31 - Whatever is in the pond... kill it

Summary

Archive 81 – Episode 31: "Whatever is in the pond... kill it"

Podcast produced by Dead Signals | Released: September 19, 2018

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Episode Overview

This episode of Archive 81 plunges listeners into a surreal horror labyrinth as protagonists Nicholas and Christine navigate a shifting, liminal house engineered by the enigmatic Alistair. The duo must survive bizarre rooms, supernatural threats, and mind-bending psychological manipulation, all while unraveling Alistair's motivations and the nature of the reality they've been ensnared in. Guided partially by cryptic clues and insightful tapes, the pair learns that their escape—and perhaps the unmaking of this hellish architecture—hinges on what (or who) is lurking in a mysterious pond. The journey is filled with tense exchanges, moments of dark comedy, and unsettling encounters, culminating in a confrontation with the power-mad architect himself.

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Key Discussion Points & Episode Structure

1. Entrapment in the Unknown Space (00:55–04:35)

• Nicholas and Christine awaken, disoriented, in a strange "drawing room" with no exits but a two-way radio. Alistair communicates with them, delighted by their arrival.
• Alistair reveals: They are trapped in a custom-built architecture "between conscious and unconscious, between reality and unreality." He likens the act of creation to "gardening," shaped through his own will and creativity.
• Quote – Alistair, [02:47]:
  "I will never get to experience the architecture I've created—the architecture of space. Between worlds, between conscious and unconscious, between reality and unreality."

2. Sardonic Resistance & Power Exchanges (04:32–06:59)

• Christine sardonically thanks Alistair for his "masterpiece," warning him they will escape and promising retribution.
• Techniques for escaping are hinted: a book ("Turn of the Screw") will open the next passage.
• Quote – Christine, [04:38]:
  "Just wanted to make sure you were done with your monologue... just as some free advice, you should run."
• Nicholas and Christine move to explore, displaying resourcefulness and solidarity.

3. Navigating the Hellish House: Trust, Rituals, and Memories (07:16–15:00)

• The pair traverse bizarre architecture, unable to rely on previous rituals or call for help. They examine books and discuss invented languages, reinforcing their bond and intelligence.
• A surreal, compelling statue exerts a supernatural influence; Christine is briefly possessed after touching it.
• Nicholas uses personal memories—a lullaby from their father and favorite food (Popeyes)—as identity checks to probe Christine’s possession.
• Quote – Christine, [14:46]: "As soon as I stared at the statue, it was like I needed to touch it. I… I couldn’t do anything. I kind of forgot who I was."
• They resolve not to let the house manipulate them again.

4. Kathy’s Descent & the Horrors of Other Inhabitants (15:41–18:32)

• The duo encounters Kathy, a previous victim of the house, changed and traumatized—feeding on surreal things to survive.
• Kathy describes rooms filled with existential terror and beauty. She suggests Alistair's creation has grown beyond him—like a fractal or living organism.
• Quote – Kathy, [17:08]: "This place is something that grows like a fractal in a liminal space. Our existence waters the flower and it continues to grow."
• Her suffering is a warning: the longer one stays, the more the house warps them.

5. Tape Reveal: Alistair’s Folly and Motivation (19:19–23:09)

• Nicholas and Christine find a mysterious tape—Dan, their father, speaks with Alistair and Michael.
• Revelations: Alistair's creation is less about power and more about the joy (and madness) of creation itself. Michael criticizes him for creating things that serve no purpose other than horror.
• Quote – Michael, [20:05]: "Rituals are meaningless if they don't further your own interests."
• Dan, speaking through the tape, cryptically instructs: reach the pond, and "whatever’s in the pond, kill it" to escape.

6. Trials En Route to the Pond (23:36–26:40)

• Nicholas and Christine take Dan's advice and press on, confronting swarms of bees and reminders of their vulnerability.
• Nicholas helps Christine through her bee allergy, using the lullaby to calm them both—linking back to their theme of memory and identity.
• They continue, physically and emotionally drained, but determined.

