October 30, 2022 • 20 mins
A step forward. A fall back. A sacrifice.
Written by Matthew Riddle, Matt Frederick and Alexander Williams. Featuring the voices of Carter Rockwood, Clancy Brown, Gina Rickicki, and Lauren Vogelbaum.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
M Thirteen Days of Halloween, Devil's Night, a production of
I Heart three D audio, Blumhouse Television, and Grim and
Mild from Aaron Mackey. Headphones recommended. Listener discretion advised. Where
(00:27):
is everybody? I'm glad for some peace finally, but this
is too quiet? MS? Hello, Hello? Wait zero? Is that
(00:53):
no way avery in the house. I can't believe it.
I thought we never get here. We must have walked
longer than I thought, But finally, finally we're home. You
are not where you think you are best. You are here.
(01:18):
This is not your home? What of course it is?
See this m on the rail? I carved it the
day Dad got me a pocket night and he went
me up for it. You are being tricked. Oh yeah.
If this isn't my house, then why would there be
a key under the mat right where it always is?
(01:42):
What do you say? We get out of the storm
and you can tell me more about how this isn't
my house. Even if it were possible, I would not enter,
nor should you suit yourself. It requires sacrifice. Lighten up,
would you? I'm cold, I'm tired, and we're finally home.
(02:06):
Come on arrow. What the the womens of bluen. The
door shut, but it looks like home to me. Boy,
mom Dan, maybe they went to bed. Hello, Hello, anyone?
(02:38):
What the there's a little Can you hear me from here?
I can? You are right, there's something wrong here. I
warned you. It didn't help us. Let us out. I
wish I could, what just kick the door down? If
I could, I would, But it will not work. Max,
(03:02):
Why not? You may pass but I cannot. Then what
do we do? You must go through what I will
do what I can to guide you from outside? Okay, okay, rol,
(03:23):
let's go around here. What's your step? I don't know
what this place is, but I hope nobody else's well,
I'm definitely not getting that. Let's find another door, So heart,
(03:51):
there's got to be a light switch here somewhere. Ah,
got it? Well, I'm definitely definitely not getting that. M Okay, Okay,
(04:11):
it's got to be a backdoor. Come on, m hm ah,
it's so dark. I can't see anything. How what was that?
H It's so dark, I really can't see anything. It
(04:35):
won't okay, so we need to be more careful, but
we also need to get out of here. If you've
ever seen a hallway like this with no doors. It's
(04:57):
just bizarre. Yeah, what is this place? Hello? Is somebody there?
(05:18):
I can hear you there. Come in now and say
hello to old Geraldine. Oh wherever did you come from?
I'm so sorry your house inside is it's quite different,
but outside it looks well, exactly like my mom and dad.
(05:44):
We just walked in the wrong door. Mm hmm. Wrong doors.
There's a lot of those around here. I would have
left already, but I'm having trouble finding the exit, the
what the way out? How to leave? M whyever would
you want to do that? Please? Miss, I'm just trying
(06:08):
to get home to my house. Can you help me?
Let me think it's been so long since I've left
while we think, care for some tea? Um, no, thank you? No,
oh nonsense, I have a spot where you've got nothing.
(06:30):
What time? We'll just have to find the wrong way out.
But it seems like this goes on forever. Hello, Oh
it's you. Hold on, let me get him. Yeah and
no who Hello? Oh it's you. Yes, he's right here.
(06:58):
Telephone for you. Mh no, we'll staying We for me upstairs.
Maybe there's a window. Why are you there's so many steps.
I can see the top. Why can't we get there? Now?
(07:24):
We can see the bottom? There another hallway or hallways? Great?
Which where do we go? Yeah? You know, at this point,
(07:45):
I don't think it even matters. What was that? I
don't like this? Oh god, oh what's that? Wait? Row roun.
