since 1999 Jakob Stanley seems to have completely dropped off the face of the earth. Until a short two-line obituary appeared in a small town paper, over a year ago.


TOLEN/NARRATOR

From BOO Labs and Red Cup Media, I'm Tolen Reid -


AVERY/NARRATOR

And I'm Avery Fischer, this is TELL ME A STORY: THE TRUE LIFE OF JAKOB STANLEY.


SFX: Tolen is handcuffed to the door of Wallace’s truck.


06:22.936

TOLEN

Uh. My name is Tolen Reid. If anyone finds this phone, please give it to Avery Fischer. Her contact info is under the name Dean Winchester. Shit, this isn’t my phone, uh, so I’m sure she is under her... own ...name...uh. I’ve been taken prisoner by Wallace Embry. E - M - B - R - Y. I’m cuffed to the door of his truck... Uh... Shit, I don’t know where he is and I can’t.... Uh. Oh shit, glovebox.


SFX: Tolen riffles through the glove box.


TOLEN (CONT’D)

Fuck, of course. Cause that’s the first thing they teach you in human trafficking 101. “Be sure to clear your glovebox of any useful tools that might aid in your hostage’s escape!” Shit. Uh... I’m not sure where I am, it’s pitch black outside... Uh... there are a few ... uh... buildings around, but I don’t see any signs or anything... There’s a barn? ... I don’t even know if I am still in Porter Township - hell I don’t even know if I’m in Pennsylvania. But, I think I got knocked out? Uh, my attacker - Wallace Embry - slammed on the breaks and it, and it all went dark. I was, I was in a car accident earlier, so if I wasn’t concussed before, I sure as shit am now.


SFX: Suddenly, the driver’s side door loudly creaks open.


TOLEN (CONT’D)

BAH!


WALLACE

Oh good, you’re up.


SFX: Wallace gets in the car and slams the door closed.


07:53.000

WALLACE (CONT’D)

You hungry? There are some PB&Js. I know it’s not the quality cuisine you have grown accustomed to from me. But needs must.


TOLEN

Uh, no thank you?


SFX: Wallace grabs a brown paper bag full of PB&J sandwiches from the dashboard.


WALLACE

Ah well, more for me.


SFX: Wallace takes out a sandwich and takes a bite.


WALLACE

You ok buddy? You really took a bump on the head when I hit the brakes there.


TOLEN

I’m fine.


WALLACE

Good. You had me real worried ‘bout you.


SFX: Wallace finishes his sandwich.


TOLEN

Uhm, Wallace, I really need to go back to check on Avery and Chuck, so...


WALLACE

No can do, buddy. We’re already running behind.


TOLEN

Wallace. I need to make sure my friends are okay.


WALLACE

You don’t have to worry about that, compadre, it’ll all be taken care of. - You know what, I’ll bring you a PB&J, in case you change your mind.


SFX: Wallace opens his car door and gets out.


WALLACE (CONT’D)

Ready?


TOLEN

Ready for what?


SFX: Wallace leans into the cab.


WALLACE

To meet him?


TOLEN

Meet who?


WALLACE

Who do you think? - Come on now.


SFX: Wallace slams his car door closed. The mic cuts off.


SFX: Chuck, RJ and Avery are speeding down the road in a stolen car, heading to the Mendenhall.


09:16.510

CHUCK

Is it on?


AVERY

Yeah, we’re rolling.


CHUCK

Well hello there, Wallace Embry - or L.L. Randolph, whoever the hell you are - Here’s a little something we cooked up... just ... for ... you. UH!


SFX: Chuck steers the car into a guard rail. RJ and Avery hoot and holler cheering Chuck on.


SFX: Chuck pulls the car slowly away from the guard rail.


CHUCK

Oh yeah! Why yes, that’s right. That was the sound of your classic 68’ Dodge Charger - that you put together by hand - eating guard rail, you piece of dog shit.


AVERY

I bet you regret those late-night booze-fueled fireside backyard chats now!


RJ

Yeah, you can take your top 10 favorite things and shove them all up your ass.


CHUCK

YEAH! And when this is all over, we’re gonna take your General Lee, Dukes-of-Hazard-country-fried car and fling it into the quarry.


RJ

Oh Shhhiiiit!


AVERY

Suck my dick Wallace.


RJ

Yeah suck it.


CHUCK

Suck it suck it suck it!


SFX: The 3 cheer and madly beep the car horn.


RJ

Oh man.


