Feed Drop – The Antiquarium Of Sinister Happenings– Lot 001 : I Was The Hitchhiker

Summary

The Magnus Archives – Feed Drop: The Antiquarium Of Sinister Happenings – Lot 001: “I Was The Hitchhiker”

Date: November 21, 2025
Featured Cast: Katie Siegel (Driver), Josh Rubin (Hitchhiker), with narration by Stephen Knowles (Antique Dealer)
Podcast Theme: A chilling journey through a haunted artifact’s story, exploring guilt, memory, and the supernatural.

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Episode Overview

This episode is a feed drop from The Antiquarium of Sinister Happenings, presenting the story of "Lot 001: I Was The Hitchhiker." The episode opens in a mysterious antique shop, where each item harbors a dark history. The Dealer introduces a worn leather wallet, and its grotesque story is recounted: a disheveled hitchhiker’s late-night ride turns into a surreal confrontation with the otherworldly and with deep, personal guilt. The narrative blurs the lines between the psychological and the supernatural, as the journey spirals into cosmic horror.

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Key Discussion Points & Plot Breakdown

1. Setting the Frame: The Antiquarium and the Relic [01:10–02:54]

• The Dealer greets the “visitor” and introduces the relic—a weathered wallet linked to a story of terror.
• The storytelling is immersive, inviting listeners to take a seat and listen, setting a tone of unease and curiosity.

2. The Hitchhiker’s Predicament [02:54–06:19]

• The protagonist (Hitchhiker) finds himself stranded on a deserted road at midnight, recounting his awkwardness and anxiety.
• Internal dialogue exposes vulnerability and self-doubt, contemplating why no one stops to help, fixating on his isolation.
• “I hate being alone with my brain. I ruminate. I hear sounds coming from the forest and they creep me out.” (C, 04:06)

3. The Encounter: The Driver Stops [06:19–09:21]

• A professional-looking woman (Driver) finally offers a ride, despite the warning undertones of danger or foolishness.
• Their cautious banter exposes societal expectations and personal boundaries.
• “Lady, I’m gonna give you a lecture about safety once you drop me off. It’s not wise to pick up a scruffy hitchhiker like me in the middle of the night. But first I'll just ride.” (C, 06:38)

4. Revealing Pasts and Testing Trust [09:21–13:44]

• The Driver and Hitchhiker exchange tense, guarded histories. Their trust shifts as the Driver admits to helping because of her own past vulnerability, expressing “I guess I'm paying it forward. I have full trust that the universe balances things out.” (D, 10:18)
• The Hitchhiker confesses to being pressured into a misogynistic game with his friends, culminating in an angry outburst and physical altercation:
  • “You lost your shit, didn’t you?” (D, 13:44)
  • “I lost my shit. I freaked out.” (C, 13:46)

5. A Surreal Descent: Reality Frays [16:07–17:41]

• Subtle interruptions destabilize the narrative: the Driver magically seems to know details about the Hitchhiker’s personal life (mentions of “Riley”), despite him never uttering those names.
• “Why is there an eye on the glove compartment box? Why is it blinking?” (C, 16:16)
• The environment and conversation become increasingly surreal and unsettling.

6. Cosmic Revelation and Horror [18:59–23:27]

• The Driver’s tone darkens; she describes a possible fire at the hostel, casually suggesting the Hitchhiker’s friends perished:
  • “I think the fire got them.” (D, 19:32)
• The universe outside the car warps into a cosmic, hellish void. The Driver morphs into something monstrous, her smile and form distorting:
  • “Her smile and her teeth are extending beyond her face. Her whole being is taking up more space...She looks animated. Unreal. Pitch black. Unreasonably happy...Her eyes are smiling. Warm. She's looking at me harder than anyone’s ever looked at me in my life.” (C, 20:10–20:41)
• Discussion turns fatalistic; the Driver challenges the Hitchhiker’s worth, asking if he deserves an "exit" from this reality.