(08:08):
There's no way out. We're trapped in here. No, no,
these no, no, there's no way out. I've got to
block the door. Hey uh yeah, chair, Oh god, please
(08:31):
hold Oh, I've got to blot the door work and
do swing one way to get out of this room? Arrow,
come here, can lap this side of the door, slip
us open and then do run? Okay, ready, how is
(09:04):
this even possible? There must be a hundred doors, fucked fucked,
fucked fucked. Oh where does it end? Oh no, no, no,
no, no no, Errol here the bathroom, Yeah, no, Erro. This
(09:36):
has to end. We're gonna be able to figure this out.
But there just doesn't seem to be any logic to it.
Who on earth designed this house? It's like the architect
lost their mind. Hey, up ahead, I see I see
(09:58):
see outside. It's it's a widow or a skylight. I
don't know however reached up there or through Johnny Good,
This is not the way, Max, Where have you been?
I told you I cannot come with you. There is
(10:22):
no entrance for me, but there is an exit for you.
Then tell me where it is. I've been looking all over,
but this house doesn't make any sense. The question is
not where, Max, it is what. What are you willing
to give? And who? Who? Who are you willing to sacrifice?
(10:48):
I don't know what that means. I don't know what
to believe anymore. Is any of this even real? It
depends on what you mean by real. I mean real
at true true. The things that happened to me in
here would never happen in the real world, only in
a nightmare. Then I would say, no, Max, it is
(11:13):
not really. Don't Why am I trapped? Because in another
less physical way it is all too real, not real
enough for me to break this window, but really enough
for you. Imagine it this way. This house, like you,
(11:35):
is a being. You are in its body, and like
any being, it has a brain. Geraldy. To slay the beast,
you must have a connection to the brain. No, I
can't do that. You promise no more debts. It is
(11:56):
not up to me. It is up to you on
earth designed this house. It's like they started building it
and just gave up. Hey, off ahead, I see I
see the skylight. That's a well, that's a well. I'm
(12:24):
not gonna do it. I'm a you Geraldine, Geraldine? Oh
(12:50):
you again? Did you ever finish your phone? Call? Um? No, listen,
can we just talk about this? Of course? Child? No,
thank you? I nonsense, I have a spot. We've got
nothing but time. Listen. It's simple. Why are you keeping
(13:13):
me here? Keeping you here? Whatever? Do you mean? Looked everywhere,
well everywhere I can find for we out, but everything
just keeps repeating. How did you get here in the
first place? The front door? There you go. No one's
(13:34):
keeping you here. Child, You're trapped. How did you say
you got here? Again? You're not real? What's that? Child?
You're not real? You're not real? Yes, love, you've ridden
my mind. Do throw another log on the fire. You're
(13:55):
not real? What you are? Not real? What the terrible
thing to say? You have no chrome with me, boy,
I'm not the one who brought you here. You brought
this upon yourself. No, you can't lie to me anymore.
I know that none of this is real. I just
need to end it. Put that down. I'm sorry. No, no, Hello,
(14:27):
are you still there? Hello? Hello, Hello, Geraldine, Geraldine, she's gone.
(14:51):
I know it wasn't real. I mean I think it wasn't,
but it sure felt real. Yeah, well we'll see if
that worked. Come on, Arrow, what's that window there before?
(15:15):
Is it really? Yes? Finally, Oh we did it. There
was so much easier than I thought it would be.
It's awful high up. We could look for another way,
but this might be our only chance. Underneath us, there's
(15:36):
a little patio. We can go out onto the roof
and then climb down. It's gonna be tricky for you, Arrow,
but I think we can make it. Let me go
out first and I'll help you. You're gonna have to
jump to me. Okay, here goes nothing. Yeah, errow Errol,
(16:02):
it's okay, it's okay. It's stuck. Calm down, boy, he
calmed down. I'll get you out. You just don't break it, fat, hero, fat,
(16:23):
it's a good talk. That's a good talk. Careful, Max,
do not hurt yourself. That's all. He's trapped. Arrows still
trapped in the house. I know. I am sorry. I
tried to warn you of what it required a sacrifice. No,
(16:43):
I won't leave him here. I can't. That will not work.