7. The Encounter with the Goldfish Remnant (26:40–30:34)

• At the pond, they confront a speaking "Goldfish Remnant," a being aware of its own constructed purpose.
• Mutual recognition: The Remnant asks to be killed, explaining its existence feeds the architecture's power—naming it would make it stronger.
• Quote – Goldfish Remnant, [27:35]: "If I am not named, I am less powerful. And I do not want the architecture built upon me to grow more powerful."
• A moment of eerie empathy: the Remnant welcomes its end, asks that its corpse be fed to Alistair.
• Quote – Goldfish Remnant, [28:51]: "Feed my corpse to the man who created this architecture. Make sure he swallows."

8. Escape and Confrontation with Alistair (30:51–32:01)

• Passing through a newly appeared portal, Nicholas and Christine arrive back in Alistair’s office.
• Alistair is shocked at their escape. Christine and Nicholas immediately indicate their intent to confront him, referencing Christine's earlier threat.
• Quote – Christine, [31:15]: "Now, this saves us a lot of time, trouble now, doesn’t it?"
• Tension hangs, with Alistair offering to help, but the siblings firmly refuse.

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Notable Quotes & Memorable Moments (with timestamps)

• On the nature of the architecture – Alistair, [02:47]:
  "The architecture of space between worlds… I would liken it more to gardening than to sculpture."

• Christine’s threat to Alistair, [04:38]:
  "You should run… you're going to want to be as far away from us as possible."

• Nicholas identifying languages, [02:32]:
  "They're all invented languages. Esperanto, Wolopuk, even Klingon…"

• Kathy on the house, [17:08]:
  "This place is something that grows like a fractal in a liminal space. Our existence waters the flower and it continues to grow."

• Michael’s critique, [20:05]:
  "Rituals are meaningless if they don’t further your own interests."

• Dan’s crucial instruction, [23:04]:
  "If you go far enough into the house, there will be a pond, and whatever’s in the pond, kill it. You’ll be able to go home."

• Goldfish Remnant’s resignation, [27:21]:
  "Not at all. I have been alive far too long."

• Final confrontation, Christine to Alistair, [31:15]:
  "Now, this saves us a lot of time, trouble now, doesn’t it?"

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Important Segment Timestamps

• 00:55: Alistair's initial communication; the room’s description.
• 02:47: Alistair explains his architectural philosophy.
• 06:22: The first puzzle’s solution ("Turn of the Screw").
• 11:09: Supernatural possession—Christine touches the statue.
• 14:46: Recovery and discussion after possession.
• 15:41: Meeting Kathy and learning about the house’s growth.
• 19:19: Discovery and playback of the crucial tape.
• 23:09: Dan's guidance—find and kill what's in the pond.
• 26:40: Arrival at the pond and conversation with the Goldfish Remnant.
• 28:51: The Goldfish Remnant’s request: "Feed my corpse to the man who created this architecture."
• 30:51: Nicholas and Christine step through the portal and confront Alistair.

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Tone & Atmosphere

The episode balances unsettling surreal horror with dark humor and fierce sibling loyalty. Dialogue swings between sardonic resistance, philosophical musings on power and creativity, and deeply personal exchanges. The horror is not only in monstrous creatures and bizarre spaces, but in the psychological pressure—what the house draws from their identities, memories, and relationships.

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Takeaways for New Listeners

• The architecture is both a personal creation and a living, growing entity.
• Nicholas and Christine’s knowledge, humor, and family bond protect them against manipulation.
• The house is populated with both new nightmares and the remnants of previous victims—survival is rare.
• The act of naming—and forgetting—holds power in this world.
• Escaping requires confronting not just physical threats, but the very purpose of the creation.
• The relationships between creators (Alistair, Michael, Dan) underpin the horror’s rules and offer occasional cracks for escape.

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Summary prepared for listeners interested in Archive 81’s blend of horror, psychological exploration, and labyrinthine storytelling.