7. The Exit and Aftermath [23:27–26:16]

• The story climaxes with a metaphysical “exit” ramp out of the cosmos and into ordinary reality, leaving the Hitchhiker injured but alive back at his home:
  • “I think I deserve to die.” (C, 23:52)
  • “And we drive out of the cosmos. Everything returns to form, like how it all should be. Trees, road, concrete, gravity. Sky. And I’m home.” (C, 23:54–24:04)
• Bleeding, without keys, but alive, the Hitchhiker is left to reflect on the surreal experience.

8. Closing: The Dealer’s Warning [26:16–28:20]

• The Dealer thanks the listener, delivering a chilling monologue—blurring the line between listener and story:
  • “Let me assure you that your visit to the Antiquarium, whether in the flesh or...in your mind’s eye, is most certainly not in vain. You are, after all, the architect of this place.” (B, 26:45)
  • Warnings that the story—and perhaps its curse—are now “part of your subconscious.”

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Notable Quotes & Memorable Moments

• On Anxiety and Isolation

  • “I hate being alone with my brain. I ruminate. I hear sounds coming from the forest and they creep me out.” (C, 04:06)

• On Trust and Kindness

  • “I have full trust that the universe balances things out.” (D, 10:18)

• On Self-Destruction and Guilt

  • “I think I deserve to die.” (C, 23:52)

• Surreal Body Horror

  • “Her smile and her teeth are extending beyond her face. Her face is extending beyond her face. Her whole being is taking up more space. She looks animated. Unreal.” (C, 20:10–20:41)

• Direct Address to Listener

  • “Let me assure you that your visit to the Antiquarium...is most certainly not in vain. You are, after all, the architect of this place...The items you procure...are very, very real. And are now and forever, part of your subconscious.” (B, 26:45–27:40)

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Timestamps for Important Segments

| Timestamp | Segment | |-----------|-----------------------------------------------------------------------| | 01:10 | Antique Dealer introduces the wallet and welcomes listener | | 02:54 | Hitchhiker recounts his predicament; establishes vulnerability | | 06:19 | The Driver stops, offers a ride; tension and awkwardness | | 09:21 | Past lives and paying it forward, shift towards introspection | | 13:44 | Hitchhiker’s confessional: violence, regret, loss | | 16:16 | Surreal elements appear; the blinking eye, reality bending | | 18:59 | Driver's revelation: hints at death, fire at the hostel | | 20:10 | Cosmic horror peaks: transforming Driver | | 23:38 | Metaphysical “exit”; return to reality, but with unexplained wounds | | 26:16 | Dealer’s warning to listener—story invades reality |

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Episode Takeaways

• A masterful blend of psychological horror, cosmic surrealism, and existential dread, focused through the lens of guilt and the consequences of our choices.
• The narrative walks a fine line between the banality of a bad night out and inescapable, supernatural punishment.
• The experience is interactive, with the Dealer’s closing monologue inviting listeners to question the boundary between fiction and their own subconscious—a hallmark of post-modern horror storytelling.

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Final Note

The Antiquarium of Sinister Happenings: Lot 001 – I Was The Hitchhiker stands as an eerie, immersive tale that uses metaphysical strangeness and psychological insight to haunt listeners long after the story ends. The use of direct address, growing surrealism, and blending of guilt with cosmic consequences makes this a compelling installment of modern horror audio fiction.

Transcript

[A]

Hi everyone, it's Lori here. Today we are sharing an episode from a show called the Antiquarium of Sinister Happenings. Step into a mysterious shop where every relic has a sordid tale to tell. The Antiquarium of Sinister Happenings is a weekly multi award winning full cast horror anthology featuring Mike Flanagan, Katie Siegel, David Dasmalchian, Devon Sawa, Jocelyn Donahue and more. Immerse yourself as the darkness is brought to light through interactive elements and by uncovering hidden secrets in the stories themselves with the use of a cipher decoder ring. In this episode called Lot 001, I was the Hitchhiker which features Katie Siegel and Josh Rubin, a mysterious man with a dark secret gets the ride of his life. You can find the Antiquarium of Sinister Happenings on Apple, Spotify or wherever you listen to podcasts [e-mail] have fun and enjoy the episode.

