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Glenn Washington
When darkness falls across the land, you hide the secret best you can. You whisper, go back where you began. But you're the monster's only friend. And so the knocking starts again. You've crossed over to Spoot. Stay. There's a pill version of Ozempic hello,
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Seashell
Hey, did I hear there's a pill version of Ozempic?
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Glenn Washington
Okay So I hadn't seen her for a long time. Such a long time. It was breaking me. So I read. I studied. They said what you should do is make a habit. A few times a day, rub your fingers together, look around, notice, is this actual? Is this regular? Really look, look question. Does it look off? Does it look strange? So that's what I did. For days, for weeks, I kept rubbing my fingers together, peering around again and again and again. And then one day, I go to slee. I wake up, look down, rub my fingers together. And I see my fingers pass through each other. I look up and this sky is not blue. It's not cloudy, but swirling. This warm magenta. The trees. These trees. These are not really trees at all. They're made of play. D'oh. And I laugh because it worked. Just like they said. My lucid dream. I draw a circle in the air, take three steps. And I'm in Detroit, standing on Kercheville Avenue in front of her house. There are no people, no smells, no traffic. Just the sound of the ice cream van tinkling off in the distance. I step up the porch, push open the door, hear the theme from All My My Children playing on the tv. I turn into her living room, look past the chairs covered in plastic, and I start sobbing. Because on the sofa she sits shining, smiling, holding out her arms, then patting me on the head. Granny. I know, baby. I know we gonna talk. We're gonna talk about everything. I promise. I promise. Yes. As soon as we get to the commercial. Slow star. Sam. Dreamscapes. We're about to hear from Seashell. A few years back, Seashell. She got a job working as a tour guide at Kualoa Ranch, a 4,000 acre nature reserve on the windward coast of Oahu. And as a kid, Seychelle had only seen the ranch and glimpses through breaks and the tall fence that surround the land. But now, now she's getting to know every cave, every valley, every waterfall, every shadow. And today, she's gonna take us there. It's a place many of you may not have heard of before. But chances are you've seen it.
Seashell
You've seen Jurassic park, right? So it's the part where Dr. Grant and the Hammond grandkids, Tim and Lex, they're on a hill and they're watching the Gallimimus dinosaurs. And the little boy's like they're. They're flocking this way. So they run across the road and hide behind a dead tree. And then after they hide behind the tree, they're watching the dinosaurs keep going they're running and then the T. Rex comes out and she eats one of those Gallimimus dinosaurs. So that is the only scene, what I call a cameo, that was filmed at the ranch, but that cameo put us on the map. Well, an average day at the ranch is, you know, basically four 90 minute tours. We have our Jungle tour, which is my personal favorite tour. 90 minutes on the back of a truck, somebody talking story, playing music for you while you look at something gorgeous. The truck ride is going to take us up to at least 2,000ft in elevation. And there you have a little optional walk up a little ridgeline to look into both valleys. Our south valley is more dense jungle, more fauna, more greenery there. So a lot of thick vegetation out there as well. So that's where the indigenous plants are. The north valley, very green as well, but very, very dry. But all in all, like, beautiful. The cliffs are just magnificent. It's. It's gorgeous. One day I got my truck loaded. We're about to start the Jungle Tour, driving through the forest that opens up into Hakipu Valley. Now, as we keep going through the valley, we were driving next to a river. All of a sudden I start to see these shadows. They're weaving in between the tall kukuina trees. I see the shadow just zoom right past the tr. I was like, okay, holy crap. So I started glancing around, paused a little bit, not really slamming brakes, but I paused. Look around. They look like just tall figures, just shadows, silhouettes. You don't really see a face. They came across pretty much right in front of my truck, went straight and kept weaving in between the kukui nut trees. It's a bit rattling. I have my hair standing up on both arms, but I try not to freak out. My guests are in the back. I have to push through. I just try to put it in the back of my mind and I'm like, you know what? Just continue on with the. One night after a pretty stressful day having all four tours, I get home, I eat dinner, go to shower, finally get to sleep. And I have this dream. In the dream, it's the same place that I see the shadows. I'm standing there. I hear all of our native birds just chirping away. I hear the river flowing beneath me and I smell the ginger flowers right next to me in the riverbed. But then I notice after about a minute or so, I smell rotting flesh. The smell is nauseating, as if it's, you know, maybe a dead pig. Something that's definitely not alive. It's Rotting. That's when I finally looked down at the river. Bright red and then it goes dull red. I'm panicking a little bit. I don't know where the source is coming from, but the smell is what's