Transcript

[Sponsorbot]

Your small mind is listening to Archive 81. Archive 81 is supported by Audible. For a free audiobook with a 30 day free trial, go to audible.com deadsignals or text dead signals to 500. 500.

[Alistair]

Hello, Nicholas and Christine. There's a two way radio in the center of the room. Push the button and talk into the microphone.

[Christine]

What the goddamn hell?

[Nicholas]

No, no, no, no, no, no, no. This isn't. I'm not getting trapped again. There's got to be a way out. Christine.

[Alistair]

Nicholas and Christine. I can't hear you until you push the button.

[Christine]

Did we talk to him?

[Nicholas]

I don. I don't know what. Maybe.

[Christine]

Okay, let's get this over with. Alistair, where the hell are we?

[Alistair]

Christine, so nice to finally talk to you. Nicholas is there with you? Correct? I'm here. Wonderful. Oh, Nicholas. I was so worried that I wouldn't be able to make your acquaintance. I'm afraid I'm at somewhat of a disadvantage. I know all about the two of you, but I'm not quite sure what.

[Michael]

You two know about me.

[Christine]

Where the hell are we?

[Dan]

Look around.

[Alistair]

What do you see?

[Christine]

Some sort of drawing room. Persian carpets on the floor. A couple of bookshelves, Maps on the wall, some armchairs and a radio that doesn't appear to be any way in or out.

[Alistair]

What else do you see?

[Christine]

Not really in the mood for I spy. Alistair, whatever this is, we're going to find a way out of it.

[Alistair]

There's no out, Christine.

[Nicholas]

Thanks. They're all invented languages. Esperanto, Wolopuk, even Klingon. The maps are off slightly. Some of the countries here never existed. And the rugs are.

[Alistair]

Mara, I would advise against staring at the rugs. You know, I'm jealous of you. I will never get to experience the architecture I've created. The architecture of space. Between worlds, between conscious and unconscious, between reality and unreality. It is planned to a certain extent, but things grow and shift. I would liken it more to gardening than to sculpture. Shaped and molded out of the raw reality that you yourself experienced, Nicholas. But I believe you'll find my creation more interesting.

[Nicholas]

I assume that you outgrew trapping people in caves.

[Alistair]

Every artist has to start somewhere. And that type of work did pay the bills while it began to construct the space you're currently experiencing. But I'm especially glad that you two will get to see it.

[Nicholas]

Does it have a name?

[Alistair]

You know, I never thought to give it one. Something to think about.

[Christine]

So what happens now? If you're trying to get information from us, we know I don't know nothing like that.

[Alistair]

The people that pay me simply wanted you gone. And as for what happened next, I invite you to explore the space. There are so many beautiful and terrible and wondrous things to see. This is an act of creation that few people will get to experience. But I genuinely hope you realize how lucky and fortunate you are.

[Christine]

You done yet?

[Alistair]

I believe I am.

[Christine]

Just wanted to make sure you were done with your monologue. Yeah. So Nick and I are definitely feeling really hashtag blessed that we get to experience your weird, magical artwork or whatever. But just as some free advice, you should run.

[Alistair]

Excuse me?

[Christine]

So, we're going to get out of this place, whatever the hell it is. Nick already got out of limbo by himself. And together, we're pretty goddamn awesome together. And when we do get out, you're going to want to be as far away from us as possible. Maybe, I don't know, change your name.

[Kathy]

Nick.

[Christine]

Would that help him get away from us?

[Nicholas]

Not particularly. We have a ritual that would locate him.

[Christine]

Man, this isn't looking great for you, Alastor. Can you, like, I don't know, erase everyone's memory of you? There's got to be a ritual for that.

[Nicholas]

We've had experience with people who could only exist when they were being recorded. Perhaps you could look into that.

[Christine]

Good idea, Nick. Anyway, just brainstorming. Main takeaway is that you should be very, very afraid of what we're going to do to you once we get back. Now, you're probably thinking this is unlikely, maybe even impossible, but if there's even the slightest hint of doubt that we could escape your little labyrinth, you really shouldn't take a chance. If you let us out now, we promise to leave you alone. We won't like you, but we'll leave you alone. Isn't that right, Nicholas?

