15th Annual SYSK Halloween Spooktacular!

Summary

Podcast Summary: Stuff You Should Know – 15th Annual SYSK Halloween Spooktacular!

Hosts: Josh Clark, Chuck Bryant, and Jerry Production: iHeartPodcasts Episode Title: 15th Annual SYSK Halloween Spooktacular!

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Introduction: Wrapping Up into Mummies [00:01 - 05:26]

The episode kicks off with Josh Clark and Chuck Bryant, joined by Jerry, embracing the Halloween spirit by dressing up as mummies. Josh humorously describes their mummy personas as "scary mummies" with hooks intended to "pull your brains out." The hosts banter about their commitment to the Halloween theme, highlighting the ad-free nature of this special spooktacular episode.

Notable Quote:

Josh Clark [00:18]: "We are all wrapped in bandages because we're mummies. Scary mummies. Mummies that have been dead for thousands of years but now want to pull your brains out with the hooks we were buried with."

Halloween Special Format and Story Selection [05:26 - 29:44]

Chuck explains the tradition of selecting spooky public domain stories to read during Halloween episodes to avoid legal issues. This year, they aimed to feature a story by a woman but settled for a male-authored story narrated from a female perspective due to the scarcity of women writers in the public domain from that era. They introduce Algernon Blackwood’s "Woman's Ghost Story" and commend the contribution of guest producer Ben for sound effects.

Notable Quote:

Chuck Bryant [00:40]: "This is an ad free episode...Halloween and Christmas are, I guess, barricaded off from ads."

Reading "Woman's Ghost Story" by Algernon Blackwood [05:26 - 28:47]

The hosts embark on reading Algernon Blackwood’s "Woman's Ghost Story," with Chuck adopting a British accent to portray the female narrator. The story unfolds in a haunted house where a psychic researcher encounters the ghost of a man named Gomer, who seeks love and sympathy to free his tormented soul. The narrative blends horror with a touch of romance, culminating in an intimate yet eerie encounter.

Notable Quotes:

Josh Clark [05:26]: “...I'll tell you an experience, if you care to listen.”

Chuck Bryant [12:09]: “I was really stiff with terror. The man moved slowly towards me across the empty room...”

Hosts' Commentary and Interaction During Reading [28:47 - 29:44]

Post-story, Josh and Chuck engage in playful banter about the story’s steamy undertones, attributing the romantic aspects to Blackwood’s storytelling. They reflect on the challenges of narrating and acting out the ghost story, praising each other's performances and the immersive atmosphere created through sound effects.

Notable Quote:

Chuck Bryant [29:44]: “This one got pretty sexy.”

Introducing "The Middle Toe of the Right Foot" by Ambrose Bierce [29:44 - 44:32]

Transitioning to their second story, Chuck introduces Ambrose Bierce’s "The Middle Toe of the Right Foot." This tale revolves around four men who venture into the haunted Manton House, leading to a deadly confrontation. The hosts highlight the complexity and density of Bierce’s writing, with Chuck and Josh humorously navigating the intricate narrative structure.

Notable Quote:

Josh Clark [30:04]: “I should probably do some of this reading, huh?”

Reading "The Middle Toe of the Right Foot" by Ambrose Bierce [44:32 - 58:57]

Josh takes the lead in reading Bierce’s story, detailing the haunted Manton House where a murderer named Grossmith confronts his past actions. The narrative delves into themes of revenge and supernatural vengeance as the ghost of Gertrude Manton and her children seek retribution against those who wronged them. Chuck adds humorous and theatrical elements, embodying different characters and injecting light-hearted commentary amid the dark tale.

Notable Quotes:

Josh Clark [34:01]: “...this is the house. It is two stories in height...”

Chuck Bryant [58:55]: “You think I look weird without this middle toe?”

Final Commentary and Halloween Greetings [58:57 - 60:14]

After completing the readings, the hosts wrap up the episode with reflections on their performances and stories. They express gratitude towards their co-hosts and guest producer, Ben, for their contributions. Embracing the Halloween spirit, Josh and Chuck extend warm wishes to their listeners, emphasizing safety and enjoyment during the festivities.

Notable Quote:

Josh Clark [59:24]: “Have a safe and happy and fun and candy filled Halloween.”

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Conclusion

The "15th Annual SYSK Halloween Spooktacular!" episode of Stuff You Should Know successfully marries classic horror literature with engaging and humorous host interactions. By reading and dramatizing spooky stories from Algernon Blackwood and Ambrose Bierce, Josh, Chuck, and Jerry create an immersive and entertaining Halloween experience for their audience. The inclusion of notable quotes and their playful banter ensures that both seasoned listeners and newcomers find the episode rich, engaging, and thoroughly enjoyable.

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Key Takeaways:

• Story Selection: Emphasis on public domain spooky stories, with an attempt to highlight female perspectives.
• Performance: Hosts adopt accents and theatrical elements to enhance storytelling.
• Humor: Light-hearted commentary and playful interactions balance the eerie narratives.
• Production Quality: Appreciation for sound effects and contributions from the production team.
• Audience Engagement: Warm Halloween greetings and well-wishes foster a sense of community.

Notable Hosts:

• Josh Clark: Narrator and commentator with a focus on storytelling.
• Chuck Bryant: Co-narrator who adopts accents and adds dramatic flair.
• Jerry: Contributing member, especially in production aspects.

Production Note: Guest producer Ben is credited for handling sound effects, enhancing the overall atmosphere of the episode.

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Listen to the Episode: For more thrilling and informative episodes, visit the iHeartRadio app, Apple Podcasts, or your preferred podcast platform.

Transcript

[Chuck Bryant]

Welcome to Stuff youf Should Know, a production of iHeartRadio.

[Josh Clark]

Hey, and welcome to the Spooktacular Spookcast. I'm Josh. And there's Chuck. And Jerry's here too. And we are all wrapped in bandages because we're mummies. Scary mummies. Mummies that have been dead for thousands of years but now want to pull your brains out with the hooks we were buried with.

[Chuck Bryant]

That's good.

[Josh Clark]

Thanks. I've been writing it and workshopping it for months.

[Chuck Bryant]

I think it paid off, my friend. So if you are new to the show or new enough that you don't know what we do on Halloween, what we do is we each pick a spooky story that's in the public domain so we don't get sued, and we read it together, sometimes with fun accents, sometimes without. This is an ad free episode. We've mentioned this before, but we had it written into our work contract that Halloween and Christmas are, I guess, barricaded off from ads. So you can enjoy the Spooktacular without having ads right in the middle of it. Yeah, that's interesting.

[Josh Clark]

I think it was a good move. Good move.

[Chuck Bryant]

Yeah. So, Josh, we're going to read yours first. Do you want to set this one up?

[Josh Clark]

Yes. This is a story by Algernon Blackwood. He's a recurring friend of the Spooktacular episodes because he's squarely in the public domain, but he's also a good writer of ghost stories. For sure. This one, it's not his best work, but we, and you in particular, but I think we both did, looked for a story written by a woman. And it's harder to do than you would think because the stuff that's in the public domain, I think we're up to 1928 or 29. There weren't a lot of women published at the time. At least it was very disproportionate compared to men. So what we did this time was we found a. A story written by a man, but told from the point of view of a woman. That's as good as we could get this year, everybody.