CHUCK

You guys feel a little better?


AVERY

A bit. RJ?


RJ

That helped. Thank you.


AVERY

- Oh! Another guard rail.


SFX: They all start to laugh.


CHUCK

Ta-ta for now, Wally.


SFX: Chuck deliberately steers the car into another guard rail. RJ and Avery cheer Chuck on. The mic abruptly cuts out.


SFX: Wallace slams Tolen’s car door shut and locks it. He starts herding Tolen through the grounds of the Mendenhall towards the main building.


TOLEN

Wallace, I really don’t ... uh, okay.


SFX: Wallace herds Tolen like a sheep dog towards the main building.


11:00.480

TOLEN

Where are we?


WALLACE

Oh right, of course you’ve never been here before, only RJ and Avery. Sorry about that. ... This is the Mendenhall.


TOLEN

This is the Mendenhall?


WALLACE

In all its majestic glory.


SFX: They walk towards the entrance.


TOLEN

Why are we -


WALLACE

If I’m being honest, I’ve been kinda disappointed so far. But when you found the manuscript, that’s when I knew.


TOLEN

Well, we all found the manuscript.


WALLACE

Don’t you dare be modest. I know it was you.


TOLEN

Uh.


WALLACE

And the way you were holding it the other night, that was love right there.


TOLEN

Uh. Why are we at the Mendenhall?


WALLACE

Where else would we be?


TOLEN

Uh, okay... Uhm, I’m sorry, I’m still confused?


WALLACE

HA, ha-ha, ha. Man you are hilarious.


SFX: Wallace unlocks and opens the menacing heavy main door to the Mendenhall.


WALLACE

After you.


SFX: The mic cuts off.


SFX: Avery adjusts recording levels.


12:26.390

AVERY

Check...check. - No, I dropped that into the previous episode. It made more sense.


RJ

You set it to upload?


AVERY

Yeah, the second it gets a signal it's in the cloud.


CHUCK

I don’t even know how you guys can think about that shit right now. We don’t even know what we’re walking into here.


RJ

You gonna leave that in the car?


AVERY

Oh hell no, this isn’t leaving my sight. They’re gonna have to tear this backpack off my corpse.


CHUCK

UH. We gotta game plan here?


RJ

Well, that’s Wallace’s truck parked near the main building. So, we start there?


AVERY

That works.


CHUCK

Oh shit, look.


RJ

What?


CHUCK

There’s light coming from the top floor.


RJ

Where?


CHUCK

Right side. Over there.


RJ

Huh... that’s the nursery.


AVERY

Oh, no.


CHUCK

This place had a nursery?!


AVERY

Yeah, it was in that BOO episode we filmed here.


RJ

We played it for you guys.


CHUCK

I must’ve blocked that nightmare out of my brain.


AVERY

Yeah, I tried to do that. Didn’t work.


CHUCK

Not going anywhere near that baby ghost mess.


AVERY

I know, right. Friggen baby ghosts.


RJ

Don’t be stupid. It’s the only room with a light on, we have to check it out. That was also the only area we weren’t allowed to film. So, something weird’s going on there.


AVERY

I mean, we don’t know that for sure.


RJ

Avery, there is light coming from that room. We’re gonna check it out.


CHUCK

I’m with Avery on this, I don’t think it’s very smart-


RJ

- OH MY GOD, THERE ARE NO SUCH THING AS GHOSTS! Jesus, you guys need to grow up and get the fuck over yourselves right now. Still believe in Santa? The Easter Bunny? You afraid there’s a Cthulhu up there? HUH?! ... The truly terrifying things that inhabit this world are people... So, children, do you want to find Tolen or not? ... I’ll take your shame-filled silence as a yes. Now, come on.


SFX: RJ gets out of the car and closes it behind her.


SFX: Tolen and Wallace are slowly walking through the pentagram-shaped stone connecting tunnels under the Mendenhall, leading to the crematorium.


14:25.160

TOLEN

God, it’s so warm.


WALLACE

These tunnels were all here long before they ever built the Mendenhall. It’s why they built it here. It’s a very powerful, very powerful place.


TOLEN

Yeah, we listened to Avery and RJ’s episode from here.


WALLACE

Ha, they sure as shit scared the pants off old [BEEP].


SFX: Wallace starts laughing so hard he can barely speak. He stops walking and leans against the wall.


