Speaker 1: So here I am at the end of a roller coaster.
Speaker 1: Up the track I go, bringing Meredith back from the dead.
Speaker 1: Down goes the track, meeting David Clark and his mother.
Speaker 1: Up it goes again, catching a demon to use to
Speaker 1: help me bring my parents back, and back down again,
Speaker 1: getting arrested for punching Jamal, or maybe from mutilating David Clark,
Speaker 1: or maybe for killing his mother, or maybe just for
Speaker 1: the whole shebang. But then the roller coaster keeps going down.
Speaker 1: Officer Jenny gets injured protecting me from Crazy Tony. The
Speaker 1: building I hide and burns down. The policeman assigned to
Speaker 1: protect me by Detective Guthrie is murdered. Crazy Tony stabs me.
Speaker 1: I die. At that point, the roller coaster is off
Speaker 1: the rails and digging like a drill toward the Earth's core.
Speaker 1: Only the timely arrival of Meredith and my brother, of
Speaker 1: all people, Guthrie catches Crazy Tony. I survive my stab
Speaker 1: wom The roller coaster is flying back toward the sky.
Speaker 1: And then this I'm sitting on the Lake's bed looking
Speaker 1: at missus Lake's charmallow body. One of her arms and
Speaker 1: several fingers are over in the hallway to their room,
Speaker 1: along with a lot of blood. In the kitchen, mister
Speaker 1: Lake is resting his face in a pool of even
Speaker 1: more blood. Somewhere there's a nasty cake that is probably
Speaker 1: going to get thrown out. Don't look at her, Lily,
Speaker 1: Pasture tells me he's still hanging from the crawl space
Speaker 1: where he got caught in a nail or something. Just
Speaker 1: look at me, but it can't stop looking at missus Lake.
Speaker 1: Her skin is a mix of flaky black and blistered red.
Speaker 1: She was a good person, so is mister Lake. Are
Speaker 1: their souls being swept away to some pleasant place like
Speaker 1: my parents were, or are they currently trapped in these
Speaker 1: bodies like Roger was? Did she suffer? Lily, I know
Speaker 1: what you're gonna say. You're going to say, this isn't
Speaker 1: my fault. That wasn't what I was going to say.
Speaker 1: He's right not to say that. Of course, it is
Speaker 1: my fault. I summoned furfur That right, there is the
Speaker 1: one thing that caused all this. I summoned a demon
Speaker 1: and it killed a whole lot of people. Well, I
Speaker 1: wouldn't have done what I did if you hadn't killed
Speaker 1: my parents. Your parents' deaths were a terrible tragedy, and
Speaker 1: if I had known they were going to die, I
Speaker 1: would have done everything in my power to stop you
Speaker 1: from using Joffiel's judgment. He gives a sigh. I wish
Speaker 1: that I could take back that moment for you, along
Speaker 1: with so many others. But you are the knife, and
Speaker 1: you cut your own path. I watch as a piece
Speaker 1: of missus Lake's skin peels off from a light breeze
Speaker 1: through the open door and flutters like a dead leaf
Speaker 1: in the air. I turn away from it so it
Speaker 1: doesn't float right into my eyes or mouth. Instead, I
Speaker 1: look at pasture hanging from the ceiling hole. You made
Speaker 1: me this way. Pastor looks back at me through his
Speaker 1: plastic eyes. I did, and I have done it a
Speaker 1: thousand times before, and with each new knife, I have
Speaker 1: taken on the responsibility to guide them. But something went
Speaker 1: wrong the last time. When we gave you the choice
Speaker 1: to become the new knife and your soul accepted, we
Speaker 1: changed the word in the smallest way possible, but the
Speaker 1: ramifications of it were beyond what we anticipated. I don't
Speaker 1: know what that means. Ramification sounds like something to do
Speaker 1: with rams and multiplication, you know. Sheep math. Don't tell me.
Speaker 1: Sheep don't know numbers. I've seen a video of a
Speaker 1: horse counting with its hoof, and sheep are much smarter
Speaker 1: than horses because they don't actually let anyone ride them.
Speaker 1: It means that despite only making the slightest change to
Speaker 1: the paths of two individuals, you and Roger, the outcomes
Speaker 1: of a multitude of other lives were affected. For one thing,
Speaker 1: the soul is not so easily cleansed, so Roger retained
Speaker 1: a lot of the struggles and depression he felt as
Speaker 1: the original knife. He remained reclusive, something of an outcast
Speaker 1: from social norms, and he harbored a resentment toward you
Speaker 1: for having the gift he once had. Although he no
Speaker 1: longer remembered having it, it had left marks on his soul,
Speaker 1: as all things do, and somewhere deep down he knew
Speaker 1: what you had once belonged to him, and he resented
Speaker 1: you for it. Okay, okay, So now the question nobody
Speaker 1: asked for why my brother was always mean to me
Speaker 1: has been answered. I wipe my eyes with my sleeve.