getting me. So I start to follow the smell. I keep walking maybe about a hundred feet, and I get this eerie feeling. So I turn around, I see seven or eight tall gentlemen are just standing there staring at me. The one that's in the center, he's the chief. He's wearing a bright yellow headdress, almost dandelion. These feathers, oh, my God, they're so beautiful. You can tell the work that was put into the weaving. Now, his cape, his cape does not flow all the way down to the ground. In traditional Hawaiian times, when you see the short cape, that means he's going to war. The other gentlemen that are standing there with him, the other kanaka, they're just super thick, muscular and bronze. They're barefoot and they're wearing something called a malo. So it's a loincloth that, you know, has an open back, covers the goods in the front. That's what we would see back in the 1700s, maybe even before that. Then I hear a thunderclap. And then kahikili. As if, you know, he's saying his name, announcing his presence. And with that deep kind of guttural voice, it's like, okay. It strikes a little bit fear, especially as native Hawaiians, we learned about kahekili growing up. Now, I already knew kea, don't mess with this guy. I mean, all sorts of respect. But we lock eyes. He turns around and points to the left. He turns around. I hear it in my head, it's over there. So I replied to him, oh, what's over there? And then I wake up as if I'm Nosferatu sitting up in my coffin, shaking to my core. Get up. Get ready. I'm thinking about it the entire time. There was something about the dream that made me feel like it was more than a dream. Seeing these shadows, you know, I didn't have a dream about the place. It feels like there is a purpose that needs to be fulfilled. There is something that needs to be found.
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Glenn Washington
ones, kinda like him. Are you shaking a maraca?
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Glenn Washington
Nice disclaimer.
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Glenn Washington
There's a pill version of Ozemp.
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Seashell
Around lunchtime. So it's about 12:30. We are in our small little break room where we can barely fit all 20 people in there. We're all eating plate lunches. I'm eating an ahikatsu plate. So that's fried fish, lots of beautiful sauce on top with some rice. And this dream that I had, it's been kind of nagging me, kind of bugging me. So I look around and lo and behold the two that I trust the most out of everybody that worked that day. My two friends, Cyrus and Halem. Cyrus, he's. Let's just say he's a Virgo. Okay, so he's a little bit grouchy on the exterior, but on the inside, he's kind of soft and gooey. When he stops deflecting, I think of him as a younger brother that, you know, I did not have. Calum, on the other hand, he's a little bit older than I am. He is the walking encyclopedia of his family. He knows everything from his own genealogy all the way to I joke with him, all the way to King Kamehameha the first. So because this dream is bugging me, I just, you know, kind of invite him over, like, hey, I gotta talk to you guys. I gotta tell you guys something. I chose those two because both are very strong and, you know, independent men. And they believe very strongly in our culture as well as native Hawaiians. So trust came very easily with them. And I'm just like, hey, we have to go and check this out. That's what the dream is telling me. We have to go and look. They say, all right, so we finish up the day. We end up taking the truck out into the southern valley. Haki Pu'. U. I take them exactly where I had the dream. We parked the car, we all got out, checked our surroundings, and we all started our trek towards the river. The sun is already on the other side of the mountain. And Hakipu Valley is very dense forest. So it gets a little bit darker. Very cool in there. But as we started walking next to the river, all of a sudden, it starts to feel hot. It's a searing kind of hot. Almost as if I'm touching a hot plate. And then I start to feel claustrophobic, like the walls are getting a little bit higher in this little riverbed we're walking through. Then the headache starts, and I start to feel really, really irritated. I get the feeling that I want to fight with someone. Now I know that Cyrus is feeling this way because when I glance at him, his posture starts to shift a little bit. He went from standing up tall straight to a little bit hunched over. I see his eyes get a little bit hooded. And then he starts to ball his hands up into fists. So I touch his arm real fast. I bump him. He feels very, very tense. He's like a statue. The look in his eyes was a dark one. I don't understand why we're feeling this way. But while Cyrus and I are feeling all of these emotions running through us, Halem is fine. Halum is TRA la la. He is walking around through the river, still looking in the same area. He doesn't notice that Cyrus and I are having these issues. I said, hey, bro, we gotta go. And he turns around and says, you guys okay? And I reply. I'm like, we have to go. Something is not right here. So he starts running back to us. We all start to make our way back to the truck. He's still fine. As we loaded up into the truck and left the area got away from the sounds of the river. I no longer feel hot. The urge to fight this weird feeling is gone as we get further away. So