WALLACE (CONT’D)

He... He... I think that boy pissed hisself... running outta here like his ass was on fire. ... Whooo... Whooo. Gotta catch my breath. ... Oh lord, that just tickled me no end.


TOLEN

So, is this where they did the seance part?


WALLACE

Well, back there a-ways. At that intersection bit. It’s called the crossroads.


TOLEN

Oh right, it’s like a big star.


WALLACE

Yeah, I guess you could say it like that.


TOLEN

It’s really beautiful - Or I mean powerful like you said. I can see it now.


WALLACE

Yeah, I have a very strong connection with this place, we both do. And now, you will too.


TOLEN

Hey, Wallace?


WALLACE

Yeah, bud?


TOLEN

Did you take the unpublished manuscript last night?


WALLACE

You really liked it didn’t you? I could tell. You were cradling that like it was your baby.


TOLEN

Ha, yeah, at least I think I did.


WALLACE

I know you didn’t get to spend much time with it. But, we’ll change that.


TOLEN

Uh, but you didn’t by any chance bring it with you or?-


SFX: Suddenly, a bat flaps by screeching.


TOLEN (CONT’D)

BAH!... Uh, it sure feels like we’ve been walking for a long time? Ah, so where does this tunnel go?


17:15.470

WALLACE

It goes this way.


SFX: Wallace clicks a button and a secret door in the rock wall grinds open.


SFX: We hear echoey footsteps of RJ, Avery and Chuck running through the cavernous stone floors of the Mendenhall. The mic cuts in and out.


SFX: RJ stops suddenly and they all accidentally slam into each other. They slowly begin to backtrack, moving quietly, then RJ takes off again and they all follow. A bat startles them, but they continue.


SFX: The mic cuts in and out. As they reach the door of the creepy ass nursery.


18:08.260

RJ

One, two, three.


SFX: A loud horrific creak emanates from the old heavy wooden nursery door.


CHUCK

Well, there goes the element of surprise.


SFX: The 3 slink into the nursery and search around the room. RJ opens a large armoire. Avery looks in a large trunk. Chuck looks behind the thick damask curtains.


AVERY

Shit.


RJ

Nothing.


CHUCK

Nothing.


AVERY

Nothing.


CHUCK

Is there another light in here?


RJ

Yeah, I got it.


SFX: RJ clicks on a bedside table lamp.


AVERY

What the hell?


RJ

Holy shit.


CHUCK

Did we enter Downton Abbey?


SFX: Avery gasps.


AVERY

On the bed!


SFX: RJ slowly approaches the bed and pulls back the covers.


RJ

It’s just a robe.


AVERY

Oh, thank God.


RJ

What did you think it was?


AVERY

I don’t know.


CHUCK

I thought you said this was a nursery?


AVERY

That’s what we were told.


RJ

It was the nursery, look at the

wallpaper.


CHUCK & AVERY

Uuuuhg.


AVERY

Yikes.


RJ

It’s obvious someone has been living here now. Probably collected all the leftover furniture from other rooms and set up camp here.


SFX: The armoire door swings open startling Chuck and Avery. RJ crosses to the armoire.


RJ

It’s okay. It’s okay. Just an armoire. I must not have - oh that’s not an armoire.


AVERY

What is it?


RJ

Huh. It looks like a dumbwaiter?


19:30.424

CHUCK

That’s one big dumbwaiter.


SFX: RJ leans in and a pulley squeaks from above, making RJ a little nervous


RJ

Definitely a dumbwaiter, just really deep, not too high. There’s a mess of pulleys. Oh and this thing here is the speaking tube, you pop this little plug out.


SFX: RJ removes a metal plug cap from the tube.


RJ

And you can talk to the kitchen... oh...Oh.


AVERY

What? What’s wrong?


RJ

I don’t think this was a dumbwaiter... for food.


AVERY

It’s for bodies, isn’t it?


RJ

Yeah.


CHUCK

Okay. Are we done here?


SFX: There is a faint echo of voices. Everyone freezes.


20:05.020

RJ

Did you hear that?


AVERY

Where is it coming from?


SFX: Avery and RJ slink around the room searching for the source.


CHUCK

RJ if I get haunted because of you I am going to be so mad.


RJ

Shhhh! ... It’s coming from the speaking tube.


SFX: RJ listens to the distant voices.


RJ

Oh my God. That’s Tolen’s voice.


AVERY

Let me.


SFX: Avery dives for the speaking tube and leans her ear against it.


AVERY

It’s him, definitely him.... And... Wallace.... I can’t make out what they are saying clearly though.