[Chuck Bryant]

That's right. The other thing too is, especially back in those days, women didn't write a bunch of horror. Short horror, no. And I did find some good ones in the Weird Tales magazines, but those I don't think are in the public domain yet.

[Josh Clark]

Some are.

[Chuck Bryant]

That's where you can. Oh, some are these. These from like the 1940s or.

[Josh Clark]

I found some from like 1928, 29, and they're pretty Good.

[Chuck Bryant]

Yeah. It's also hard to find, like, a clean copy of those, like the one I found. I had to blow up a PDF of the magazine itself, which is kind of cool. Wow. But ended up being too long. But maybe, I don't know, maybe we can knock that one out one year.

[Josh Clark]

That's funny. We both found a new source of rich source of horror stories to use in the future at the same time.

[Chuck Bryant]

Well, mine was Weird Tales. What was yours?

[Josh Clark]

Amazing Stories, Astounding Stories, something like that. I don't remember. But the first one I sent you, that was from one of those pulp magazines.

[Chuck Bryant]

Oh, okay, cool. Well, maybe if we live long enough, we'll be able to read some of those.

[Josh Clark]

Yeah. I was thinking if we keep this up for another, like 50, 70 years, we're really gonna get into some good stuff.

[Chuck Bryant]

And I won't have to do a creepy accent then.

[Josh Clark]

All right, I'm gonna start. Okay.

[Chuck Bryant]

All right, so I'm playing the woman, Monty Python style, I guess. Right?

[Josh Clark]

I'm going to be the man.

[Chuck Bryant]

Okay. And by the way, this story, for a quote unquote horror story, gets a little sexy.

[Josh Clark]

It does, for sure. You know, I just realized something. The entire story is told by the woman from her point of view. So you're gonna be doing a lot of reading. Unless we split up the stuff where she's relating the story.

[Chuck Bryant]

Well, no, no, no. I think that's what you should do.

[Josh Clark]

Okay.

[Chuck Bryant]

I'll just read her part and once the man comes in, you know, he gets his due, I think. Okay, but we can also switch. You can be the lady if you.

[Josh Clark]

No, no, it's okay. I was just saying it occurred to me that we should hash this out right here, live on the episode.

[Chuck Bryant]

That's what we usually do.

[Josh Clark]

Okay, you ready?

[Chuck Bryant]

All right. Yeah, let's do it. What's it called?

[Josh Clark]

This is the Woman's Ghost Story by Algernon Blackwood.

[Chuck Bryant]

Oh, geez. Sorry. One more quick question. Are they British?

[Josh Clark]

They can be. It doesn't matter.

[Chuck Bryant]

Okay.

[Josh Clark]

Okay.

[Chuck Bryant]

I'll probably do British.

[Josh Clark]

That's good.

[Chuck Bryant]

You know, I'm so good at it.

[Josh Clark]

Algernon Blackwood was, I think, 100% British.

[Chuck Bryant]

So we'll go Brit on this one, at least. I will.

[Josh Clark]

Oh, and then one more thing. Big hat tip. And a big thank you to guest producer Ben, who's handling the sound effects this episode. So thanks a lot, Ben.

[Chuck Bryant]

That's right. Geri decided she didn't like fun in her life anymore.

[Josh Clark]

Okay, so here we go with the woman's Ghost Story by Algernon Blackwood. Yeah, Sorry. Good.

[Chuck Bryant]

Take two. All right, back to one, everybody. So I start, then you're going to read the other stuff, right?

[Josh Clark]

Yes. Sorry.

[Chuck Bryant]

Okay. All right. Ready? Here we go.

[Josh Clark]

Yes, she said from her seat in the dark corner, I'll tell you an.

[Chuck Bryant]

Experience, if you care to listen. And what's more, I'll tell it briefly, without trimmings. I mean, without unessentials. That's a thing storytellers never do, you know.

[Josh Clark]

She laughed.

[Chuck Bryant]

They drag in all the unessentials and leave your listeners to disentangle. But I'll give you just the essentials and you can make of it what you please. But on one condition. That at the end you ask no questions because I can't explain and have no wish to.

[Josh Clark]

We agreed we were all serious after listening to a dozen prolix stories from people who merely wished to talk but had nothing to tell. We wanted essentials in those days, she began, feeling from the quality of our silence that we were with her in those days.

[Chuck Bryant]

I was interested in psychic things and had arranged to sit up alone in a haunted house in the middle of London. She's not really British, is she? No, Middle English.

[Josh Clark]

Sure.

[Chuck Bryant]

All right. It was a cheap and dingy lodging house in a mean street, unfurnished. I had already made a preliminary examination in daylight that afternoon, and the keys from the caretaker who lived next door were in my pocket. That doesn't seem essential to me, quite honestly.

[Josh Clark]

I know the story was a good.

[Chuck Bryant]

One satisfied me, at any rate, that it was worth investigating, and I won't weary you with details as to the woman's murder and all the tiresome and less elaboration as to why the place was alive enough that it was. I was a good deal bored, therefore, to see a man whom I took to be the talkative old caretaker waiting for me on the steps when I went in at 11pm where I had sufficiently explained that I wished to be there alone for the night.

[Josh Clark]

I wish to Chevy to the room, he mumbled, and of course I couldn't exactly refuse, having tipped him for the temporary loan of a chair and table.

[Chuck Bryant]

Come in then, and let's be quick, I said. We went in, he shuffling after me through the unlighted hall up to the first floor where the murder had taken place, and I prepared myself to hear his inevitable account before turning him out with a half crown his persistence had earned. After lighting the gas, I sat down in the armchair he had provided, a faded brown plush armchair. Don't be dumb, and turned for the first time to face him and get through with the performance as quickly as possible. And it was in that instant I got my first shock. The man was not the caretaker. It was not the old fool Carrie I had interviewed earlier in the day and made my plans with my heart gave a horrid jump. Now who are you, pray?

[Josh Clark]

I said.

[Chuck Bryant]

You're not Carrie, the man I arranged with this afternoon. Who are you? I felt uncomfortable. As you might imagine, I was a psychical researcher and a young woman of new tendencies and proud of my liberty. But I did not care to find myself in an empty house with a stranger. Something of my confidence left me. Confidence with women, you know, is all humbug after a certain point written by a man. Or perhaps you don't know, for most of you are men. But anyhow, my pluck ebbed in a quick rush and I felt afraid. Who are you?

[Josh Clark]

I repeated quickly and nervously. The fellow was well dressed, youngish and good looking, but with a face of great sadness. I myself was barely 30. I'm giving you essentials, or I would not mention it. Out of quite ordinary things comes the story. I think that's why it has value.

[Chuck Bryant]

Boy, she's really talking a lot about how.

[Josh Clark]

How great her story.

[Chuck Bryant]

Yeah, she fills it with mundane details. All right, here we go.

[Josh Clark]

The keys were in her pocket, everybody.

[Chuck Bryant]

That's right. And now you.

[Josh Clark]

No, he said. I am the man who is frightened to death.

[Chuck Bryant]

His voice and his words ran through me like a knife and I felt ready to drop. In my pocket was the book I had bought to make notes in. I felt the pencil sticking in the socket. I felt, too, the extra warm things I had put on to sit up in as no bed or sofa was available. A hundred things dashed through my mind, foolishly and without sequence or meaning, as the way is when one is really frightened. Unessentials. Unessentials leaped up and puzzled me, and I thought of what the papers might say if it came out and what my smart brother in law would think and whether it be told I had cigarettes in my pocket and was a free thinker. The man was frightened to death.