I felt relief. But six months go by. One day, a bunch of us jump on the back of one of our trucks. We're gonna go out and check one of our trails. It's me, Cyrus, halem, and about 10 more of our other co workers in the department. We start our journey into Hakipu Valley. I was sitting on the back of the truck as well. It felt good to have a breeze in my face. But as soon as we start to hear and see the river, I start to have that same hot feeling that I had. That's when I started to smell rotting flesh. It smells like meat that's been you know, left out in the sun for days. Like, immediately I was nauseated. And then I started dry heaving, spitting stuff off over the side of the truck. Everybody else is kind of sitting around. They're more concerned on if, like, I'm okay than if they smell any sort of rotting flesh either. So nobody really has a reaction. Then I start to get this mean headache. And then when I close my eyes, instead of darkness, there's just this bright light as if I'm on the operating table. And there's all the lights all around me. And it just materializes. I can see the river. I can see Hakipu Valley. And then I see those seven or eight kanaka that I seen from my dream. And they're stacking bodies upon bodies in the river, making a dam. Some of them still had blood dripping off of their bodies, bright red, as if they were just sacrificed, as if they just went to war. And that's where all of the blood comes from. And that's why it's flowing into the river. Nobody is aware that I'm there. It's as if I'm looking through somebody else's eyes as it's happening through the chief size at what his men are doing in front of him. And then it all starts to fizzle away. I'm just back to the drive. The further away we get from the area, everything subsides. I don't feel any sort of heat. I don't feel nauseous. But it shook me. I am terrified that I'm gonna pass through this area on another tour and another vision's gonna hit me while I'm driving, you know, if something's going to follow me home. One day, I was thinking about it very heavily. I was like, okay, I need to go visit this area. It's really, really nagging at me. I want to find out, like, what happened here. Why am I seeing it? Yeah. I jump in my truck, I drive into Hakipu Valley. It's after all the tours now. Around 4:35pm I parked a truck. I can only hear the birds. It's so peaceful. Find the river and start walking next to it more and more. I got further up the river. I start to get all warm and whatnot. The further I kept walking, I was like, okay. I noticed it started getting more intense. I do have to stop walking and, you know, kind of like hold my head. Just my temples and my third eye right in the center because of that searing pain. All of a sudden I see this bright white light, and then I see the Chief wearing his yellow headdress, almost like a mohawk. Beautiful yellow feathers, his cape ready to go to war. His back is facing me, but I see the side profile of his face. I can clearly tell that's Chief Kahekili. When I see him, what I feel is, like, a lot of reverence for this guy. But I do feel fear because, you know, growing up and reading stories about him, he's a scary dude. The vision of Chief Kahakili, it lasts between five to 10 seconds. When this vision ends, it just dissipates. The pain goes away, the bright lights go away. And then I'm back in the forest. One day after everything happens, I get off a tour and, you know, I'm coming back to the break room. I see Halem. He's the only one in there. So I just go up to him, start talking story, just sharing a little bit more of the ordeal, Let him know everything happened and if he knows anything about the area, about Chief Guy Keely. But, of course, being the walking encyclopedia that he is, he knows something about Chief Kahekili. Halem tells me the story of how Chief Kahekili came from the island of Maui. Now, he was a very strong and powerful chief. When he came over, he wanted pretty much all the resources there. Land, water that is deep into that valley, that sacred valley of Hakipu. There was a big war that happened there. The chief was coming for war, and they would stack the bodies in the river, creating a dam. So as he's sharing the story, I did have the chills. It confirms. I'm like, okay, that is exactly what I had seen in all these weird visions. I'm not crazy. This guy knows the history. This is something that really happened in the area. I think the chief was really just trying to get his story out there. Like, yeah, so this is what I did here. And I just happened to be the lucky tour guide to pass through with the abilities. I feel like a better human, a better. A better native Hawaiian. Now that I know the history, when I do my tours now, I explain that there was heavy trauma and that there was, you know, great war that happened there that, you know, there were chiefs that came before us, and, you know, what they did back then is very different than what we do nowadays. I don't go too much in depth about Chief Kahikili. When I do go in depth, it's not on tour. It's just with some of my co workers who truly understand the culture. I no longer have the same visions, but every once in a while. I'll drive through Hagipu Valley and I'll still see the shadows. It freaks me out at the very first second. And then I start to feel relief after, like, okay, we know we're here. You know, we can acknowledge each other. Like, I'm just here on tour. You know, I'm just passing through.