Speaker 1: I don't care about having Roger's feelings explain to me.
Speaker 1: Right now now with two corpses, rotting in the house,
Speaker 1: He continues. Other lives changed too, insignificantly for the most part,
Speaker 1: but for at least one, a young, young single father
Speaker 1: studying to become a behavioral therapist. That change, combined with
Speaker 1: the interference from Samuel, led to two totdem bearers coming
Speaker 1: into contact with each other, which ended in tragedy. Felix
Speaker 1: Clay was not meant to be a totem bearer nor
Speaker 1: a mentalist. If Roger had kept the gift, Felix would
Speaker 1: never have Meredith. I whisper, I need to find her.
Speaker 1: Where did furfor hide her? I look around the room.
Speaker 1: Maybe she's in that box in the cross space I
Speaker 1: never opened. She's not in the box, Lily Pasher says
Speaker 1: in a stern tone. I don't know where she is.
Speaker 1: It's actually rather troubling, and I suspect that Furfir has
Speaker 1: hidden her, along with some other magic that is concealing
Speaker 1: her location from us, similar to how he kept us apart.
Speaker 1: I need to find her. I jumped to my feet,
Speaker 1: almost stepping on a piece of missus Lake's severed arm.
Speaker 1: The carpeting squelches under my shoes, wet with blood. No
Speaker 1: passer shouts his voice booms in my head, and I
Speaker 1: sit back down without thinking about it. When he speaks again,
Speaker 1: it's back in his soft tone. We need to deal
Speaker 1: with this with what's been done here, Meredith Patterson, wherever
Speaker 1: she may be, is not in danger. You, on the
Speaker 1: other hand, are sitting in front of the burnt corpse
Speaker 1: of your foster mother, with your foster father's body bleeding
Speaker 1: out at the kitchen table. He doesn't talk sharply at
Speaker 1: me unless things are serious. I know they are, but
Speaker 1: I don't know what to do. What do I do?
Speaker 1: Called Detective Andrew Guthrie. The phone is downstairs in the
Speaker 1: living room. I have to dance around missus Lake's body
Speaker 1: to get out. I don't mean dance like I'm swinging
Speaker 1: my hips to an imagined song over the corpse of
Speaker 1: my foster mother. I just mean that I tiptoe around
Speaker 1: it so I don't get any of her on me.
Speaker 1: I'm halfway down the hall before Pastor calls me back
Speaker 1: and makes me pull him down from the splinter he's
Speaker 1: caught on and bring him with me. We are doing
Speaker 1: this together, he says, nowhere going alone? Okay, okay, I
Speaker 1: hope they let me keep him. When I'm in prison.
Speaker 1: Maybe he can sit with me when I'm in the
Speaker 1: electric chair. You're not going to be sent to the
Speaker 1: electric chair, Pasher assures me. Was I thinking out loud again?
Speaker 1: I ask? I've been having some trouble with that lately.
Speaker 1: He doesn't answer. He just recites a phone number. It's
Speaker 1: not nine one one. We're not calling for the general police.
Speaker 1: We're calling Guthrie specifically. The phone rings twice before someone
Speaker 1: picks up. It's a woman's voice, not Guthrie. Emergency veterinary clinic.
Speaker 1: How can I help you? Emergency vet clinic? Does that
Speaker 1: dial the wrong number?
Speaker 2: Uh?
Speaker 1: Is defective Andrew Guthrie? There? I stutter. There's a pause.
Speaker 1: I'm sorry, Oh, I sorry. I'm looking for a policeman,
Speaker 1: Gumby Gumfrey, Andrew Guthrie. He's a detector, I mean detective.
Speaker 1: He works for the police. I'm calling to speak to him.
Speaker 1: We both go silent for a moment. Is he there? Please?
Speaker 1: Just a moment? I hear her talking to someone else.
Speaker 1: She says Guthrie's name. There's another voice calling Guthrie over
Speaker 1: what sounds like a school PE system. Why do PE
Speaker 1: teachers get their own radio? It's a PA system, Lily.
Speaker 1: Pastor says, p E P A p O P I
Speaker 1: p U whatever. Pe uses every vowel for something. It's
Speaker 1: all so confusing. There's a noise over the phone, someone
Speaker 1: picking it up on the other end. This is Guthrie.