Didn't you break it? I cannot bullshit watch this. He
isn't fair. No, it is not errow. I I can't. Okay,
(17:06):
I'm outside, but this is still the house. What do
you mean if this is still part of the house.
Maybe I have another chance, let's hope. So buddy, what
are you thinking? Max? If I told you you would
(17:27):
try to stop me, I do not like the sound
of that, but I have to. That's a well, Yes, Max,
I need to ask you something, anything, and I need
you to follow my instruction exactly. Okay, Max, I will try.
(17:48):
It's time. Do not save me? What? Thirteen Days of
(18:20):
Halloween Devil's Night, starring Carter Rockwood and Clancy Brown. Episode twelve,
The Haunted House. Written by Matthew Riddle, Matt Frederick and
Alexander Williams, Edited by so Sha. Sound designed by Jesse Funk,
featuring the voices of Gina Rikiki and Lauren Vogelbaum. Directed
(18:40):
by Alexander Williams, Script supervision by Nicholas Takoski. Casting by
Sunday Bowling C. S A and Meg Mormon C. S
A Production coordinator Wayna Calderon. Production assistants Zoe Shay and
Amber Ferris. Animal recording by Ben James, closing theme by
Rose Azerti. Loyalty Freak Music dot Com. Recorded at d
(19:03):
G Entertainment in Los Angeles, California. Engineered by Gary Forbes
and Jody Abbott. Additional recording by SoundBite Inc. In Atlanta, Georgia.
Engineered by Chase Nixon, Studio manager Kathy Roberts. Executive producers
Aaron Mankey, Noah Fineberg, Chris Dicky, Matt Frederick and Alexander Williams.
(19:26):
Supervising producers Trevor Young and Josh Than. Producers Jesse Funk
and rema Il Kali. Thirteen Days of Halloween was created
by Matt Frederick and Alexander Williams and is a production
of iHeart three D Audio, Blumhouse Television and Grim and
Mild from Aaron Mackey. Learn more about the show at
Grim and Mild dot com slash thirteen Days and find
(19:49):
more podcasts from iHeart Radio by visiting the iHeart Radio app,
Apple Podcasts, or wherever you listen to your favorite shows.
M Thirteen Days of Halloween, Devil's Night, a production of
I Heart three D audio, Blumhouse Television, and Grim and
Mild from Aaron Mackey. Headphones recommended. Listener discretion advised. Where
(00:27):
is everybody? I'm glad for some peace finally, but this
is too quiet? MS? Hello, Hello? Wait zero? Is that
(00:53):
no way avery in the house. I can't believe it.
I thought we never get here. We must have walked
longer than I thought, But finally, finally we're home. You
are not where you think you are best. You are here.
(01:18):
This is not your home? What of course it is?
See this m on the rail? I carved it the
day Dad got me a pocket night and he went
me up for it. You are being tricked. Oh yeah.
If this isn't my house, then why would there be
a key under the mat right where it always is?
(01:42):
What do you say? We get out of the storm
and you can tell me more about how this isn't
my house. Even if it were possible, I would not enter,
nor should you suit yourself. It requires sacrifice. Lighten up,
would you? I'm cold, I'm tired, and we're finally home.
(02:06):
Come on arrow. What the the womens of bluen. The
door shut, but it looks like home to me. Boy,
mom Dan, maybe they went to bed. Hello, Hello, anyone?
(02:38):
What the there's a little Can you hear me from here?
I can? You are right, there's something wrong here. I
warned you. It didn't help us. Let us out. I
wish I could, what just kick the door down? If
I could, I would, But it will not work. Max,
(03:02):
Why not? You may pass but I cannot. Then what
do we do? You must go through what I will
do what I can to guide you from outside? Okay, okay, rol,
(03:23):
let's go around here. What's your step? I don't know
what this place is, but I hope nobody else's well,
I'm definitely not getting that. Let's find another door, So heart,
(03:51):
there's got to be a light switch here somewhere. Ah,
got it? Well, I'm definitely definitely not getting that. M Okay, Okay,
(04:11):
it's got to be a backdoor. Come on, m hm ah,
it's so dark. I can't see anything. How what was that?