Glenn Washington
Thank you Seashell, for sharing your story. That piece was scouted by Ixchel Lopez. The original score, Spylaleen Saint Juice. It was produced by Zoe Ferrigno. Spooksters our quest does continue. If you yourself fight, face, run, tackle or block the dark shadow, please let me know. Spooked snapjudgment.org because there's nothing better than a spooked story from a Spooked listener. And yes, snap judgment. Our good twin podcast has amazing stories from the bright light of day. The Spooked underground catacombs are deep beneath KQED in San Francisco. Absolutely no SNAP Studios content may be used for training, testing, or developing machine learning, learning our AI systems without prior written permission. Spooked is brought to you by the Spook team that knows full well if you get pushed off a building and dream, you wake up splat on the ground. Except for Mark Ristich. He says it's the other way around. On Team Spooked, union representative, producers, artists, editors and engineers are members of the national association of Broadcast Employees and Technicians, communications with America, AFL CIO Local 51. And there's David Kim, Louis Ferrigno, Eric Yanez, Teo Dicott, Marissa Dodge, Miles Lassie, Su Yi Chu, Evan Stern, Yves Jeffcoat, Eshal Lopez, Jack Darrell, Doug Stewart, Nicholas Marx. The Spook theme song is by Pat Mesiti Miller. My name is Glenn Washington. And dreams reduce us to our most vulnerable state. A person deep in dream cannot fight back, cannot run, cannot scream defenseless. This weakness is built into the fiber of even our most powerful our kings, our giants, our fighters. Sleep will find you, whomever you are, every night risking a blade to the throat. Some have even gone so far as to dismiss sleep as a design flaw.
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Why?
Glenn Washington
Because they do not understand that it is a power, a portal to infinite possibilities, infinite worlds. And every power has a cost. How you wield this power matters. What you shape and dream is cast in reality. The dragons you slay in slumber fall before you in light. But you doors open both ways. Monsters fought in darkness. Know exactly where you rest your head. Know exactly whom you love, what you fear, what brings you joy, what leaves you terrified. Do not let them fool you, Understand? If something matters. It is real. And this matters. Never ever. Never ever. Never ever. Turn out the light, Sam.
Host: Glynn Washington
Guest Storyteller: Seashell
Produced by: KQED and Snap Studios
In this haunting episode of Spooked, storyteller Seashell shares her chilling supernatural experience as a tour guide at Kualoa Ranch, a 4,000-acre nature reserve on Oahu’s windward coast. The story weaves together vivid encounters with shadowy figures, powerful ancestral spirits, and the weight of Hawaiian history—exploring how trauma and legend linger in the landscape, and how dreams and visions can demand the telling of forgotten stories. Glynn Washington sets the tone with his signature poetic style, inviting listeners to cross over into a place where history, spirit, and fear entwine.
[02:53 – 07:03]
Glynn Washington opens with a monologue on lucid dreaming, describing his own dream journey to his grandmother’s house. In the dream, he recognizes the unreality and takes comfort in the reunion with his grandmother.
Notable Quote:
“My lucid dream. I draw a circle in the air, take three steps. And I'm in Detroit, standing on Kercheville Avenue in front of her house.”
— Glynn Washington [03:41]
Glynn introduces Seashell, the episode’s storyteller, who works at Kualoa Ranch—a place more familiar to film buffs (from a brief “Jurassic Park” cameo) than the general public.