[Josh Clark]

I repeated, aghast. That's me, he said, stupid.

[Chuck Bryant]

Well, your name is Gomer. I stared at him just as you would have done any one of you men now listening to me, and felt my life ebbing and flowing like a sort of hot fluid. You needn't laugh. That's how I felt. Small things, you know, touch the mind with great earnestness. When terror is there, real Terror. But I might have been at a middle class tea party for all the ideas I had. They were so ordinary. But I thought you were the caretaker. I tipped this afternoon to let me sleep here.

[Josh Clark]

I gasped.

[Chuck Bryant]

Did. Did Carrie send you to meet me?

[Josh Clark]

No, he replied in a voice that touched my boots somehow. I am the man who was frightened to death. And what is more, I am frightened now. So am I. I managed to utter, speaking instinctively.

[Chuck Bryant]

I'm simply terrified.

[Josh Clark]

Yes, he replied in that same odd voice that seemed to sound within me. But you are still in the flesh and I am not.

[Chuck Bryant]

I felt the need for vigorous self assertion. I stood up in that empty, unfurnished room, digging the nails into my palms and clenching my teeth. I was determined to assert my individuality and my courage as a new woman and a free soul. You mean to say you are not in the flesh?

[Josh Clark]

I gasped.

[Chuck Bryant]

What in the world are you talking about? The silence of the night swallowed up my voice. For the first time I realized that darkness was over the city, that dust lay upon the stairs, that the floor above was untenanted and the floor below empty. I was alone in an unoccupied and haunted house, unprotected. And a woman. I chilled. I heard the wind round the house and knew the stars were hidden. My thoughts rushed to policemen and omnibuses and everything that was useful and comforting. I suddenly realized what a fool I was to come to such a house alone. I was icily afraid. I thought the end of my life had come. I was an utter fool to go in for physical. I'm sorry. Psychical research when I had not the necessary nerve. Good God.

[Josh Clark]

I gasped.

[Chuck Bryant]

If you're not Carrie, the man I arranged with, who are you?

[Josh Clark]

She's kind of dense.

[Chuck Bryant]

I know, man. I was really stiff with terror. The man moved slowly towards me across the empty room. I held up my arm to stop him getting up out of my chair at the same moment. And he came to halt just opposite to me, a smile on his worn, sad face.

[Josh Clark]

I told you who I am, he repeated quietly with a sigh, looking at me with the saddest eyes I have ever seen. And I am frightened still.

[Chuck Bryant]

By this time I was convinced that I was entertaining either a rogue or a madman, and I cursed my stupidity in bringing the man in without having seen his face. My mind was quickly made up and I knew what to do. Ghosts and psychic phenomena flew to the winds. If I angered the creature, my life might pay the price. I must humor him till I got to the door and then raced for the street. I stood bolt upright and faced him. We were about of a height, and I was a strong, athletic woman who played hockey in winter and climbed Alps in the summer. My hand itched for a stick, but I had none. Now of course I remember, I said.

[Josh Clark]

With a sort of stiff smile that was very hard to force.

[Chuck Bryant]

Now I remember your case and the wonderful way you behaved. The man stared at me stupidly, turning his head to watch me. I backed more and more quickly to the door, but when his face broke into a smile I could control myself no longer. I reached the door in a run and shot out on the landing like a fool. I turned the wrong way and stumbled over the stairs leading to the next story, but it was too late to change. The man was after me, I was sure, though no sounds of footsteps came, and I dashed up the next flight, tearing my skirt and banging my ribs in the darkness, and brushed headlong into the first room I came to. Luckily the door stood ajar, and still more fortunate there was a key in the lock. In a second I had slammed the door, flung my whole weight against it, and turned the key. I was safe, but my heart was beating like a drum. A second later it seemed to stop altogether, for I saw that there was someone else in the room besides myself. A man's figure stood between me and the windows, where the street lampscape just enough light to outline his shape against the glass. I'm a plucky woman, you know, for even then I didn't give up hope. But I may tell you that I have never felt so vilely frightened in all my born days. I had locked myself in with him. The man leaned against the window, watching me where I lay in a collapsed heap upon the floor. So there were two men in the house with me, I reflected. Perhaps other rooms were occupied too. What could it all mean? But as I stared, something changed in the room or in me, hard to say which, and I realized my mistake, so that my fear, which had so far been physical, at once altered its character and became psychical. I became afraid in my soul instead of in my heart, and I knew immediately who this man was. How in the world did you get up here?

[Josh Clark]

I stammered to him across the empty room, room amazement momentarily stemming my fear. Now let me tell you, he began in that odd faraway voice of his that went down my spine like a knife, I'm in different space, for one thing, and you'd find me in any room you went into, for according to your way of measuring, I'm all over the house. Space is A bodily condition. But I am out of the body and am not affected by space. It's my condition that keeps me here. I want something to change my condition for me, for then I could get away. What I want is sympathy. Or really more than sympathy. I want affection. I want love.

[Chuck Bryant]

That accent. Are you from Toledo? While he was speaking, I gathered myself slowly upon my feet. I wanted to scream and cry and laugh all at once, but I only succeeded in sighing, for my emotion was exhausted and a numbness was coming over me. I felt for the matches in my pocket and made a movement toward the gas jet.

[Josh Clark]

So this lady's already bored of talking to a ghost, right?

[Chuck Bryant]

Yeah. That wants love, right?

[Josh Clark]

I should be much happier if you didn't light the gas, he said at once, for the vibrations of your light hurt me a good deal. You need not be afraid that I shall injure you. I can't touch your body to begin with, for there's a great gulf fixed, you know. And really, this half light suits me best. Now let me continue what I was trying to say before. Oh, you know, so many people have come to this house to see me, and most of them have seen me. And one and all have been terrified. If only. Oh, if only someone would not be terrified, but kind and loving to me. Then, you see, I might be able to change my condition and get away.

[Chuck Bryant]

His voice was so sad that I felt tears start somewhere at the back of my eyes. But fear kept all else in check, and I stood shaking as cold as I listened to him. Well, who are you then? Of course, Carrie didn't send you. I know now I managed to utter.

[Josh Clark]

My thoughts scattered dreadfully, and I could think of nothing to say. I was afraid of a stroke, an elf stroke. I know nothing about Carrie or who he is, continued the man quietly. Oh, sorry. I know nothing about Carrie or who he is, continued the man quietly. And the name my body had, I have forgotten, thank God. But I am the man who was frightened to death in this house 10 years ago, and I've been frightened ever since. And am frightened still for the succession of cruel and curious people who come to this house to see the ghost and thus keep alive its atmosphere of terror, only helps to render my condition worse. If only someone would be kind to me, laugh, speak gently and rationally with me, cry if they like, pity, comfort, soothe me, anything. But come in here in curiosity and tremble as you are now doing in the corner. Now, madam, won't you take pity on me? His voice rose to a dreadful cry. Won't you step into the middle of the room and try to love me a little.

[Chuck Bryant]

A horrible little laughter came gurgling up in my throat as I heard him. But the sense of pity was stronger than the laughter. And I found myself actually leaving the support of the wall and approaching the center of the floor.