H It's so dark, I really can't see anything. It
(04:35):
won't okay, so we need to be more careful, but
we also need to get out of here. If you've
ever seen a hallway like this with no doors. It's
(04:57):
just bizarre. Yeah, what is this place? Hello? Is somebody there?
(05:18):
I can hear you there. Come in now and say
hello to old Geraldine. Oh wherever did you come from?
I'm so sorry your house inside is it's quite different,
but outside it looks well, exactly like my mom and dad.
(05:44):
We just walked in the wrong door. Mm hmm. Wrong doors.
There's a lot of those around here. I would have
left already, but I'm having trouble finding the exit, the
what the way out? How to leave? M whyever would
you want to do that? Please? Miss, I'm just trying
(06:08):
to get home to my house. Can you help me?
Let me think it's been so long since I've left
while we think, care for some tea? Um, no, thank you? No,
oh nonsense, I have a spot where you've got nothing.
(06:30):
What time? We'll just have to find the wrong way out.
But it seems like this goes on forever. Hello, Oh
it's you. Hold on, let me get him. Yeah and
no who Hello? Oh it's you. Yes, he's right here.
(06:58):
Telephone for you. Mh no, we'll staying We for me upstairs.
Maybe there's a window. Why are you there's so many steps.
I can see the top. Why can't we get there? Now?
(07:24):
We can see the bottom? There another hallway or hallways? Great?
Which where do we go? Yeah? You know, at this point,
(07:45):
I don't think it even matters. What was that? I
don't like this? Oh god, oh what's that? Wait? Row roun.
(08:08):
There's no way out. We're trapped in here. No, no,
these no, no, there's no way out. I've got to
block the door. Hey uh yeah, chair, Oh god, please
(08:31):
hold Oh, I've got to blot the door work and
do swing one way to get out of this room? Arrow,
come here, can lap this side of the door, slip
us open and then do run? Okay, ready, how is
(09:04):
this even possible? There must be a hundred doors, fucked fucked,
fucked fucked. Oh where does it end? Oh no, no, no,
no, no no, Errol here the bathroom, Yeah, no, Erro. This
(09:36):
has to end. We're gonna be able to figure this out.
But there just doesn't seem to be any logic to it.
Who on earth designed this house? It's like the architect
lost their mind. Hey, up ahead, I see I see
(09:58):
see outside. It's it's a widow or a skylight. I
don't know however reached up there or through Johnny Good,
This is not the way, Max, Where have you been?
I told you I cannot come with you. There is
(10:22):
no entrance for me, but there is an exit for you.
Then tell me where it is. I've been looking all over,
but this house doesn't make any sense. The question is
not where, Max, it is what. What are you willing
to give? And who? Who? Who are you willing to sacrifice?
(10:48):
I don't know what that means. I don't know what
to believe anymore. Is any of this even real? It
depends on what you mean by real. I mean real
at true true. The things that happened to me in
here would never happen in the real world, only in
a nightmare. Then I would say, no, Max, it is
(11:13):
not really. Don't Why am I trapped? Because in another
less physical way it is all too real, not real
enough for me to break this window, but really enough
for you. Imagine it this way. This house, like you,
(11:35):
is a being. You are in its body, and like
any being, it has a brain. Geraldy. To slay the beast,
you must have a connection to the brain. No, I
can't do that. You promise no more debts. It is
(11:56):
not up to me. It is up to you on
earth designed this house. It's like they started building it
and just gave up. Hey, off ahead, I see I
see the skylight. That's a well, that's a well. I'm
(12:24):
not gonna do it. I'm a you Geraldine, Geraldine? Oh
(12:50):
you again? Did you ever finish your phone? Call? Um? No, listen,
can we just talk about this? Of course? Child? No,
thank you? I nonsense, I have a spot. We've got
nothing but time. Listen. It's simple. Why are you keeping
(13:13):
me here? Keeping you here? Whatever? Do you mean? Looked everywhere,
well everywhere I can find for we out, but everything
just keeps repeating. How did you get here in the
first place? The front door? There you go. No one's
(13:34):
keeping you here. Child, You're trapped. How did you say
you got here? Again? You're not real? What's that? Child?
