Quotations Used in Each Episode: Season One
S1:E1 The Castle of Caine -- "Come Along With Me" by Shirley Jackson: "...most people have never seen a ghost, and never want or expect to, but almost everyone will admit that sometimes they have a sneaking feeling that they just possibly could meet a ghost if they weren't careful - if they were to turn a corner too suddenly, perhaps, or open their eyes too soon when they wake up at night, or go into a dark room without hesitating first."
S1:E2 The Far Side of Darkness -- "Titus Groan" by Mervyn Peake: "This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven. At night the owls made of it an echoing throat; by day it stood voiceless and cast its long shadow.”
S1:E3 A Candle for Candlewick -- "Frankenstein, or The Modern Prometheus" by Mary Shelley:"I do know that for the sympathy of one living being, I would make peace with all. I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other."
S1:E3.5 Flashback: Grace and the Plague Doctors of Paris -- No lead-in quote
S1:E4 Cry Havoc -- "The Fall of the House of Usher" by Edgar Allen Poe: "While the objects around me--while the carvings of the ceilings, the sombre tapestries of the walls, the ebon blackness of the floors, and the phantasmagoric armorial trophies which rattled as I strode, were but matters to which, or to such as which, I had been accustomed from my infancy--while I hesitated not to acknowledge how familiar was all this--I still wondered to find how unfamiliar were the fancies which ordinary images were stirring up."
S1:E5 Strange Places, Strange Faces -- "Phantoms" by Dean Koontz: “There are silences and silences. No one of them is like another. There is the silence of grief in velvet-draped rooms of a plushly carpeted funeral parlor which is far different from the bleak and terrible silence of grief in a widower's lonely bedroom."
S1:E6 Too Many Havens -- "Wise Blood" by Flannery O'Connor: “Later he saw Jesus move from tree to tree in the back of his mind, a wild ragged figure motioning him to turn around and come off into the dark where he might be walking on the water and not know it and then suddenly know it and drown.”
S1:E7 LJ Takes a Ride (Pt. 1) -- Versions of the "Vanishing Hitchhiker" urban legends
S1:E8: LJ Takes a Ride (Pt. 2) -- "The Stand" by Stephen King: [to be transcribed]
S1:E8.5: Fireside Chat With Richard Southard of The Adventurers' Vault Podcast -- No lead-in quote
S1:E9: The Werewolves of Bledson -- "The White Wolf" by Frederick Maryat: "...there are peculiar spots on those mountains which are supposed, and, as my story will prove, truly supposed, to be inhabited by the evil influences: they are well known to the huntsmen, who invariably avoid them. Now, one of these spots, an open space in the pine forests above us, had been pointed out to my father as dangerous on that account. But, whether he disbelieved these wild stories, or whether, in his eager pursuit of the chase, he disregarded them, I know not; certain, however, it is, that he was decoyed by the white wolf to this open space, when the animal appeared to slacken her speed. My father approached, came close up to her, raised his gun to his shoulder, and was about to fire, when the wolf suddenly disappeared. He thought that the snow on the ground must have dazzled his sight, and he let down his gun to look for the beast---but she was gone; how she could have escaped over the clearance, without his seeing her, was beyond his comprehension. Mortified at the ill success of his chase, he was about to retrace his steps, when he heard the distant sound of a horn. Astonishment at such a sound---at such an hour---in such a wilderness, made him forget for the moment his disappointment, and he remained riveted to the spot. In a minute the horn was blown a second time, and at no great distance; my father stood still, and listened: a third time it was blown. I forget the term used to express it, but it was the signal which, my father well knew, implied that the party was lost in the woods. In a few minutes more my father beheld a man on horseback, with a female seated on the crupper, enter the cleared space, and ride up to him. At first, my father called to mind the strange stories which he had heard of the supernatural beings who were said to frequent these mountains; but the nearer approach of the parties satisfied him that they were mortals like himself."