[Josh Clark]

By God. He cried at once, straightening up against the window. You have done a kind act. That's the first attempt at sympathy that has been shown to me since I died. And I feel better already. In life, you know, I was a misanthrope. Everything went wrong with me. I can understand this. And I came to hate my fellow men so much that I couldn't bear to see them even. Of course, like begets like. And this hate was returned. Finally. I suffered from horrible delusions. And my room became haunted with demons that laughed and grimaced and laughed and grimaced and laughed and grimaced. And one night I ran into a whole cluster of them near the bed. And the fright stopped my heart and killed me. It's hate and remorse as much as terror that clogs me so quickly and keeps me here. If only someone could feel pity and sympathy and perhaps a little love for me, I could get away and be happy. When you came this afternoon to see over the house, I watched you. And a little hope came to me. For the first time I saw you had courage, originality, resource, love. If only I could touch your heart without frightening you. I knew I could perhaps tap that love you have stored up in your being there. And thus borrow the wings for my escape.

[Chuck Bryant]

It sounds like he's asking for consent.

[Josh Clark]

It does sound a lot like it.

[Chuck Bryant]

Just very forward thinking at the time.

[Josh Clark]

Yeah, that's Aldrin and Blackwood for you.

[Chuck Bryant]

That's right. All right, where were we? He was about to tap something. Right. Okay. Now I must confess my heart began to ache a little as fear left me. And the man's words sank their sad meaning into me. Still, the whole affair was so incredible and so touched with unholy quality. And the story of a woman's murder I had come to investigate had so obviously nothing to do with this thing that I felt myself in a kind of wild dream that seemed likely to stop at any moment and leave me somewhere in bed after a nightmare. Moreover, his words possessed me to such an extent that I found it impossible to reflect upon any Anything else at all. Or to consider adequately any ways or means of action or escape. I moved a little nearer to him in the gloom, horribly frightened, of course, but with the beginnings of a strange determination in my Heart.

[Josh Clark]

You women, he continued, his voice plainly thrilling at my approach. You wonderful women to whom life often brings no opportunity of spending your great love. Oh, if only you could know how many of us simply yearned for it. It would save our souls if. But you knew few might find the chance that you now have. But if you only spent your love freely, without definite object, just letting it flow openly all over the place for all who need you, would reach hundreds and thousands of souls like me and release us. Oh, madam, I ask you again to feel with me, to be kind and gentle, and if you can, to love me a little.

[Chuck Bryant]

Am I being love bombed?

[Josh Clark]

Yes, it seems like it for sure.

[Chuck Bryant]

He's a little desperate, even for a ghost. My heart did leap within me, and this time the tears did come, for I could not restrain them. I laughed too, for the way he called me madame sounded so odd here in this empty room at midnight in a London street. But my laughter stopped dead and merged in a flood of weeping when I saw how my change of feeling affected him. He had left his place by the window and was kneeling on the floor at my feet, his hands stretched out toward me and the first signs of a kind of glory about his head.

[Josh Clark]

He was doing downward dock?

[Chuck Bryant]

I think so.

[Josh Clark]

Put your arms around me and kiss me, for the love of God, he cried. Kiss me. Oh, kiss and I shall be freed. You have done so much already. Now do this. I know it's getting hot and steamy.

[Chuck Bryant]

It really is. I stuck there hesitating, shaking, my determination, on the verge of action, yet not quite able to compass it. But the terror had almost gone.

[Josh Clark]

Forget that I'm a man and you're a woman. He can tell in the most beseeching voice I ever heard. Forget that I'm a ghost and come out boldly and press me to you with a great kiss and let your love flow into me. Forget yourself for just one minute and do a brave thing. Oh, love me, love me, love me and I shall be free.

[Chuck Bryant]

Wow. This Halloween episode is taking a turn. The words, or the deep force they somehow released in the center of my being, stirred me profoundly, and an emotion infinitely greater than fear surged up over me and carried me with it across the edge of action. Without hesitation, I took two steps towards him where he knelt, then held out my arms. Pity and love were in my heart at that moment. Genuine pity, I swear, and genuine love. I forgot myself and my little tremblings at great desire to help another soul. I love you, poor aching, unhappy thing.

[Josh Clark]

I love you, I cried through hot tears.

[Chuck Bryant]

And I am not the least bit afraid in the world. The man uttered a curious sound, like laughter, yet not laughter. Oh, I was waiting for it. Oh boy, okay. Yet not laughter. And turned his face up to me. The light from the street below fell on it, but there was another light too, shining all round it that seemed to come from the eyes and skin. He rose to his feet and met me, and in that second I folded him to my breast and kissed him full on the lips again and again.

[Josh Clark]

All our pipes had gone out and not even a skirt rustled in that dark studio as the storyteller paused a moment to steady her voice and put a hand softly up to her eyes before going on again.

[Chuck Bryant]

Now, what can I say? And how can I describe to you all, all you skeptical men sitting there with pipes in your mouths, the amazing sensation I experienced of holding an intangible, impalpable thing so closely to my heart that it touched my body with equal pressure all the way down and then melted away somewhere into my very being. And it's at this moment the pipes fell from their mouths, right? Yeah, for it was like seizing a rush of cool wind and feeling a touch of burning fire. The moment it had struck its swift blow and passed on, a series of shocks ran all over and all through me. A momentary ecstasy, a flaming sweetness and wonder thrilled down into me. My heart gave another great leap, and then I was alone.

[Josh Clark]

I wonder if this story is just one big euphemism.

[Chuck Bryant]

Maybe I just realized I'm doing Harvey Corman from Blazing Saddles.

[Josh Clark]

Nice. That's technically the second Harvey appearance because she mentioned Mean Streets earlier, and Harvey Keitel was in that.

[Chuck Bryant]

Oh, that's right. Is this me? Okay, here we go. The room was empty. I turned on the gas and struck a match to prove it. All fear had left me, and something was singing round me in the air and in my heart, like a joy of a spring morning in youth. Not all the devils or shadows or hauntings in the world could have caused me a single tremor. I unlocked the door and went all over the dark house, even into kitchen and cellar and up among the ghostly attics. But the house was empty. Something had left it. I lingered a short hour, analyzing, thinking, wandering. You can guess what and how, perhaps, but I won't detail, for I promised only essentials, remember? And then went out to sleep the remainder of the night in my own flat, locking the door behind me upon a house no longer haunted. But my uncle, Sir Henry, the owner of the house, required an account of my adventure and of course, I was in duty bound to give him some kind of a true story. But before I could begin, however, he held up his hand to stop me.

[Josh Clark]

First he said, I wish to tell you a little deception I ventured to practice on you. So many people have been to that house and seen the ghosts. That I came to think the story acted on their imaginations. And I wished to make a better test. So I invented for their benefit another story with the idea that if you did see anything, I could be sure it was not dear merely to an excited imagination. He's a horse, by the way. I'm doing a horse for her uncle.

[Chuck Bryant]

I thought that was really good. He went for the accent. Then what you told me about a woman having been murdered and all. That was not a true story of the haunting.

[Josh Clark]

No, it was not. The true story is that of a cousin of mine went mad in that house and killed himself in a fit of morbid terror. Following upon years of miserable hypochondriasis. It is his figure that investigators see that explains. Then I gasped.