[B]

Why hello and welcome. We do love visitors here at the Antiquarium. If I may be so bold to ask, what brings you into our cozy establishment this fine evening? Ah, you don't say. I think I've got just the thing. There you go. A genuine leather wallet, well worn with a stunning patina. But it also carries with it the dark secret that you are not gonna believe. We got this in from the owner of a former historic hostel. Oh, I see. You are a curious one, aren't you? Well then, sit back and make yourself at home. I call this one I Was the Hitchhiker. Welcome to the Antiquarium of Sinister Happenings and odd goings.

[C]

It's awkward to be the hitchhiker, to be on this side of a scary folktale. Let's not talk about how I got here. That's not really important. What matters is I've never looked more disheveled. I've never felt more awkward. Just a weird looking dork sticking my thumb out on an empty road sandwiched between two forests. Pitch black. It's midnight I think. I didn't have my watch on me or my phone or anything else that tells the time. My internal clock ain't great either, but let's say it's between 10:49, 2:00am I think probably. Car goes past, doesn't even think about stopping. I don't blame him. Looked like a couple that were just coming back from a fun camping trip and they don't need my nonsense right now. I mean, I wouldn't stop for me. Just be silly. Really. I'll hold out hope. Maybe a van filled a capacity save for one seat in the back would stop for me. They could take a chance. After all, I tried anything funny, I'd be vastly outnumbered anyway. But 20 minutes pass. No van. Actually, no cars at all. I guess people don't really use this road or slate. And hitchhiking on Wednesday night or Thursday morning isn't really a wise move. Oh. Oh, look, a car. They're slowing to stop. Oh, not. It doesn't look like they can take me. But they look apologetic. That's sweet. You're just sort of mumbling sorry and shrugging. Nah, that's fine. I'm just glad you looked at me. Really. I'm pacing now and I wish I had my cigarettes. I hate being in one place for too long. I hate being alone with my brain. I ruminate. I hear sounds coming from the forest and they creep me out. I think about worst case scenarios all the time. You know, how you. You know your brain can drum up something much scarier than anything real life can throw at you? Yeah. I just need to try to be present. Second thought, maybe I should just stay in my head. It's safer up here. The more mindful I get right now, the more it's clear. I'm in the middle of the fucking road with no hope of getting home. There's a feeling of tension in my chest. It's tight. It aches. I breathe into it. It'll dissipate. I've lived with anxiety long enough. I have my tools. Yes, I did in fact notice a car in front of me on the road slowing to a stop. And no, I'm not gonna get my hopes up. Shit. The driver looks professional, like she actually has her life in order. Don't do this. Statistically, this isn't a good move. The odds are not in your favor. She looks like she just straightened her hair, like she's come from some sort of tech conference. Business casual. Like you could put her in a brochure. Hell, she looks my age. Don't do this. I could be a maniac. I can wait for the van.

[D]

You look like you've had a rough night.

[C]

Hey, look, thank you for the kind gesture, but I'm actually kind of waiting for a car with more people in it so that it's, you know, less weird for everyone.

[D]

Get in. I'll be okay.

[C]

Okay. If I'm being honest, I'm praying for another car to come by and, well, nope, it doesn't. So I get in. Lady, I'm gonna give you a lecture about safety once you drop me off. It's not wise to pick up a scruffy hitchhiker like me in the middle of the night. But first I'll just ride.

[D]

Where about you heading?

[C]

Honestly? Two hours in the direction you're already driving? I'm in Morgantown. Anywhere in the city is fine.

[A]

Cool.

[D]

I can take you a good chunk of the way there, I think. Depends on how much I like. I'm kidding.