S1:E10: Dark Negotiations -- "The Cycle of the Werewolf" by Stephen King: "Somewhere, high above, the moon shines down, fat and full-but here, in Tarker's Mills, a January blizzard has choked the sky with snow. The wind rams full force down a deserted Center Avenue; the orange town plows have given up long since. Arnie Westrum, flagman on the GS&WM Railroad, has been caught in the small tool-and-signal shack nine miles out of town; with his small, gasoline-powered rail-rider blocked by drifts, he is waiting out the storm there, playing Last Man Out solitaire with a pack of greasy Bicycle cards. Outside the wind rises to a shrill scream. Westrum raises his head uneasily, and then looks back down at his game again. It is only the wind, after all... But the wind doesn't scratch at doors ... and whine to be let in."
S1:E11: Flashback: Lori and the Leviathan -- "The Divine Comedy Part One: Inferno" by Dante Alighieri: "All hope abandon, ye who enter here.” / Such characters, in color dim, I mark’d / Over a portal’s lofty arch inscribed. / Whereat I thus: “Master, these words import / Hard meaning.” He as one prepared replied: / “Here thou must all distrust behind thee leave; / Here be vile fear extinguish’d. We are come / Where I have told thee we shall see the souls / To misery doom’d, who intellectual good / Have lost.” And when his hand he had stretch’d forth / To mine, with pleasant looks, whence I was cheer’d, / Into that secret place he led me on / Here sighs, with lamentations and loud moans, / Resounded through the air pierced by no star, / That e’en I wept at entering."
S1:E12: The Deaths of Chauncey Candlewick -- "Something Wicked This Way Comes" by Ray Bradbury: “Oh God, midnight’s not bad, you wake and go back to sleep, one or two’s not bad, you toss but sleep again. Five or six in the morning, there’s hope, for dawn’s just under the horizon. But three, now, Christ, three A.M.! Doctors say the body’s at low tide then. The soul is out. The blood moves slow. You’re the nearest to dead you’ll ever be save dying. Sleep is a patch of death, but three in the morn, full wide-eyed staring, is living death! You dream with your eyes open. God, if you had strength to rouse up, you’d slaughter your half-dreams with buckshot! But no, you lie pinned to a deep well-bottom that’s burned dry. The moon rolls by to look at you down there, with its idiot face. It’s a long way back to sunset, a far way on to dawn, so you summon all the fool things of your life, the stupid lovely things done with people known so very well who are now so very dead – And wasn’t it true, had he read somewhere, more people in hospitals die at 3 A.M. than at any other time...”
S1:E13: Teeth & Blade & Bone -- Black Lives Matter, LGBTQ+, and Diversity in Podcasting Statement
S1:E14: Uncomfortable Encounters -- "Northanger Abbey" by Jane Austin: "She looked round the room. The window curtains seemed in motion. It could be nothing but the violence of the wind penetrating through the divisions of the shutters; and she stepped boldly forward, carelessly humming a tune, to assure herself of its being so, peeped courageously behind each curtain, saw nothing on either low window seat to scare her, and on placing a hand against the shutter, felt the strongest conviction of the wind's force. A glance at the old chest, as she turned away from this examination, was not without its use; she scorned the causeless fears of an idle fancy, and began with a most happy indifference to prepare herself for bed. "She should take her time; she should not hurry herself; she did not care if she were the last person up in the house. But she would not make up her fire; that would seem cowardly, as if she wished for the protection of light after she were in bed." The fire therefore died away..."