[Chuck Bryant]

No, explain what I thought of that poor struggling soul. Longing all these years for escape. And determined to keep my story for the present to myself. Explains, I mean, why I did not see the ghost of the murdered woman.

[Josh Clark]

I concluded. Precisely, said Sir Henry. And why if you had seen anything, it would have had value in as much as it could not have been caused by the imagination working upon a story you already knew. End scene.

[Chuck Bryant]

Wow. That one got pretty sexy.

[Josh Clark]

Yeah. I figure that most of our Halloween episodes are not quite steamy enough. So I wanted to steam this one up.

[Chuck Bryant]

Yeah. And it all makes sense now with Aldren on Blackwood. Writing the story from a woman's point of view. He basically wrote it.

[Josh Clark]

He's like.

[Chuck Bryant]

Yeah, exactly.

[Josh Clark]

Every. Every couple paragraphs, he stopped and made that sound Right. You did great, by the way. I mean, you really carried that story, Chuck. And I mean, you had the accent the whole way through. It was just a delight to listen to you.

[Chuck Bryant]

I feel like she's a part of me now, you know?

[Josh Clark]

Yeah. She is forever.

[Chuck Bryant]

And thus I a part of you.

[Josh Clark]

I don't know about that.

[Chuck Bryant]

I mean, I held you to my bosom. Then we kissed.

[Josh Clark]

Yeah, that's true.

[Chuck Bryant]

We made out a lot.

[Josh Clark]

My Toledo and Ghost.

[Chuck Bryant]

I like the horse guy, too.

[Josh Clark]

Yeah, he was great. Can you just see, like, his huge mutton chops?

[Chuck Bryant]

Oh, yeah, totally.

[Josh Clark]

So now we're on to your story, right? It's time for your story. The story you chose.

[Chuck Bryant]

That's right. This is From Ambrose Bierce. It's called the Middle Toe of the Right Foot, not on, but of the Right Foot. And here we go. Just to give you a little preamble, this is a story about some men who go to a haunted house and some stuff happens.

[Josh Clark]

I should probably do some of this reading, huh?

[Chuck Bryant]

Yeah, you should do a lot of this reading. And it's kind of hard to tell who's who at first.

[Josh Clark]

Yeah.

[Chuck Bryant]

Because it goes for a chapter and then it jumps back and tells the pre story in chapter two and then back to the present. So we'll figure it out.

[Josh Clark]

Yeah.

[Chuck Bryant]

All right, take it away.

[Josh Clark]

Okay. The Middle Toe of the Right Foot by Ambrose Bierce, the wickedest man alive. It is well known that the old Manton House is haunted. In all the rural district near about and even in the town of Marshall, a mile away, not one person of unbiased mind entertains a doubt of it. Incredulity is confined to those opinionated person who will be called cranks as soon as the useful word shall have penetrated the intellectual dems of the martial advance. I think this is worth explaining. So he was basically taking a shot at the local paper, saying that they're intellectually. They weren't even smart enough to use the word cranks yet. Yeah, I had to read that like five times. So I thought it might be worth pointing out.

[Chuck Bryant]

No, totally. I didn't get it. So now I do. Thank you.

[Josh Clark]

Thank you. Thank you for thanking me.

[Chuck Bryant]

You're welcome.

[Josh Clark]

The evidence that the house is haunted is of two kinds. The testimony of disinterested witnesses who have had ocular proof, ocular meaning eye witnesses, and that of the house itself. The former may be disregarded and ruled out on any of the various grounds of objection which may be urged against it by the ingenious. But facts within the observation of all are material and controlling. I'm not going to explain that last bit because even I still don't understand it.

[Chuck Bryant]

Okay.

[Josh Clark]

In the first place, the Manton House has been unoccupied by mortals for more than 10 years and with its outbuildings is slowly falling into decay, a circumstance which in itself the judicious will hardly venture to ignore. It stands a little way off the loneliest reach of the Marshall and Harrison Road, in an opening which was once a farm and is still disfigured with strips of rotting fence and half covered with brambles, overrunning a stony and sterile soil long unacquainted with the plow. The house itself is in tolerably good Condition, though badly weather stained and in dire need of attention from the glacier. The smaller male population of the region having attested in the manner of its kind, its disapprovals of dwelling without dwellers. That means that the kids throw stones through the windows and have broken them all.

[Chuck Bryant]

Yeah. This place is not in great shape.

[Josh Clark]

No. And Ambrose Bierce composes such thick plumage, it's hard to see the meat sometimes.

[Chuck Bryant]

That's right. He. He's not all about the essentials.

[Josh Clark]

No. He hasn't even mentioned the keys in his pocket yet.

[Chuck Bryant]

That's right.

[Josh Clark]

Or that he climbs the Alps. It is. This is the house. It is two stories in height, nearly square, its fronts pierced by a single doorway, flanked on each side by a window boarded up to the very top. Corresponding windows above, not protected, serve to admit light and rain. The rooms of the upper floor. Grass and weeds grow pretty rankly all about, and a few shade trees, some with the worse for wind and all leaning in one direction, seem to be making a concerted effort to run away. In short, as the Marshalltown humorist explained in the columns of the advance, the proposition that the Manton house is badly haunted is the only logical conclusion from the premises. The fact that in this dwelling, Mr. Manton thought it expedient one night some 10 years ago to rise and cut the throats of his wife and two small children, removing at once to another part of the country has no doubt done its share in directing public attention to the fitness of the place for supernatural phenomena.

[Chuck Bryant]

All right, so there's our first little reveal here is that the former Manton gentleman murdered his wife and child and left. And fled.

[Josh Clark]

That's right. He was a real putz, he was. Oh, you want me to keep going? Sure. To this house. One summer evening came four men in a wagon. Three of them promptly alighted, and the one who had been driving hitched the team to the only remaining post of what had been a fence. The fourth remained seated in the wagon. Come, said one of his companions, approaching him, while the others moved away in the direction of the dwarf dwelling. This is the place. The man addressed. Do you want to be the man addressed.

[Chuck Bryant]

Uh, sure.

[Josh Clark]

The man addressed. The man addressed did not move. By God, he said harshly, this is.

[Chuck Bryant]

A trick, and it looks to me as if you were in it.

[Josh Clark]

Perhaps I am, the other said, looking him straight in the face and speaking in a tone which had something of contempt in it. You will remember, however, that the choice of place was with your own ascent left to the other side. Of course, if you are afraid of Spooks.

[Chuck Bryant]

I'm afraid of nothing.

[Josh Clark]

The man interrupted with another oath. Darn it. And sprang to the ground. The two then joined the others at the door, which one of them had already opened with some difficulty caused by rust of lock and hinge. All entered inside. It was dark, but the man who had unlocked the door produced a candle and matches and made a light. He then unlocked a door on their right as they stood in the passage. This gave them entrance to a large square room that the candle but dimly lighted. The floor had a thick carpeting of dust, which partly muffled their footfalls. Cobwebs were in the angles of the walls and depended from the ceiling like strips of rotting lace, making undulatory movements in the disturbed air. The room had two windows and adjoining sides, but from neither could anything be seen except the rough inner surface of boards a few inches from the glass. There was no fireplace, no furniture. There was nothing. Besides the cobwebs and the dust, the four men were the only objects there which were not a part of the structure.