[C]

I'm just grateful for the ride. Thank you. We sit in silence for a bit, you know, and I'm hoping she's putting on the radio or something. You know, usually people are more talkative. I don't want to start ruminating again. And I'm sitting here and I'm just. I'm wondering what she's thinking, you know? Does she regret picking me up? Is this weird? She's scared for safety. I mean, she shouldn't be. She shouldn't be, but I get it. This is weird, right?

[D]

So I do have to ask. It's Thursday morning at 1am what are you doing in the middle of the road?

[C]

1Am Nailed it. My internal clock's better than I thought. And. Look, lady, I know you just want to have a conversation, but I really don't want to answer this question. A retreat with friends, you know, we do it every year. It's a bit of a ritual.

[D]

Right. And does the retreat end with you standing in the middle of the road looking the way you do right now? No offense.

[C]

Oh, no, no. None taken. And no, I. I left early on not so great terms.

[D]

That's it?

[C]

That. That. That's it. You know, she's shaking her head to me, and then. And then there's this awkward silence starting to go back into my head. Please, lady, please turn on the radio or something.

[D]

You know, if you talked more, it would be easier to trust you. I mean, I did pick you up in the middle of the night.

[C]

Hey, you're free to drop me off wherever you want. I. I feel weird about this too. It's kind of like when you're accidentally walking behind someone at night and you feel weird, but you two are going the same way, you know?

[D]

And yet you stuck out your thumb and got in the car.

[C]

Good point. I mean, it was a good point. It's good to self reflect sometimes, right? I mean, I could be a hypocrite now. Sure.

[D]

Okay, I'll tell you something about me, but then you have to tell me more about you.

[C]

Damn it, she is cute.

[D]

Well, I picked you up because I've had benders before in a past life. I mean, come On, I didn't always look this fancy. I had to sort some out in my life.

[C]

For someone who claims to be as grounded and put together as you are, picking me up was pretty silly. Again, statistically, a pretty stupid choice.

[D]

And so, you know, I've had nights where people would go out of their way to drop me off at home. I'd literally been in your shoes, you know, disheveled, barely awake, drunk out of my mind, sticking my thumb out on an empty road. And honestly, it was just as scary getting picked up. But I trusted people, and they took care of me and brought me home. So, in a way, I guess I'm paying it forward. I have full trust that the universe balances things out.

[C]

She said all that with a smile. Kind of endearing, you know? Not sure if I do trust all that, but endearing nonetheless. I begrudgingly nod. Oh, that's. That's actually kind of wholesome.

[D]

Now you.

[C]

I sigh. This road runs long. It's kind of scary outside. Maybe if she likes me enough, she'll take me all the way home. I don't want to be out on the street again. I'll open up. Just. Just bit. All right. Okay. Yeah. So you ever have that group of friends where you change so much as a person that you probably shouldn't be friends with them anymore, but you also feel obligated to show up when they ask you to come out, so you.

[D]

End up going to that stupid event you know you shouldn't be going to, and you regret it immediately?

[A]

Hey.

[C]

Exactly. Exactly. So I go. Because we're all buddies, right? And we. We go way back. Exactly. Except I don't like the idea of getting trashed at a hostel and having to, you know, give. Give the group my phone, my keys, my wallet, everything. Play that stupid game.

[D]

We all play stupid game.

[C]

All right? But you have to. You have to promise not to judge me. The game is so basic. Basically, what is. Is that. So each of us has to hit the town and find a. A girl to bring back to our room. And anyone who doesn't succeed has to sleep outside without any of their belongings.

[B]

Wow.

[D]

You and your friends really are chauvinistic morons, aren't you?

[C]

Morons. Oh, that's good. Yeah, no, like I said, I shouldn't be friends with. With them anymore, so.

[D]

Oh, I'm kidding.

[C]

You shouldn't let your guard down too quickly. I haven't finished my story yet, so I take a beat, and then I continue. So I came this time, but my terms were clear. I hang Out. We can drink. I'm happy to be a wingman. Anyone playing that stupid game. But beyond that, I won't be participating. I want to stay at home, kick back, have a relaxing time.