[Nicholas]

I would be open to that.

[Christine]

So, what's it gonna be, Alistair?

[Alistair]

I can sense that you two are going to last very long in my architecture. Thank you for that. Just as a tip, the only way to get out of the study is by removing one of the books from the bookshelf. It's James's turn of the screw. Only book in English. You would have probably figured that out by yourself, but I'm happy to help. Once again, it was a pleasure meeting the two of you.

[Christine]

God damn it. God damn it. God damn it.

[Dan]

Chris.

[Nicholas]

Christine. Are you done?

[Christine]

I'm done. Sorry about the radio. Maybe we could.

[Nicholas]

It isn't important.

[Christine]

Okay. Okay. Let's think about this. Is there anything you know from your time in wherever you were.

[Nicholas]

No. Seems like it's different. It's designed. And we can't call static, man. I checked. No cell service. Obviously. Shit.

[Christine]

Rituals?

[Nicholas]

None off the top of my head. There was a reason we had to turn to payphone. Dad just didn't have any teleportation rituals.

[Christine]

God damn it. Is there anything.

[Nicholas]

Shit.

[Christine]

Nick, what the hell happened to your arm?

[Nicholas]

I.

[Christine]

Does it hurt?

[Sponsorbot]

No.

[Nicholas]

Not at all. I guess the recorder's just attached.

[Christine]

Can you take it off?

[Nicholas]

Yeah, but I can't turn it off or on Christine.

[Christine]

I don't know. Just deja vu, I guess. You should probably leave it on. Just in case.

[Nicholas]

Yeah. So. Turn of the screws over there. Do you think we should start exploring?

[Christine]

Can't think of anything else, can you?

[Nicholas]

No. We shouldn't have gone through the door. I'm sorry. I should have heard it.

[Christine]

It's not your fault. I didn't hear it too. Still, I wasn't bullshitting. Alistair. We're going to get through this, okay?

[Nicholas]

All right.

[Christine]

Come on. Nice secret passageway. Come on.

[Nicholas]

And it looks like there's one for seeing through an enemy's lies. One for turning iron into mercury. One for ensuring a quick and painless birth. And there are a fair amount of sex rituals, but.

[Christine]

Yeah, I genuinely don't need to hear about Dad's sex rituals.

[Nicholas]

Yeah, I guessed as much. But I can't find any rituals that might get us out of here.

[Christine]

How's the iPhone battery? The flashlight isn't draining it too fast?

[Nicholas]

No, I got it on airplane mode, so we're still about 90%. And I have an external battery, so we should be good for a while.

[Christine]

I can't believe the external battery actually came in useful.

[Nicholas]

They're great. We should get one when you know.

[Christine]

Yeah. How long do you think the staircase lasts?

[Nicholas]

I couldn't hazard a guess.

[Christine]

Getting tired.

[Nicholas]

I'll be all right. You?

[Christine]

I'm good. How the hell were you able to recognize.

[Nicholas]

Excuse me?

[Christine]

Back in the study. Like you knew the books were written in, like, Klingon, Esperanto and Volupique.

[Nicholas]

The French Revolutionary government mandated a lot of innovative language reforms. I did some comparative analysis of that and some more recent invented languages. As for the Klingon, TNG can be a bit preachy, but I've watched a fair amount of Deep Space Nine.

[Christine]

You're such a nerd.

[Nicholas]

Well, we should probably stop talking. I can see light ahead.

[Christine]

Hey, Nicholas. Does this remind you of Dad's basement at all?

[Nicholas]

How so?

[Christine]

Just the way the pillars go into the concrete and the type of rock it's just. Man, it feels like Dad's basement.

[Nicholas]

A bit, perhaps.

[Christine]

Statue wasn't there, though. How would you describe it?

[Nicholas]

A cross between a Neolithic mother goddess and a Giacometti sculpture.