[07:03 – 09:53]
Seashell describes the ranch and her responsibilities leading jungle tours, detailing the difference between the north and south valleys.
During a routine tour in Hakipu Valley, Seashell witnesses unsettling shadows weaving among the kukui nut trees—tall, faceless figures appearing and vanishing quickly.
She suppresses her fear to maintain composure for her guests and continues with the tour.
Notable Quote:
“They looked like just tall figures, just shadows, silhouettes. You don't really see a face. … It's a bit rattling. I have my hair standing up on both arms, but I try not to freak out.”
— Seashell [08:11]
[09:53 – 14:31]
After a stressful day, Seashell dreams herself back to the ranch, standing by the river, surrounded by native birds and ginger flowers—but the air soon grows noxious with the scent of rotting flesh.
She sees a vision: Seven or eight imposing Hawaiian men, one standing out as a chief, wearing a yellow feather headdress and a short cape, signaling readiness for war.
With thunder and a guttural voice, he announces himself as Kahekili—a name that rings with ancestral fear and respect.
The chief points and says, in her mind, “It’s over there,” but she wakes up before her question is answered, deeply shaken and feeling a persistent weight, as if purpose is demanding fulfillment.
Notable Quote:
“He’s wearing a bright yellow headdress, almost dandelion… Now, his cape does not flow all the way down to the ground… that means he's going to war.”
— Seashell [10:49]
[15:53 – 20:23]
Seashell confides in her trusted co-workers, Cyrus and Halem. Both are strongly rooted in their Hawaiian heritage and culture.
Urging them to come investigate the site from her dream, the trio visits the river in Hakipu Valley.
As they approach, Seashell and Cyrus become overwhelmed: intense heat, claustrophobia, a headache, and a sudden urge to fight. Halem, however, remains unaffected.
Recognizing their distress, they leave. Instantly, the tension and symptoms subside as they move away.
Notable Quote:
“I get the feeling that I want to fight with someone. Now I know that Cyrus is feeling this way… he starts to ball his hands up into fists. … I don't understand why we're feeling this way.”
— Seashell [18:46]
[20:23 – 27:26]
Six months later, while traveling with a larger team by the river, Seashell again experiences the wracking symptoms—this time accompanied by the overpowering stench of rotting flesh, nausea, and a blinding vision.
She witnesses, through what feels like the chief’s eyes, bodies being stacked in the river, forming a dam—a gruesome scene echoing ancient wartime practices.
No one around her seems to sense or see anything unusual; only she is visited by this vision and its physical aftermath.
Determined to understand, she later returns alone and experiences a vivid apparition of Chief Kahekili, his yellow-feathered headdress shining, his presence reverent and terrifying.
Notable Quote:
“...I see those seven or eight kanaka that I seen from my dream. And they're stacking bodies upon bodies in the river, making a dam.”
— Seashell [23:11]
[27:26 – 29:37]
Seashell recounts her experiences to Halem, who confirms the historical basis:
Her visions are validated, and she feels both relief and a strengthened connection to her heritage.
Now, when guiding tours, Seashell acknowledges the “heavy trauma” the land has seen, offering just enough about the valley’s past to honor its memory—saving the deeper story for those who can understand and respect it.
Notable Quote:
“I think the chief was really just trying to get his story out there... and I just happened to be the lucky tour guide to pass through with the abilities.”
— Seashell [28:47]
“The feathers, oh my God, they're so beautiful. You can tell the work that was put into the weaving.”
[10:54]
“Growing up and reading stories about him, he's a scary dude. The vision of Chief Kahakili… I do feel fear because… he's a scary dude.”
[25:37]
“I feel like a better human, a better native Hawaiian. Now that I know the history… what they did back then is very different than what we do nowadays.”
[28:54]
Glynn Washington closes by connecting the power of dreams and the vulnerability they reveal, warning listeners that the boundaries between dream and waking, past and present, living and spirit, are thin in places like Kualoa Ranch:
“If something matters. It is real. And this matters. Never ever. Never ever. Never ever. Turn out the light, Sam.”
— Glynn Washington [31:44]
This episode is a rich, atmospheric account where folklore and first-hand experience collide—leaving listeners unsettled and awed in equal measure, reminded that some lands remember, and some stories insist on being told.