RJ

Fuck we found them!


CHUCK

Where does that dumbwaiter lead to?


AVERY

Only one way to find out.


SFX: Avery climbs inside the dumbwaiter.


CHUCK

What the hell are you doing?


SFX: RJ climbs inside the dumbwaiter.


CHUCK (CON'T)

No. No way.


20:47.506

AVERY

Fine we leave you here.


CHUCK

Whoa-whoa-WHOA!


RJ

Come on. This sign says it can hold up to 800 pounds.


CHUCK

Yes, because its weight-bearing capacity was my main concern.


RJ

Look Chuck, they have to be at the other end of this speaking tube or we would’ve never been able to hear them.


AVERY

I’m taking this thing down whether you’re with us or not. So.


SFX: Chuck heads timidly over to the dumbwaiter.


RJ

You got this. ... Uh, uh, uh maybe back in? Yeah, back in.


SFX: Chuck awkwardly backs into the dumbwaiter on all fours.


AVERY

Just keep your eyes closed, we’ll tell you when to open them, okay?


CHUCK

Uh-huh.


RJ

Here we go.


SFX: RJ presses the down button. The pulley system and entire shaft make a horrible sound, as if a beast has been awakened.


CHUCK

Oh God.


SFX: The dumbwaiter chugs downward.


SFX: Tolen and Wallace are still slowly walking through the tunnels under the Mendenhall, they are at the deepest point right near the crematorium.


WALLACE

We’re almost there, buddy.


21:52.030

TOLEN

It’s so hot, why is it so hot?


WALLACE

Tolen! Come on man, aren’t you excited!


TOLEN

I’m still not exactly sure what is happening.


WALLACE

The other night, when you were looking at the manuscript-


TOLEN

-I’m not feeling so good.


WALLACE

- You really seemed into the illustrations, am I wrong?


TOLEN

Uh, ...no, they were wonderful?


WALLACE

If you had to pick your favorite-


TOLEN

- I can’t say I remember them clearly right now.


WALLACE

Oh right, of course. Sorry. You’re just the first to set eyes on that manuscript since it got hidden away.-


TOLEN

- Wallace, I am very dizzy.


WALLACE

You’re fine, you’re fine. Just a bit overcome. Do you want your sandwich?


TOLEN

NO! No, I do not want my sandwich, Wallace! I feel like shit! Why did you drag me here!


WALLACE

You earned it, buddy.


22:43.750

TOLEN

WHAT? You abducted me!


WALLACE

Abducted? What?!


TOLEN

I can’t play this game anymore. You gonna kill me, just fucking do it. I’m not taking another step.


WALLACE

That is just about the most bananas thing I have ever heard. Why would I? ... Look okay, how about a peace offering? Here.


SFX: Wallace produces the unpublished manuscript.


TOLEN

Is that?


WALLACE

I was gonna hold on to it, but I think... I think it should be you.


SFX: Wallace passes Tolen the manuscript.


WALLACE

Now, when he comes to you... I need you to let me know. Bang on the wall, give a holler, whatever you like, just let me know.


TOLEN

What?


SFX: Wallace unlatches a lock.


WALLACE

And we’re here.


SFX: Wallace opens the heavy stone and metal doors.


TOLEN

What is this?


WALLACE

A sacred place.


TOLEN

You, you expect me to go in there?


WALLACE

He will come to you.


TOLEN

I... I- I- I don’t-


WALLACE

There’s no need to fret. I’ll be right here.


TOLEN

That’s not very helpful.


WALLACE

Wait, you’re not afraid of me? Are you?


24:07.110

TOLEN

Should I be?


SFX: Suddenly, Tolen’s walkie talkie beeps.


WALLACE

What the hell’s that?


SFX: Outta nowhere, RJ zooms in and cracks Wallace on the back of the head with the baseball bat, he stumbles to the floor. Tolen flies back against the wall and slides to the ground.


RJ

How do you like getting sucker punched, bitch!?


SFX: Avery and Chuck rush in from the darkness.


AVERY

TOLEN!


CHUCK

TOLEN.


TOLEN

Avery!


SFX: Avery and Chuck help Tolen up from the ground.


AVERY

Oh my God.


CHUCK

Jesus Christ.


TOLEN

Oh, thank God!


CHUCK

Let’s go.


SFX: Wallace stands up and lurches towards the group.


TOLEN

Avery.