[Christine]

But glowing and humming with too many eyes.

[Nicholas]

Probably isn't a good idea to stare at it.

[Christine]

Do you think it'd be warm if I touched it? I think it would be warm.

[Nicholas]

Pleasant Christine.

[Christine]

No. Let me touch it. It's going to be really pleasant.

[Nicholas]

Stop it. We need to go.

[Christine]

No. Let me touch the statue.

[Nicholas]

Please don't. Why did you touch it? Damn it. Come on. Up the stairs. Are you all right?

[Christine]

I'm quite fine. Sorry, I just. The statue was warm, pleasant. Nothing to worry about.

[Nicholas]

What got into you back there?

[Christine]

I just wanted to touch the statue. Guess it's some sort of magical weirdness, you know? Now can we get going?

[Nicholas]

Of course. How'd the lullaby go?

[Christine]

Excuse me?

[Nicholas]

The lullaby that dad sang to me the last time I saw him. How did it go?

[Christine]

Don't be silly. Come on.

[Nicholas]

How did it go?

[Christine]

You really expect me to remember a lullaby?

[Kathy]

Come on, it's me.

[Christine]

You're the smart one in this relationship.

[Nicholas]

What food did we always get? Static. Man.

[Christine]

The house is making it really hard.

[Kathy]

For me to think.

[Christine]

Nicholas. I think. I think I just need some time to sit down. Alright?

[Nicholas]

Come on.

[Christine]

Don't touch me.

[Nicholas]

We are going back to the statue.

[Christine]

Don't you touch me.

[Nicholas]

It's not you in there.

[Christine]

No.

[Kathy]

No.

[Christine]

No. Release me.

[Nicholas]

What are you.

[Christine]

Release me and I'll let you go home. Alastor will think you're dead. You can forget this ever happened. Forget you had a sister. Forget all about your dad.

[Nicholas]

Shut up.

[Christine]

Please. I didn't want this to happen. You don't know what it's like. Unable to move. Trapped and small. Please. Her memories are so pleasant. In just a few hours, I'll be just like your sister. But better. Just let me use her body.

[Alistair]

Just for.

[Christine]

Don't make me touc. What the hell was that?

[Nicholas]

How did it go? The lullaby. How did it go?

[Christine]

We good? Or do you want some more?

[Nicholas]

That's enough.

[Christine]

And the answer to your question was Popeyes, Obviously.

[Nicholas]

What happened? What was it like for you?

[Christine]

As soon as I stared at the statue, it was like I needed to touch it. I. I couldn't do anything. I kind of forgot who I was. And then when I touched it, I was inside it. I could hear everything, see everything. But I don't want to think about it.

[Nicholas]

God, I'm sorry.

[Christine]

Poor whoever it was what tipped you off?

[Nicholas]

Well, you don't talk like that. You were moving your body strangely, as if you weren't used to it.

[Christine]

Yo, dude, even if I had remembered the lullaby, you're the smart one in this relationship. Like, who the hell would say that?

[Nicholas]

Oh, no, that was. That was flattery. Whatever that thing was, probably picked up on some deep seated truth in your psyche.

[Christine]

Dude, if it had actually been Christine goddamn Anderson, there is no goddamn way you could have overpowered me.

[Nicholas]

That's accurate.

[Christine]

Come on, we should get going before anything happens.

[Nicholas]

Yeah, you're right.

[Christine]

What number of room was that?

[Nicholas]

14. But it's only been three hours according to the stopwatch.

[Christine]

Maybe you should turn the iPhone off. You know, conserve battery.

[Nicholas]

With the external battery, we got around three days until the power runs out. If we haven't found anything to drink until then.

[Christine]

Okay. Leave it on.

[Nicholas]

Are you doing all right?

[Christine]

I'm fine. Bit hungry, but I'll manage.

[Nicholas]

Still thinking about the uneaten feast from earlier?

[Christine]

Dude, I've seen Pan's Labyrinth. I know how that would have gone down.