[Chuck Bryant]

All right, so four men are now visiting this old haunted mansion house where a supposed murder has taken place. And one of them doesn't seem to really know the other guys and seems like he's saying, hey, you played a trick on me by bringing me here. And they were like, you agreed to it, buddy.

[Josh Clark]

Yeah, is that right? Shut your mouth.

[Chuck Bryant]

Yeah, exactly. Shut that pie hole. You want me to pick up?

[Josh Clark]

Yeah, you pick up.

[Chuck Bryant]

All right. Strange enough, they looked in the yellow light of the candle. The one who had so reluctantly alighted was especially spectacular. He might have been called sensational. He was of middle age, heavily built, deep chested and broad shouldered. Ah, I know. I'm playing him. Looking at his figure, one would have said that he had a giant strength. Maybe not at his features, that he would use it like a giant. He was clean shaven, his hair rather closely cropped and gray. His low forehead was seamed with wrinkles. Above the eyes and over the nose, these became vertical.

[Josh Clark]

Those are called 11s. You can have them taken care of with filler.

[Chuck Bryant]

Is that in between those little worry lines are called 11s?

[Josh Clark]

Yeah. In between your brows.

[Chuck Bryant]

Never heard of that.

[Josh Clark]

Because they're a pair of vertical lines. It looks like an 11.

[Chuck Bryant]

The heavy black brows followed the same law of the 11, saved from meeting only by an upward turn at what would otherwise have been the point of contact. Deeply sunken beneath ease glowed in the obscure light, a pair of eyes of uncertain color, but obviously enough too small. There was something forbidding in their expression, which was not bettered by the cruel mouth and wide jaw. The nose was well enough. As noses go, One does not expect much of noses. All that was sinister in the man's face seemed accentuated by an unnatural pallor. He appeared altogether blood bloodless. So this guy that they brought with them, the three guys brought, is like creepy looking and weird looking.

[Josh Clark]

Yeah. And seems pretty grumpy. Standoffish.

[Chuck Bryant]

Yes, I agree.

[Josh Clark]

You want me to pick up or are you going to keep going?

[Chuck Bryant]

Well, let me do this part and then we'll get to the play parts. The appearance of the other men was sufficiently commonplace. They were such persons as one meets and forgets that he met. All were younger than the man described between whom? And the eldest of the others who stood apart. There was apparently no kindly feeling. They avoided looking at each other.

[Josh Clark]

So the other three are younger than the grumpy man and they don't really like him. Or vice versa, it looks like.

[Chuck Bryant]

Right. And I think the grumpy man is Grossmith. Right?

[Josh Clark]

Yeah. No, I don't remember what they call him. Grossmith is. Yeah. No, because. Yeah, we'll get there one day. Yeah. We should tell everybody. If you haven't noticed already, one of the reasons it's so difficult to keep up with who's. Who is Ambrose Beerse didn't go to the trouble of naming most of them until partway through. And it's just confusing.

[Chuck Bryant]

I definitely know Grossmith is the big creepy guy that they brought there.

[Josh Clark]

Oh, is that right? Okay. I think that's Rosser. No, that's Rosser.

[Chuck Bryant]

Is it?

[Josh Clark]

Yeah. Cause listen, gentlemen.

[Chuck Bryant]

Okay, you're right.

[Josh Clark]

Go ahead, gentlemen, said the man holding the candle and keys. I believe everything is right. Are you ready, Mr. Rosser? The man standing apart from the group bowed and smiled. Which is what you would do if your name was Rosser.

[Chuck Bryant]

Right. And not a part of the group.

[Josh Clark]

And you, Mr. Grossmith? The heavy man bowed and scowled. Oh, wait. See, this is so confusing. So you're right. Grossmith is the grumpy older man.

[Chuck Bryant]

I think so.

[Josh Clark]

Why do I even argue with you? You know.

[Chuck Bryant]

Well, everyone, I promise we read these several times on our own. It's just a little confusing.

[Josh Clark]

This was not just put in front of us by Jerry.

[Chuck Bryant]

That's right.

[Josh Clark]

The heavy man bowed and scowled. That's Mr. Grossmith, the grumpy guy. You will be pleased to remove your outer clothing. So it's getting steamy in this one, too.

[Chuck Bryant]

Yeah.

[Josh Clark]

Their hats, coats, waistcoats and neckwear were soon removed. And Thrown outside the door in the passage. The man with the candle now nodded. And the fourth man, who had urged Grossmith to leave the wagon, produced from the pocket of his overcoat two long, murderous looking bowie knives, which he drew now from their leather scabbard. They are exactly, exactly alike, he said, presenting one to each of the two principles. For by this time, the dullest observer would have understood the nature of this meaning it was to be a duel to the death.

[Chuck Bryant]

Wow.

[Josh Clark]

Yeah.

[Chuck Bryant]

They see what's happening here?

[Josh Clark]

I didn't realize it until he said it was a duel. Or really until they produced the knives that that's what was going on. So.

[Chuck Bryant]

Yeah, yeah, it's a little confusing. You want me to take it?

[Josh Clark]

Yeah, sure.

[Chuck Bryant]

All right. Each combatant took a knife, examined it critically near the candle, and tested the strength of the blade and handle across his lifted knee. Their persons were then searched in turn, each by the second of the other. The second is in the second of the duel, Is that right?

[Josh Clark]

Yeah. Like the assistant dueler. Yeah. Your backup, your wingman for the duel.

[Chuck Bryant]

All right, go ahead.

[Josh Clark]

Oh, if it is agreeable to you.

[Chuck Bryant]

Mr. Grossmith, said the man holding the.

[Josh Clark]

Light, you will place yourself in that corner.

[Chuck Bryant]

He indicated the angle of the room farthest from the door, whither Grossmith retired his second, parting from him with a grasp of the hand, which had nothing of cordiality in it. Okay, so a second is. Sounds like he was forced into this. Maybe.

[Josh Clark]

Sounds like it.

[Chuck Bryant]

In the angle nearest the door, Mr. Rosser stationed himself, and after a whispered consultation, his second left joined him, joining the other near the door. At that moment, the candle was suddenly extinguished, leaving all in profound darkness. This may have been done by a draft from the open door. Whatever the cause, the effect was startling.

[Josh Clark]

Gentlemen.

[Chuck Bryant]

Said a voice which sounded strangely unfamiliar in the altered condition affecting the relations of the senses.

[Josh Clark]

Gentlemen, you will not move until you hear the closing of the outer door.

[Chuck Bryant]

A sound of trampling ensued, then the closing of the inner door, and finally the outer one closed with a concussion that shook the entire building. So these guys have been locked in a dark room with knives to fight to the death? That's pretty creepy.

[Josh Clark]

Yeah.

[Chuck Bryant]

A few minutes afterward, a belated farmer's boy met a light wagon which was being drawn furiously toward the town of Marshall. He declared that behind the two figures on the front seat stood a third with its hands upon the bowed shoulders of the others, who appeared to struggle vainly to free themselves from its grasp. This figure, unlike the others, was clad in white and had undoubtedly boarded the wagon as it passed the haunted house. That the lad could boast a considerable former experience with the supernatural. Thereabouts. His word had the weight justly due to the testament of an expert. So this guy had seen this kind of thing before?