SFX: Wallace charges, narrowing in on Avery.


RJ

AVERY!


SFX: Wallace slams into Avery causing her to fly into the crematorium. Wallace falls backward landing in the hallway. Avery is knocked out for a second, slumped against the back wall.


TOLEN

Avery!


SFX: Tolen, RJ, and Chuck rush into the crematorium to check on Avery. She wheezes.


AVERY

I’m fine, where’s Wallace?


CHUCK

SHIT!


SFX: BOOM, and with that Wallace closes the doors of the crematorium.


CHUCK

HEY!


RJ

OH GOD!


SFX: Chuck and RJ fly to the door, but it will not budge. They begin banging on the door demanding to be released.


SFX: Tolen sits next to Avery on the floor.


TOLEN

I have never been happier to see anyone in my entire life.


SFX: Chuck and RJ continue to bang and yell.


AVERY

Blah-blah-blah feelings.


TOLEN

Avery!


AVERY

Tolen!


TOLEN

Really, you okay?


AVERY

Yeah, you?


TOLEN

I’m okay. I’m okay.


SFX: RJ and Chuck give up on the door.


CHUCK

SON OF A BITCH!


AVERY

FYI we’re pretty sure he’s L.L. Randolph.


TOLEN

Yeah, yeah, I caught that.


RJ

Also, my money is on that he killed Jane too.


CHUCK

And he drugged us last night.


TOLEN

Was it the cider? I knew that was off - Goddamnit. ... RJ what happened to you?


RJ

Short version, he knocked me out and locked me in his basement. Avery and Chuck, thought something wasn’t right and got to Wallace’s right after you left.


25:17.812

AVERY

Bad news, he burned most of the Stanley stuff we collected.


TOLEN

WHAT?


CHUCK

But, we grabbed everything left.


AVERY

Sorry to say, we didn’t find the manuscript, though. I’m really sorry, Tolen.


TOLEN

I wouldn’t worry about that. He gave it to me.


AVERY

YOU HAVE IT!


TOLEN

Yeah.


AVERY

I can pack it up here.


SFX: Tolen passes Avery the manuscript and she shoves it into her back pack.


TOLEN

Shit, with all that gone, most of the stuff we have is just our recordings. We have to upload those files.


CHUCK

Need to figure a fucking way outta here first!


TOLEN

Yes, right, right.


RJ

This is the outside wall right? It leads out to the base of Great Cliff’s Peak?


AVERY

Yeah, I think so.


RJ

Okay...uh.


SFX: RJ starts walking around the room.


25:56.830

AVERY

What are you thinking?


RJ

Okay, so this room is basically like a big fire place, right? Fire places usually have a way to brush out the ash and soot - at least one this size would have to have something like that?


AVERY

Right?


RJ

So, look for a grate, it might be in the floor or against a wall.


SFX: They all start looking around the room.


CHUCK

There’s something under this. It’s like a manhole cover. In the center. There.


RJ

Okay, good!


SFX: RJ starts pulling at the heavy metal grate to lift it open.


RJ

Now help me... get... this... off.


SFX: The team jump in and they remove the massive grate.


RJ

Okay, this has to lead to an ash pit of some kind, which they would need to empty out ... or since that wall is the base of the Peak...


AVERY

It could lead outside.


26:45.578

RJ

Exactly! So, if we follow this, we might have a way out.


AVERY

Right.


CHUCK

RJ you are a goddamn genius.


TOLEN

How do we climb down there though?


RJ

Uhhhm...


SFX: Weird echos pour out from the shaft, occasionally you hear a droplet of water.


CHUCK

Does that sound like water to you?


SFX: There is the faint sound of rushing water.


AVERY

It has to lead outside.


RJ

We don’t have time to over-think this.


SFX: RJ begins climb down the shaft.


CHUCK

Whoa!


AVERY

Wait!


27:04.504

TOLEN

We should-


RJ

It’s fine, the mortar between the stones has worn away enough to - WHHHAAAAAAA!


SFX: Suddenly, RJ begins sliding down the shaft, she gets father and farther away. Then - splash!


TOLEN

Shit, we need to-


AVERY

Fuck it.


SFX: Avery rushes down the shaft, we hear the same slide and splash.


CHUCK

Okay.


SFX: Chuck dives in, slide and splash.


TOLEN

Mom, Dad, I love you so much.


WALLACE

(through the door)

Has he come to you yet?


TOLEN

Fuck.