[Nicholas]

There was a 95% chance those skeletons would have come alive if we touched the food.

[Christine]

Still, it looked so goddamn good.

[Nicholas]

We should stop talking about food.

[Christine]

Yeah, good call.

[Nicholas]

Alright, up the stairs. What?

[Kathy]

Who's there? Who's there?

[Nicholas]

Kathy, is that you?

[Christine]

Kathy?

[Kathy]

You're the reason I'm here.

[Christine]

Stop it. If I let you go, will you promise to not fucking attack me?

[Sponsorbot]

She bit me.

[Nicholas]

Don't let her go.

[Christine]

I don't want to keep her pinned. Kathy, Are you going to stop attacking us?

[Kathy]

Fine.

[Nicholas]

We're not responsible for the fact that you're here. We told you.

[Christine]

Not the time. It's been a while. Kathy, are you okay?

[Kathy]

Do I look like I'm doing all right? You see that orifice? Every so often, some eyes pop out and I eat them raw. There's a room a ways away with a comatose woman who never stops crying. I drink her tears. They don't have salt in them, which is a miracle. The eyes are mine.

[Sponsorbot]

You can.

[Christine]

You can't have any. Don't worry, Kathy. We aren't here for your eyes. Now, do you have any idea how to get out of this place?

[Kathy]

Any idea? Any idea? I'm still here. I'm still here. And I've been trying for so long to get out. And nothing.

[Christine]

Nothing.

[Nicholas]

I apologize. Kathy, what have you seen in your time here? Perhaps there's something you missed. We can work together. No one.

[Kathy]

No one can help me. I have seen a giant trying to Eat itself in succeeding. I have seen a black dog made entirely out of flies. I have seen a room where the angles do not work and hurt to look at. This house is beautiful in its horror. Alastair told me that this was his masterpiece. That this was a work of art. But art is not always a good thing. And I do not think he made it all himself. No person can make something like this. This place is something that grows like a fractal in a liminal space. Our existence waters the flower and it continues to grow. And I do not think this place is infinite. Yet. But if you had an infinite number of rooms and they were all filled with horrifying things. But not all of these rooms are filled with horrifying things. Something to consider.

[Christine]

Kathy. Kathy.

[Kathy]

There was a room where three blind men who were not men, but had the genitalia of men. Grew their hair long and thought they were in a forest. And there was one room that was a burning church. And I almost could not escape. And the longer you were in here, the more wondrous things you will see. The longer you are in here. The more wondrous things you will see. The longer you are.

[Nicholas]

Christine. I think we should leave her.

[Kathy]

Candace. Please go. I do not wish to see you again. The eyes are mine. I can't have any through here.

[Christine]

We shouldn't leave her.

[Nicholas]

We have to.

[Sponsorbot]

Come on.

[Christine]

Don't ever let me get like that. Ever. Are we back in the goddamn room where this whole thing started?

[Nicholas]

No. No, it's not. Look. The books are in different languages. Dead languages. This one's in Latin. This one's. I believe that's Aramaic. And the maps are all fictional places.

[Christine]

It's just another of the goddamn rooms.

[Sponsorbot]

Yes.

[Christine]

Okay. Okay. We keep going. I think we've got Christine.

[Nicholas]

Christine. Is that.

[Christine]

It's a goddamn tape. Oh, God. Nick, your arm's ain't. Can it.

[Nicholas]

Yeah, I think. Give it to me.

[Christine]

It's Dan. It has to be Dan.

[Alistair]

I assume you're recording this?

[Dan]

Of course.

[Michael]

Why wouldn't I be?

[Alistair]

Have you given it any thought?

[Michael]

I have. And there isn't any point to it. Say you build it.

[Alistair]

Grow it. It would not entirely be in my control.

[Michael]

Grow it. Fine. Then what? It wouldn't get you anything. You would just have a horrifying house beyond space and time that you couldn't even go to. You would feed people into this thing. And then what? What would happen?

[Alistair]

They would experience my creation. And their experience would feed into the house.