[Josh Clark]

Basically, yeah. And also, Ambrose Bierce was meant to be read silently, right?

[Chuck Bryant]

The story in connection with the next day's events eventually appeared in the advance, which is the newspaper, with some slight literary embellishments and a concluding imitation that the gentleman referred to would be allowed the use of the paper's columns for their version of the. But the privilege remained without a claimant.

[Josh Clark]

Okay, some weird stuff happened. Four men go in, three men fly past, a superstitious farm boy who mentions it to the paper, and the paper says, this is crazy. Anybody who wants to come forward and say, this was us and tell us the story, go ahead. And no one did, right?

[Chuck Bryant]

That's right. And now, chapter two, we jump back in time.

[Josh Clark]

The events that led to this duel in the dark were simple enough. One evening, three young men of the town of Marshall were sitting in a quiet corner of the porch of the village hotel, smoking and discussing such matters as three educated young men of a southern village would naturally find interesting. Hogs. Their names were King, Sancher, and Rosser. At a little distance, within easy hearing, but taking no part in the conversation, set a fourth. He was a stranger to the others. They merely knew that on his arrival by the stagecoach that afternoon, he had written in the hotel register the name of Robert Grossmith. He had not been observed to speak to anyone except the hotel clerk. He seemed, indeed, singularly fond of his own company, or, as the personnel of the advance expressed it, grossly addicted to evil associations. But then, it should be said in justice to the stranger that the personnel was himself of too convivial disposition fairly to judge, one differently gifted and had, moreover, experienced a slight rebuff in an effort at an interview. You want to be king?

[Chuck Bryant]

Sure. I hate any kind of deformity in a woman, said King, whether natural or acquired. I have a theory that any physical defect has its correlative mental and moral defect.

[Josh Clark]

Okay. I infer then, said Rosser gravely, that a lady lacking the moral advantage of a nose would find the struggle to become Mrs. King an arduous enterprise. I'm doing Leonardo DiCaprio in Django Unchained.

[Chuck Bryant]

Okay. Where's my beautiful sister? That was so creepy. So, is this me?

[Josh Clark]

Yeah, I think so.

[Chuck Bryant]

Of course, you may put it that.

[Josh Clark]

Way, was the reply.

[Chuck Bryant]

But seriously, I once threw over a Most charming girl, on learning, quite accidentally that she had suffered amputation of a toe. My conduct was brutal, if you like, but if I had married that girl, I should have been miserable for life and should have made her so.

[Josh Clark]

I just want to point out you morphed just briefly into Zach Galifianakis in the middle of that.

[Chuck Bryant]

Okay.

[Josh Clark]

Who'S Sancher? Am I Sancher or is she new?

[Chuck Bryant]

Yeah, I like it. You could be Sancher.

[Josh Clark]

Let's see. Whereas, said Sancher, with a light laugh, by marrying a gentleman of more liberal view, she escaped with a parted throat.

[Chuck Bryant]

Ah. You know to whom I refer? Yes, she married Manton, but I don't know about his liberality. I'm not sure. But he cut her throat because he discovered that she lacked that excellent thing in a woman, the middle toe of the right foot. Am I right, guys?

[Josh Clark]

Look at that chap, said Brosser in a low voice, his eyes fixed upon the stranger. That chap was obviously listening intently to the conversation.

[Chuck Bryant]

Damn his impudence, muttered King. What ought we to do?

[Josh Clark]

That's an easy one. My guy's turned into Forrest Gump, Rosser replied, rising. Sir, he continued, addressing the stranger, I think it would be better if you would remove your chair to the other end of the veranda. The presence of gentlemen is evidently an unfamiliar situation to yo.

[Chuck Bryant]

So these guys are talking about what happened to the guy who supposedly killed his wife because she had no toe. And he's. This guy's overhearing this conversation, and they're not too thrilled with that, Right?

[Josh Clark]

Yeah. And one of them apparently dated her for a while, but found out that she didn't have a toe and was like, no way, no how.

[Chuck Bryant]

Uh, all right, I'll pick up. You ready?

[Josh Clark]

Mm.

[Chuck Bryant]

The man sprang to his feet and strode toward with clenched hands, his face white with rage. All were now standing. Sancher stepped between the belligerents.

[Josh Clark]

You are hasty and unjust, he said to Rosser. This gentleman has done nothing to deserve such language.

[Chuck Bryant]

But Rosser would not withdraw a word. By the custom of the country and the time, there could be but one outcome to the quarrel.

[Josh Clark]

You're the stranger, I think, right?

[Chuck Bryant]

That's right. And I forget how I was doing him. I demand the satisfaction due to a gentleman, said the stranger.

[Josh Clark]

Oh, yeah? This you?

[Chuck Bryant]

Said the stranger, who had become more calm. I have not an acquaintance in this region. Perhaps you, sir, bowing to Sancher, will be kind enough to represent me in this matter. Sanger accepted the trust somewhat reluctantly, it must be confessed, for the man's appearance and Manner were not at all to his liking. King, who during the colloquy had hardly removed his eyes from the stranger's face and had not spoken a word, consented with a nod to act for Rosser. So they were figuring out who the seconds are, Right?

[Josh Clark]

Yeah.

[Chuck Bryant]

And the upshot? Oh, there you go, Josh.

[Josh Clark]

I noticed that, too.

[Chuck Bryant]

And the upshot of it was the principals having retired, a meeting was arranged for the next evening. The nature of the arrangements has been already disclosed. The duel with knives in a dark room was once a commoner feature of Southwestern life than it is likely to be again. How thin a veneering of chivalry covered the essential brutality of the code under which such encounters were possible. We shall see.

[Josh Clark]

Yeah. So just. And by Southwestern, he's basically talking about Louisiana or Mississippi, probably at that point.

[Chuck Bryant]

Yeah, I guess so.

[Josh Clark]

And also what he's talking about is like, so one man was insulted by another man, and now they've agreed to a duel.

[Chuck Bryant]

Yeah. Because he was eavesdropping. Yeah.

[Josh Clark]

Yeah. And in the south, especially at these times, you basically had to kill somebody else who insulted you.

[Chuck Bryant]

Yeah. You mind your own business.

[Josh Clark]

You want me to pick up a chapter three?

[Chuck Bryant]

Please.

[Josh Clark]

Chapter three. In the blaze of a midsummer noonday, the old Manton house was hardly true to its traditions. It was of the earth, earthy. The sunshine caressed it warmly and affectionately, with evident disregard of its bad reputation. The grass, greening all the expanse in its front, seemed to grow not rankly, but with a natural and joyous exuberance. And the weeds blossomed quite like plants, full of charming lights and shadows, and populous with pleasant voiced birds. The neglected shade trees no longer struggled to run away, but bent reverently beneath their burdens of sun and song. Even in the glassless upper windows was an expression of peace and contentment due to the light within. Over the stony fields, the visible heat danced with a lively tremor incompatible with the gravity which is an attribute of the supernatural. Such was the aspect under which the place presented itself to Sheriff Adams and two other men who had come out from Marshall to look at it. One of these men was Mr. Kink, the sheriff's deputy.

[Chuck Bryant]

Aha.

[Josh Clark]

The other, whose name was Brewer, was a brother of the late Mrs. Manton.

[Chuck Bryant]

Aha.