S1:E15: Suspicious Invitations -- "Orphanage in Seward, Alaska" personal recollections by C. Patrick
S1:E16: Too Many Jacobs -- The script of "Us" by Jordan Peele: "Adelaide walks down the stairs, and onto the beach where a few teenagers act wild by a small campfire. / Adelaide passes by the teenagers as she walks towards the water’s edge. / Moments later... / She approaches the shoreline and scans the dark horizon. In the distance, a large cloud erupts in silent lightning. After a breath, she turns back towards the boardwalk. / One attraction faces her on the beach level underneath the boardwalk. It’s called “SHAMAN’S VISION QUEST”, a Native American mystical themed funhouse with an entrance that faces the water. The facade is painted to resemble a forest with colorful images of spirit-animals and a large Shaman who glares, pointing his finger directly at Adelaide. Signs near the arched doorway read “GET LOST” and “FIND YOURSELF.” / Adelaide walks toward the Vision Quest portal. / She drops the candied apple which falls onto the sand. As Adelaide gets near the entrance, a THUP or two of thick rain drops hit the sand. The crowd over at the boardwalk MURMUR. / Adelaide enters just as the rain hits full on. / Adelaide enters The Vision Quest, and goes down a hallway made to feel like a magical walk through a dark forest. / The walls are dressed and painted like woods, with the occasional eerily pleasant deer, rabbits and eagles. A CACOPHONOUS RECORDING OF NATURE SOUNDS plays over hidden speakers. / A cast-plastic owl on a branch pounces out from a dark crevice startling Adelaide with a “HOO HOO”. The owl emits a HISS OF PRESSURIZED AIR and returns to its starting point. / Adelaide calms herself, and continues into the maze. / Adelaide enters a room that’s still forest themed but also covered in mirrors. She walks past several distorted reflections. A short one, a weird one, and a weirder one. / With a RUMBLE OF LIGHTNING the lights go out, and the FOREST NOISE STOPS. What was kinda eerie when lit becomes downright terrifying when dark. / The only light comes from the glowing red exit sign. She walks towards it but hits a mirror. She looks up. The “EXIT” sign appears forwards and backwards, over and over again in infinite reflections. Adelaide reaches her hands out and tries to make her way down the mirrored wall. / She begins whistling “ITSY BITSY SPIDER” again to make her feel at ease, but she stops in near panic when a WHISTLE from the halls overtakes hers. Somebody, somewhere in the mirrored labyrinth is whistling in an attempt to emulate her tune. / Something her size SCURRIES QUICKLY across the hallway. / Adelaide backs up almost against a mirror. She slowly begins to turn 180 degrees to face the mirror behind her, but HER REFLECTION DOESN’T TURN!!!"
S1:E17: That Which Dwells -- "Abarat: Days of Magic, Nights of War" by Clive Barker: “Here is a list of terrible things, / The jaws of sharks, a vultures wings / The rabid bite of the dogs of war, / The voice of one who went before, / But most of all the mirror's gaze, / Which counts us out our numbered days.”
S1:E18: It Sloshes -- "The Strange Case of Dr Jekyll and Mr Hyde" by Robert Louis Stephenson: “The most racking pangs succeeded: a grinding in the bones, deadly nausea, and a horror of the spirit that cannot be exceeded at the hour of birth or death. Then these agonies began swiftly to subside, and I came to myself as if out of a great sickness. There was something strange in my sensations, something indescribably sweet. I felt younger, lighter, happier in body; within I was conscious of a heady recklessness, a current of disordered sensual images running like a millrace in my fancy, a solution of the bonds of obligation, an unknown but innocent freedom of the soul. I knew myself, at the first breath of this new life, to be more wicked, tenfold more wicked, sold a slave to my original evil and the thought, in that moment, braced and delighted me like wine.”
S1:E19: A Price to Pay -- "Coraline" by Neil Gaiman: “On the first day Coraline's family moved in, Miss Spink and Miss Forcible made a point of telling Coraline how dangerous the well was, and they warned her to be sure she kept away from it. So Coraline set off to explore for it, so that she knew where it was, to keep away from it properly.”
S1:E20: The House -- "The Shining" by Stephen King: “Danny? You listen to me. I’m going to talk to you about it this once and never again this same way. There’s some things no six-year-old boy in the world should have to be told, but the way things should be and the way things are hardly ever get together. The world’s a hard place, Danny. It don’t care. It don’t hate you and me, but it don’t love us, either. Terrible things happen in the world, and they’re things no one can explain. Good people die in bad, painful ways and leave the folks that love them all alone. Sometimes it seems like it’s only the bad people who stay healthy and prosper. The world don’t love you, but your momma does and so do I. You’re a good boy. You grieve for your daddy, and when you feel you have to cry over what happened to him, you go into a closet or under your covers and cry until it’s all out of you again. That’s what a good son has to do. But see that you get on. That’s your job in this hard world, to keep your love alive and see that you get on, no matter what. Pull your act together and just go on.”
S1:E21: Book of Revelations -- "Paradise" by Toni Morrison: [To be Transcribed]
S1:E21.5: 10 Candles Halloween Special -- No lead-in quote
S1:E21.75: Fireside Chat With Meg Smith, Author of "The Plague Confessor" -- No lead-in quote
S1:E21.99: Twitch Stream Holiday Horror Spectacular -- TBD