[D]

But you didn't really think they'd let you not participate, did you?

[C]

I did. That's. That's why I came.

[D]

Really?

[C]

Yeah. Yeah, really. Really? Wow. Okay, you're almost getting too comfortable with me now.

[D]

Great diversion. But you didn't tell me the whole story, did you?

[C]

You know, if I had cigarettes and a light, I'd be happy to go back onto the street, but I don't. Alright, you win, lady. Okay, well, they pulled their bullshit on me, okay? I had a couple of drinks in me and slowly, those assholes. I grabbed my keys, my. My phone, my fucking smokes. Little by little pricks. Uh oh, I'm getting heated. I'm scaring her, aren't I? By time I knew the jig was up, they all got together, tried to pick me up and throw me outside, you know, Forced me to play that dumb game with them. Force. Force me to bring a girl back to our room. Okay, I'm rambling. Let's try to cool it.

[D]

You lost your shit, didn't you?

[C]

I lost my shit. I lost my shit. I freaked out. I'm not usually an angry drunk, but some of me snapped this time. You know, Mark, he grabbed me by the legs and Francesco and he had my arms, they were trying to drag me outside and they. They were laughing. So I started kicking and punching hard. You know, once I got my footing, I was just straight up swinging at them full force. And I feel like I did some damage too. I mean, nothing like too severe, but. You know, Mark fell to the floor and I kept hitting him. You know, everyone eventually tore me off him, but I was still, I was still like lash physically anymore, but I was like, I was screaming, you know, verse. It was like verbal, you know, like emotional abuse. It was, it was weird. God damn it. I need to save this shit for therapy. I anyways, so that they all just looked at me, mortified, like I was a free. I was a freak or something. And so I walked out the front door and here I am. Took me 15 minutes of walking to realize I didn't have a phone or my keys or my wallet, cigarettes, anything. I wanted to go back inside to ask for my stuff, but I just felt weird, you know, because of my little moment. Like something was stopping me. Just, just thing, you know, it would have been so awkward know to freak out and punch My friends and come back and say, I'm sorry, by the way. I know I'm rambling. I. I kind of. I kind of have this habit of getting stuck in my head sometimes. I'm sorry. I really wish I had a cigarette right now. Oh, fucking hell. I can't even look at it now. You know, she's staring at me like I'm a fucking. Keep your eyes on the road, ma'.

[D]

Am. Dude, you're a fucking moron.

[C]

Yeah, I know.

[D]

What are you gonna do about your stuff?

[C]

I don't know. I'll just call him or something, you know, later. Like. Like in a few days. Or to. To apologize. I'll need to borrow someone's phone to do that, obviously. Or alternatively, I could bring you back to the hospital tonight, Though they let me come back in if I bring a pretty lady.

[A]

Right?

[C]

She stops the car. Now I've done it. I'm sorry. Hey, stupid joke, I say. And then there's this awkward silence until she slowly starts driving again.

[D]

You're not making this easy.

[C]

I know. The road stretches long.

[D]

Are your friends smokers too?

[C]

No, just me.

[D]

You sure about that? Why would they lift your cigarettes if they don't smoke?

[C]

Just to be dicks, I guess. You know, they're. They're just like that. Fuck, this road is long. I guess I really never paid attention to roads before, huh? That's kind of weird. Why is there an eye on the glove compartment box? Why is it blinking? What? What is that I ask point?

[D]

Just decoration. You missed that when you got in.

[C]

Fuck. I'm out of it. Silence.

[D]

You think your friends will forgive you?

[C]

I mean, who knows? We were already drifting apart anyway. Maybe it's for the best if they don't forgive me.

[D]

Right? How does Riley feel about it?

[C]

Huh? I talked about Riley. Why didn't I mention him? Riley?

[D]

Yeah.