[Josh Clark]

Under a beneficent law of the state relating to property. And if you put all those three together, you have a proper sentence.

[Chuck Bryant]

Yeah.

[Josh Clark]

Which has been, for a certain period, abandoned by an owner whose residence cannot be ascertained. The sheriff was legal custodian of the Manton farm and Appurtenances thereunto belonging.

[Chuck Bryant]

So in other words, the sheriff. If it's an abandoned house, the sheriff is sort of taking care of it.

[Josh Clark]

Yeah, he owns all the appurtenances.

[Chuck Bryant]

Right. And so this is the sheriff. The sheriff and his deputy, who was one of the four guys, and Brewer, the brother of the killed woman, are now, after this duel, going to the house to check things out. Right.

[Josh Clark]

Yep. Yep.

[Chuck Bryant]

Okay.

[Josh Clark]

His present visit was in a mere perfunctory compliance with some order of a court in which Mr. Brewer had an action to get possession of the property as heir to his deceased sister. By a mere coincidence, the visit was made on the day after the night that Deputy King had unlocked the house for another and very different purpose. His presence now was not of his own choosing. He had been ordered to accompany his superior, and at the moment could think of nothing more prudent than simulated alacrity and obedience to the command. Me keep going. Me keep going.

[Chuck Bryant]

Yeah, maybe I should me read now. It me carelessly opening the front door, which, to his surprise, was not locked. The sheriff was amazed to see, lying on the floor of the passage and which it opened, a confused heap of men's apparel. Examinations showed it to consist of two hats and the same number of coats, waistcoats, and scarves, all in a remarkably good state of preservation, albeit somewhat defiled by the dust in which they lay. So this is the stuff they took off the night before, I guess, yeah. Mr. Brewer was equally astonished. But Mr. King's emotion is not of record. Mm. He knows why those clothes are there. With a new and lively interest in his own actions, the sheriff now unlatched and pushed open a door on the right, and the three entered. The room was apparently vacant. No. As their eyes became accustomed to the dimmer light, something was visible in the farthest angle of the wall. It was a human figure, that of a man crouching close in the corner. Something in the attitude made the intruders halt. When they had barely passed the threshold, the figure more and more clearly defined itself. The man was upon one knee, his back in the angle of the wall, his shoulders elevated to the level of his ears, his hands before his face, palms outward, the fingers spread and crooked like claws. The white face, turned upward on the retracted neck, had an expression of. Of unutterable fright. The mouth half open, the eyes incredibly expanded. He was stone dead. Yet with the exception of a bowie knife, which had evidently fallen from his own hand, not another object was in the room. All right, I'll do this paragraph and you can take it home. Ready?

[Josh Clark]

Yep.

[Chuck Bryant]

In thick dust that covered the floor were some confused footprints near the door and along the wall through which it opened. Along one of the adjoining walls too, past the boarded up windows, was the trail made by the man himself in reaching his corner. Instinctively in approaching the body, the three men followed that trail. The sheriff grasped one of the out thrown arms. It was as rigid as iron, and the application of a gentle force rocked the entire body without alerting the relation of its parts. Brewer, pale with excitement, gazed intently into the distorted face.

[Josh Clark]

God of mercy.

[Chuck Bryant]

He suddenly cried.

[Josh Clark]

It is Manton. Am I King?

[Chuck Bryant]

You're King. You're right, said King with an evident attempt at calmness.

[Josh Clark]

I knew Manton. He then wore a full beard and his hair long. But this is he, he might have added. I recognized him when he challenged Rosser. I told Rosser and Sancher who he was before we played him this horrible trick. When Rosser left this dark room at our heels, forgetting his outer clothing and the excitement, and driving away with us in his shirt sleeves, all through the discreditable proceedings, we knew with whom we were dealing, murderer and coward that he was.

[Chuck Bryant]

So the original murderer in the Manton house has now come back. Is that what we're to believe?

[Josh Clark]

Yeah. And he went by Grossmith. But these three recognized him immediately. And so they. I don't know if they set up a duel or whatever. I don't know if they set the whole thing up. But once a duel was going on, they knew exactly where they were going to take him. Which was the very house that he murdered his wife and children in. Can you imagine being in that position? No. No, you can't.

[Chuck Bryant]

No. But they didn't kill him.

[Josh Clark]

No. Are you ready?

[Chuck Bryant]

Yeah. Let's do it. Take it home, brother.

[Josh Clark]

But nothing of this did Mr. King say with his better light, he was trying to penetrate the mystery of the man's death. That he had not once moved from the corner where he had been stationed, that his posture was that of neither attack nor defense, that he had dropped his weapon, that he had obviously perished of sheer horror of something that he saw. These were circumstances which Mr. King's disturbed intelligence could not rightly comprehend. Groping in intellectual darkness for a clue to his maze of doubt, his gaze, directed mechanically downward in the way of one who ponders momentous matters, fell upon something which there, in the light of day and in. In the presence of living companions, affected him with terror in the dust of years that lay thick upon the floor leading from the door by which they had entered. Straight across the room to within a yard of Manton's crouching corpse, were three parallel lines of footprints, light but definite impressions of bare feet, the outer ones those of small children, the inner woman's. From the point at which they ended, they did not return. They pointed all one way. Brewer, who had observed them at the same moment, was leaning forward in an attitude of rapt attention, horribly pale. Evie Brewer.

[Chuck Bryant]

Look at that.

[Josh Clark]

He cried, pointing with both hands at the nearest print of the woman's right foot, where she had apparently stopped and stood.

[Chuck Bryant]

The middle toe is missing. It was Gertrude.

[Josh Clark]

Gertrude was the late Mrs. Manton, sister to Mr. Brewer.

[Chuck Bryant]

Oh, boy. So she came back for some revenge.

[Josh Clark]

And the kids, too.

[Chuck Bryant]

That's right.

[Josh Clark]

The kids were chanting and clapping. Kill. Kill. Kill. Kill.

[Chuck Bryant]

Yeah.

[Josh Clark]

And the mom was like, you got it.

[Chuck Bryant]

You think. You think I look weird without this middle toe?

[Josh Clark]

Check out.

[Chuck Bryant]

How'd you like it up your butt?

[Josh Clark]

Nice. That was probably how Ambrose Beards would have written it.

[Chuck Bryant]

I think so.

[Josh Clark]

That was great. Chuck, you did great. I did great. We did great. Jerry did great.

[Chuck Bryant]

I assume Ben will do great.

[Josh Clark]

Ben's gonna do great. And you guys all did great listening to us and thrilling to the adventures that we wove for you.

[Chuck Bryant]

That's right.

[Josh Clark]

I guess we want to say Happy Halloween to everybody. Have a safe and happy and fun and candy filled Halloween.

[Chuck Bryant]

That's right. And this one falls on Halloween for a change. So that's pretty, pretty much a bonus for us.

[Josh Clark]

Yes. So Happy Halloween to the Max. Yeah. And since I said Happy Halloween to Max, we're not going to do a listener mail, right? We're just going to end this and say adios.

[Chuck Bryant]

That's right.

[Josh Clark]

So if you want to get in touch with us, you can send us an email to Stuff podcast heartradio.com Stuff youf Should Know is a production of iHeartRadio.

[Chuck Bryant]

For more podcasts My Heart Radio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.