SFX: Tolen carefully climbs down into the shaft, determined not to slip like everyone else. He gently feels around the walls between the rough stones and grit. But gravity is more determined and he too slips. The rocks fall around him as he slides down the tunnel’s ash covered walls. The recording cuts in and out. Suddenly - splash - he hits the water. The shaft has turned into a stone waterslide, twisting and whirling him around as he plummets deeper and deeper into the earth.


SFX: Suddenly the tunnel ends, Tolen screams as he free falls 40 feet before hitting a body of water below.


RJ

He’s over here!


AVERY

Where?


CHUCK

There!


SFX: The team runs through the water towards Tolen. They pull him to the surface, he gasps for air.


28:56.870

AVERY

You good?


TOLEN

Yeah, yeah I’m alright.


CHUCK

One hell of a ride, huh?


TOLEN

Uh, yeah. ... Where the hell are we?


SFX: The shaft has lead them to a massive, echo-filled subterranean water cave. The team stands in the shallows.


AVERY

I guess there’s a cave under Great Cliff’s Peak. Who knew?


TOLEN

Wow.


RJ

I know, right.


CHUCK

This would be almost beautiful... if it weren’t so terrifying.


TOLEN

The water is so warm.


AVERY

It’s so soothing.


RJ

It must be fed by a hot spring or something.


29:37.910

CHUCK

How the hell do we get out of here?


RJ

Well, the current seems to go this way.


AVERY

Do we wanna follow the current?


RJ

I assume it leads out somewhere? Maybe this feeds into the quarry?


CHUCK

I don’t think so. At the bottom of Great Cliff there’s a river or a creek or something? Separate from the quarry.


AVERY

Great Cliff’s Peak creek!


CHUCK

YES! Great Cliff’s Peak creek!


RJ

Yeah! It feeds into that pond on the Amherst campus.


TOLEN

So, if we follow the current, it will take us right to the Amherst!


CHUCK

Yes!


AVERY

Oh, hell yeah!


SFX: They all mini celebrate, excitedly sloshing in the water. But the excitement fades. They get a little cold and sink further into the water to warm up.


30:30.730

TOLEN

Damn, this water’s so warm.


CHUCK

I know, I almost don’t wanna get out of it.


AVERY

Yeah, walking outside is gonna be a little rough in the cold. Ya know?


SFX: There is a faint metal “clang” from the shaft above, it echos ominously through the cave.


RJ

What was that? ... Did you hear that?


SFX: There is a tumbling sound coming from the shaft above them. Suddenly, a massive rock falls from the tunnel, slamming into the water like a cannonball.


AVERY

What the fuck?


TOLEN

This water’s sooo warm.


SFX: Faintly, from the crematorium Wallace calls out:


WALLACE

Has he come to you yet?!


31:12.230RJ

What did he say?


CHUCK

We should go.


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?!


TOLEN

This water’s so warm.


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?!


AVERY

Huh?!


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?!


RJ

“Has he come to you yet?”


AVERY

Has who come to us?


TOLEN

This water’s so warm.


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?!


CHUCK

Nope. No. I am not doing this right now. Let’s go.


SFX: Chuck starts wading in the water with the current.


RJ

We need to -


SFX: RJ let’s out a terrified gasp. Every one turns to look. A dark figure approaches them from the cave. Electricity crackles in the air.


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?! Has he come to you yet?


CHUCK

Is that?


TOLEN

Oh my God.


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?!


AVERY

Shit.


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?!


RJ

That’s impossible.


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?!


SFX: The figure’s foot step approach.


WALLACE (CONT’D)

Has he come to you yet?!


SFX: The mic starts to distort the sounds in the cave.


TOLEN

Mister Stanley?


SFX: Wallace calls out again from above:


WALLACE

Has he come to you yet?! Has he come to you yet?! Has he come to you yet?! Has he come to you yet?!


SFX: BOOM - there is a burst of sound. Suddenly, there is a hard metallic slam and the mic cuts out.


BEAT.


SFX: The calming sounds of Great Cliff’s Peak creek fills the silence. The phone floats along with the current. It bobs above and below the water line. It’s a beautiful day. The phone dings with a notification. The mic cuts out.


33:11.290

NARRATOR

The views and opinions expressed in this podcast are solely those of the podcasters and participants. If anyone has information on those missing or the identity of the person or persons who uploaded these files, please use the contact information provided.




[Transcripts are generated by a combination of speech recognition and transcribers, and may contain errors.]


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