You're not real? You're not real? Yes, love, you've ridden
my mind. Do throw another log on the fire. You're
(13:55):
not real? What you are? Not real? What the terrible
thing to say? You have no chrome with me, boy,
I'm not the one who brought you here. You brought
this upon yourself. No, you can't lie to me anymore.
I know that none of this is real. I just
need to end it. Put that down. I'm sorry. No, no, Hello,
(14:27):
are you still there? Hello? Hello, Hello, Geraldine, Geraldine, she's gone.
(14:51):
I know it wasn't real. I mean I think it wasn't,
but it sure felt real. Yeah, well we'll see if
that worked. Come on, Arrow, what's that window there before?
(15:15):
Is it really? Yes? Finally, Oh we did it. There
was so much easier than I thought it would be.
It's awful high up. We could look for another way,
but this might be our only chance. Underneath us, there's
(15:36):
a little patio. We can go out onto the roof
and then climb down. It's gonna be tricky for you, Arrow,
but I think we can make it. Let me go
out first and I'll help you. You're gonna have to
jump to me. Okay, here goes nothing. Yeah, errow Errol,
(16:02):
it's okay, it's okay. It's stuck. Calm down, boy, he
calmed down. I'll get you out. You just don't break it, fat, hero, fat,
(16:23):
it's a good talk. That's a good talk. Careful, Max,
do not hurt yourself. That's all. He's trapped. Arrows still
trapped in the house. I know. I am sorry. I
tried to warn you of what it required a sacrifice. No,
(16:43):
I won't leave him here. I can't. That will not work.
Didn't you break it? I cannot bullshit watch this. He
isn't fair. No, it is not errow. I I can't. Okay,
(17:06):
I'm outside, but this is still the house. What do
you mean if this is still part of the house.
Maybe I have another chance, let's hope. So buddy, what
are you thinking? Max? If I told you you would
(17:27):
try to stop me, I do not like the sound
of that, but I have to. That's a well, Yes, Max,
I need to ask you something, anything, and I need
you to follow my instruction exactly. Okay, Max, I will try.
(17:48):
It's time. Do not save me? What? Thirteen Days of
(18:20):
Halloween Devil's Night, starring Carter Rockwood and Clancy Brown. Episode twelve,
The Haunted House. Written by Matthew Riddle, Matt Frederick and
Alexander Williams, Edited by so Sha. Sound designed by Jesse Funk,
featuring the voices of Gina Rikiki and Lauren Vogelbaum. Directed
(18:40):
by Alexander Williams, Script supervision by Nicholas Takoski. Casting by
Sunday Bowling C. S A and Meg Mormon C. S
A Production coordinator Wayna Calderon. Production assistants Zoe Shay and
Amber Ferris. Animal recording by Ben James, closing theme by
Rose Azerti. Loyalty Freak Music dot Com. Recorded at d
(19:03):
G Entertainment in Los Angeles, California. Engineered by Gary Forbes
and Jody Abbott. Additional recording by SoundBite Inc. In Atlanta, Georgia.
Engineered by Chase Nixon, Studio manager Kathy Roberts. Executive producers
Aaron Mankey, Noah Fineberg, Chris Dicky, Matt Frederick and Alexander Williams.
(19:26):
Supervising producers Trevor Young and Josh Than. Producers Jesse Funk
and rema Il Kali. Thirteen Days of Halloween was created
by Matt Frederick and Alexander Williams and is a production
of iHeart three D Audio, Blumhouse Television and Grim and
Mild from Aaron Mackey. Learn more about the show at
Grim and Mild dot com slash thirteen Days and find
(19:49):
more podcasts from iHeart Radio by visiting the iHeart Radio app,
Apple Podcasts, or wherever you listen to your favorite shows.
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