[C]

Uh, yeah, I don't really know how he feels about it. Probably the same as the other guys. Um, hey, when did I talk about Riley? Silence. I never said his name before.

[D]

Yeah, you did. You've been rambling for a while, repeating yourself over and over again and then forgetting that you said anything.

[C]

Fuck. What? I look in front of me, the road stretches long. I look back, this road stretches long. Oh, fuck. Fuck. How much did I drink? Am I fucked up? And seriously, why is there an eye on the glove computer?

[D]

And now you're spiraling. You're in your head and it's gonna be super quiet and awkward for a few minutes.

[C]

Oh, keep it cool, dude. Clearly my hitchhiker Etiquette needs some work. I'm being unseemly. I'm sorry. I just. Weird night.

[D]

It's fine. Just take a chill pill, Michael. Breathe in. Relax. It's all good.

[C]

I never said my name before.

[D]

You are really forgetting stuff.

[C]

No, no, I'm not, actually. And I hate to use a very overused used term, but it sort of feels like you're gaslighting me right now.

[D]

I'm not comfortable with you freaking out at me. Just look out your window, take a breath and cool it. I'll get you home.

[C]

Oh, fine. Hell. I'm back in my head with my thoughts Back to looking outside. This road stretches long. This road stretches real long. Am I losing it? Take a deep breath in. I'm okay. I'm okay. It's been quiet for a little bit. I think I can calm down. I think I can calm down. Yes. That fucking eye is still there. It's still looking at me.

[D]

You know, I think Mark smoked your cigarettes after you left to calm down.

[C]

All right. She wants to break the tension by theorizing about my friends. It. I'm here for it.

[D]

I think he smoked them indoors. A few of them. I think he tossed them, half smoked and still lit, into a large potted plant. And I don't think he knew any better. I think they caught fire.

[C]

Wait. The road isn't narrow anymore. Why does it feel like we're driving on a large open field? What are you saying?

[D]

I don't think your friends knew what to do. They were probably too up, so the whole place was up, down and flames.

[A]

Quickly.

[D]

Really, really quickly. I think the fire got them.

[A]

Fuck.

[C]

Eyes on the road. Stop looking at me when you're driving.

[A]

Hey.

[C]

She's smiling at me. Right at me. Deranged. I look away. I look in front of me. We're in the cosmos, but it's not inspiring. It looks like hell. Black holes all around us. Empty space. What the fuck is happening? And now I don't want to look at her. But I can see her in my peripheral vision. She's still smiling at me. I look over just a little bit. Her smile and her teeth are extending beyond her face. Her face is extending beyond her face. Her whole being is taking up more space. She looks animated. Unreal. Pitch black. Unreasonably happy. Her smile is so clear. It doesn't. It doesn't make sense. I feel like I'm prey. This feels like nature. Her eyes are smiling. Warm. She's looking at me harder than anyone's ever looked at me in My life. When did I start looking back at her? I don't want to be looked at. Don't look at me. I can't scream. But I'm still alive. Maybe if I keep doing what I'm doing, I can stay alive.

[D]

If it wasn't the cigarettes, it would have been something. Something else. You shouldn't blame yourself.

[C]

Did she always sound like this? I turn away from her. My eyes are back on the road. Sorry. On the cosmos. The universe stretches long. They were all going to depart tonight. She's not using her mouth to talk. You wouldn't want to see what's in my mouth. Don't think. Don't think about this. Just look ahead. Eyes on the. The universe. Just don't move.

[D]

Wait.

[C]

Is that my house? Is that my house? Why is my house in the middle of the cosmos? Why is it here? I want to go home. Home. Real home.

[D]

I can feel your muscles twitching in.

[C]

Your arms and legs. I can smell your intestines. I don't know what to do. I need to stop thinking. It'll pass one way or another. This land.

[D]

You never eat carrots. Lying is a casual sport for you.