[Michael]

That it would be one thing if you were feeding off of their. To gain power. That would make sense. That's an interesting idea. But this. Rituals are meaningless if they don't further your own interests.

[Alistair]

So you don't approve?

[Michael]

Alistair, you're a smart kid. You're good at this stuff. Don't go down this path. It will ruin you. It's folly.

[Alistair]

No. This will be a masterpiece. Don't you ever want to create something, Michael? Not just follow a recipe, but to make something yourself. This will be beautiful and strange. And even if I do not see it entirely, I will know it's there. Don't you understand that?

[Michael]

No, but that's all right. After I've done the ritual, you can do whatever you want. Make whatever weird haunted house you'd like. But right now we need to be committed. I want your help, Alistair.

[Alistair]

I am not inclined to give you help, Michael.

[Michael]

Alistair, think about this. There are still things I can teach you.

[Alistair]

No, there aren't. Don't play the kindly old mentor type. I know who you really are, Alistair. Have you considered what you'll do without me? I can't even imagine how difficult it will be to complete. What friends do you have left? What family can you call on?

[Michael]

I think you underestimate me, Alistair. You do not want me as an enemy.

[Alistair]

I'm not your enemy. From this moment forth, you are beneath my notice.

[Dan]

I'm sorry it took me so long to reach you. You opened a door. But even when you open a door, it can be. Doesn't matter. I had to trick the tape to include my voice at the end, but hopefully the tape was at least enlightening. I've been trying to find a way out, but it's complicated. You're actually somewhat near me in a sense, so I can help you a bit more. I'm guessing you need it anyway. The house isn't perfect. Alistair isn't as smart as he thinks he is. He grew this from a seed, and the seed. This is going to sound weird, but if you go far enough into the house, there will be a pond, and whatever's in the pond, kill it. You'll be able to go home. But the pond's a ways from you, so you should hurry. Good luck.

[Nicholas]

Dad knew Alistair?

[Christine]

Apparently. Only reason why he'd hate the two of us. We were goddamn delightful. Come on. There's no time. We need. We need to get going.

[Nicholas]

Please don't touch anything until the bond.

[Christine]

Don't worry. Let's get the hell out of here. Shit. Shit, shit, shit, shit, shit, shit, shit, shit, shit.

[Nicholas]

You're allergic Aren't you?

[Christine]

Yes. So we need to walk very, very carefully.

[Nicholas]

All right. Here, Cover your head with my jacket. I'll guide you.

[Christine]

Thanks. If they get in my eye, I'm basically. Well, you know. It's better now that I can barely see anything.

[Nicholas]

Yeah, it isn't that bad, actually.

[Christine]

We can't be nervous. They can tell if you're nervous. What do the bees look like? Are they weird?

[Nicholas]

They're definitely normal size. Just like regular bees. Nothing to be afraid of. Just need to walk through this hive.

[Christine]

Hey, Nick. I think they can tell that we're nervous.

[Nicholas]

Telling me that is not gonna make me less nervous. It's having the opposite effect.

[Christine]

Need to be less nervous. Nick. I'm going to die.

[Nicholas]

Okay. You know what I always did when I needed to calm down before a test?

[Christine]

Breathing exercises?

[Nicholas]

No. You know Dad's lullaby? I would hum it to myself.

[Christine]

Really?

[Nicholas]

I know. Not the most psychologically healthy thing, but.

[Sponsorbot]

Wow.

[Christine]

They're calming down.

[Nicholas]

Come on, Hurry through here. Before you say anything, I'm sorry if it was weird. I know, dad.

[Christine]

It's all right. Thanks for getting me through there.

[Nicholas]

Of course.

[Christine]

The bees.

[Nicholas]

Oh, God. They were enormous.

[Christine]

God, it's eating itself.

[Nicholas]

Don't look. Don't you dare look. Come on, Leah.

[Christine]

How's your battery doing?

[Nicholas]

It'll last. We have light.

[Christine]

That may not be a good thing. With what we've seen.