[C]

You're happier than you pretend to be. She's in front of me. She splattered on the windshield. I can feel her face on the headrest against the back of my head. She's speaking into me. You're trying not to. That is correct. Man, I hope this fucking car crashes. No, you don't. You're hoping it will all be okay. You're praying it will all be okay. Stop thinking Zen. Quiet. Breathe in and breathe out. She's still looking at me. Breathe in and breathe out. She's stretching into the cosmos. She's everywhere. In and out. It's okay. That's how anxiety is. It'll get worse before it gets better. Breathe in and out. She's in front of my face. She's even closer when I close my eyes. In and out. In and out. Breathe.

[D]

Were you supposed to be there tonight too?

[C]

Yes.

[D]

And yet you weren't.

[B]

No.

[C]

No, I wasn't.

[D]

Do you deserve this exit?

[C]

I'm not sure.

[D]

It's coming up soon.

[C]

I know.

[D]

I'll ask you again.

[C]

She pierces my hand and my shoulder.

[D]

Did you change enough before tonight to deserve this exit?

[C]

This?

[B]

No.

[C]

No, I didn't. I think I'm a piece of. I think I deserve to die. She makes a right on the exit. And we drive out of the cosmos. Everything returns to form like how it all should be. Trees, road, concrete, gravity. Sky. And I'm home. That's it. I'm home. This morning, the sun is coming up. Pardon the cliche, but I actually think I hear birds chirping. And she's business casual, professional, all put together. But I am bleeding from my hand and my shoulder. And that eyeball on the glove compartment box is still there. We're parked on the street right in front of my house. Okay. I've always been particularly shit at saying goodbye to people who drop me off. I open the car door. I trudge onto the sidewalk. I look back at her. I close the car door. And there is a slow trickle of blood onto the sidewalk, a little bit on her car. Sorry about that. I should go inside, get myself cleaned up. Oh, no keys. We're looking at each other.

[D]

You said some really mean stuff about yourself back there. You shouldn't sell yourself short, you know.

[C]

I believe her. I do a half wave, and before I can think to myself, please, God, just fucking drive off, please. She starts driving off. Down the long road, the road that stretches long and long and long and long. And she's in view still smaller and smaller. And then she's gone. It's kind of nice outside. I never realized how pretty this neighborhood is. Maybe I should stand here for a little while.

[B]

Thank you for your patronage. Hope you enjoyed your new relic as much as I've enjoyed passing along its sordid history. It does come with our usual warning, however. Absolutely. No refunds, no exchanges. And we won't be held liable for anything that may or may not occur while the object is in your possession.

[C]

Oh.

[B]

You think just because you're only listening to my voice that you have nothing to be concerned about? Let me assure you that your visit to the antiquarium, whether in the flesh or. Or in your mind's eye, is most certainly not in vain. You are, after all, the architect of this place. I must say, you've done a hell of a job. Even the way you have given me a face and carved out the most minute details of my person in that cerebrum of yours is quite impressive indeed. Therefore, the items you procure within these walls, even on a metaphysical level, are very, very real. And are now and forever, part of your subconscious. All part of our standard bill of sale, really. Till next time. We'll be waiting for you whenever you close your eyes. In the space between sleep and dream. During regular business hours, of course, or by appointment only. For you, our best customer. You have a good night now.

[C]

The Antiquarium of sinister happenings. Lot001 I was the Hitchhiker Written by Mo T. Featuring Josh Rubin as the hitchhiker, Kate Siegel as the driver, Stephen Knowles as the antique dealer. Additional Music by Kevin McLeod, Brian Holtz, Dave Deville and Tim Kulig. Engineering, production and sound design designed by Trevor Shand. The Antiquarium of Sinister Happenings is created and curated by Trevor and Lauren Shand. Theme music by the Newton Brothers. Follow us on Instagram and Twitter antiquariumpod. Call the Antiquarium at 646-481-7197.

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You can find other episodes of the Antiquarium of Sinister Happenings on Apple, Spotify, or wherever you listen to podcasts and at theobsidiancovenant. Com. Thanks for listening.