[Nicholas]

Yeah.

[Christine]

You're not gonna turn it off, though?

[Alistair]

No.

[Nicholas]

Are you all right?

[Christine]

Not really. I'm tired, Nicholas.

[Nicholas]

Yeah, me too.

[Christine]

Come on. Probably close.

[Nicholas]

We have to be. Yep.

[Christine]

That looks like a pond, all right. You feeling up to killing whatever weird monster is in there?

[Nicholas]

I'm. I'm not at 100%.

[Christine]

Well, power through it. Come on.

[Goldfish Remnant]

Hello. What are your names?

[Nicholas]

What the. My name is Nicholas.

[Christine]

Chris. Are you a goldfish?

[Goldfish Remnant]

Hello. Nicholas and Chris. Not really.

[Nicholas]

What are you then?

[Goldfish Remnant]

A remnant. Are you here to kill me?

[Christine]

Would you be mad if we said yes?

[Goldfish Remnant]

Not at all. I have been alive far too long.

[Christine]

Then, yeah. We're here to kill you.

[Goldfish Remnant]

Thank you for that.

[Nicholas]

What should we call you?

[Goldfish Remnant]

It isn't important. If I am not named, I am less powerful. And I do not want the architecture built upon me to grow more powerful.

[Nicholas]

I'm sorry to ask, but I trust you. And I'm not exactly sure why I am trustworthy.

[Goldfish Remnant]

It is my nature. Please. You are thirsty. Drink from the pond.

[Christine]

We are thirsty.

[Nicholas]

Yeah.

[Christine]

That was God damn incredible.

[Goldfish Remnant]

I am glad you enjoyed it.

[Nicholas]

Was it poisoned at all? I'm not mad. Why am I not Mad. I apologize.

[Goldfish Remnant]

I must appear sinister. I simply saw that you were thirsty and I wanted you not to be.

[Christine]

Thank you.

[Nicholas]

How would you like us to kill you?

[Goldfish Remnant]

Remove me from the pond. I will die without water in a few seconds.

[Nicholas]

All right. Is there anything you want to tell us before you die?

[Goldfish Remnant]

Yes, I have a request.

[Nicholas]

Anything.

[Goldfish Remnant]

Feed my corpse to the man who created this architecture. Make sure he swallows.

[Nicholas]

Of course. Thank you.

[Goldfish Remnant]

I did not particularly enjoy being alive in this state. It was limiting. I will swim to your hand.

[Christine]

Wait. Kathy. There's someone else in this place. Is there a way we can get her out?

[Goldfish Remnant]

I am not sure.

[Michael]

Most likely not.

[Goldfish Remnant]

But I do not wish to speak further. I wish to die. Put your hand in the water, Nicholas. There.

[Christine]

Good. Why the hell did we trust that goldfish?

[Nicholas]

I have no idea. So, did we go through this portal?

[Christine]

I mean, there's a big glowing portal. Pretty sure we're supposed to step through it.

[Nicholas]

All right. Let's get going then.

[Sponsorbot]

Huh?

[Christine]

Are we in an office?

[Nicholas]

I think.

[Sponsorbot]

Who?

[Alistair]

Oh, God. How'd you get out? No one's supposed to get out. That is it.

[Christine]

Alistair. What a pleasant surprise. Now, this saves us a lot of time trouble now, doesn't it?

[Nicholas]

It genuinely does, Christine. It genuinely does.

[Alistair]

You know what? Congratulations. I'm excited to hear how you two got out. That's information I'd be more than willing to pay for.

[Christine]

Ah, is that right?

[Sponsorbot]

It is.

[Alistair]

After all, you're trying to do the. I could help with that.

[Nicholas]

Fairly certain we're close to starting the ritual on our own. Thanks for the offer.

[Sponsorbot]

No, no.

[Alistair]

You don't even know what it's about. Your father.

[Christine]

It's okay. We'll get to that. First things first, though. Remember how I said that you should run? You probably should have taken my advice.

[Sponsorbot]

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