Speaker 1: I hear Guthrie's voice. He sounds annoyed. He always sounds
Speaker 1: annoyed to me. But he sounds annoyed even though he
Speaker 1: doesn't know it's me just yet, which means he's probably
Speaker 1: gonna get even more annoyed when he does. I can't
Speaker 1: blame him. I annoy myself sometimes. Who's calling Detective Guthrie,
Speaker 1: I squeak into the phone. It's Lily. I need your
Speaker 1: health help. Lily, how did you know where? I wait?
Speaker 1: He sighs. Here comes the even more annoyed voice. Let
Speaker 1: me guess, angels right, what is it this time? I'm
Speaker 1: rather busy at the moment. This is why I like Guthrie.
Speaker 1: He gets it. Pastor was right to have me call him.
Speaker 1: He'll know what to do. What do you mean i'll
Speaker 1: know what to do? Guthrie asks. His voice gets even
Speaker 1: more annoyed. We're like at deafcom five annoyance. If I
Speaker 1: get him even more annoyed. He's gonna blow up, but
Speaker 1: I have to do it. I have to really annoy
Speaker 1: him because there are dead people in this house. What happened?
Speaker 2: Now?
Speaker 1: You just got out of the hospital, didn't you. Where
Speaker 1: are you? I look through the doorway where mister Lake
Speaker 1: lies slumped over the table beside a badly made cake.
Speaker 1: There's blood dripping off the edge of the table. I'm
Speaker 1: at the lakes and uh so they're both dead? And
Speaker 1: what the phone makes? My ear drums throb to hold
Speaker 1: it away from my head. I miss the first part
Speaker 1: of what he says next because of it, Thankfully, just
Speaker 1: the first few words are at glass shattering levels. I
Speaker 1: bring the phone back to my ear carefully. Are you safe?
Speaker 1: Is there someone else in the house? Look, I find
Speaker 1: a place to hide. Police will be on their way.
Speaker 1: Don't panic, just hide. I don't want the police here.
Speaker 1: I want Guthrie. What about you? I ask him. He
Speaker 1: turns gruff. Do what I said, Lily, get off the phone.
Speaker 1: Hang up. He hangs up on his end. Well, now
Speaker 1: the police are coming, not Guthrie like I hoped, someone else,
Speaker 1: not Officer Jenny because she's still recovering from her bad
Speaker 1: eye injury. Not Frank, whatever his name was, because he's dead.
Speaker 1: It could be Officer Grant. He's always nice to me.
Speaker 1: He has a big, funny mustache and orange hair, like
Speaker 1: Jamal's friend Greg. Sometimes he gives me a bag of
Speaker 1: pretzels from the vending machine. I hope it's Officer Grant.
Speaker 1: Somewhere deep in my head, I hear whispering. It doesn't
Speaker 1: sound like my thoughts, because I'm having my thoughts right
Speaker 1: now and this is interrupting them. The whispers tell me
Speaker 1: what Guthrie did not. He's at the animal hospital meeting
Speaker 1: with a vet about an examination of the dog beasts
Speaker 1: that they killed the night they found me. That's missus Donovan.
Speaker 1: They've cut her open and looked through her insides. I
Speaker 1: know this because Guthrie didn't tell me. I know this
Speaker 1: because Raziel is inside me telling me instead. Pasher speaks Lily.
Speaker 1: Do as Guthrie said. Let's go up to your bedroom
Speaker 1: and you can lock yourself in there until the authorities arrive.
Speaker 1: In the meantime, we've got to get Raziel out of
Speaker 1: your head. I go up to my bedroom and lock
Speaker 1: myself in. The closet is open and I can see
Speaker 1: the remains of Furfir's egg prisons smashed on the floor
Speaker 1: just outside the tarp I drawn on the floor. The
Speaker 1: egg is all black and green and smells really nasty.
Speaker 1: I shut the closet door to keep the smell inside,
Speaker 1: but it's already out drifting about my bedroom. So I
Speaker 1: open one of the windows and sit beside it and
Speaker 1: take big whiffs of fresh air. Oh, thank you Mother Nature.
Speaker 1: All right, Pasher says, laying on the floor beside me.
Speaker 1: I want you to close your eyes. I close my eyes, okay,
Speaker 1: I hear him say gently. I want you to imagine
Speaker 1: you're back in that movie theater you went to in
Speaker 1: the vale. I'm standing in a forest. The trees are
Speaker 1: all pine trees. They're evenly spaced out, like someone planted
Speaker 1: them there. The ground is mossy and covered with yellow
Speaker 1: and blue flowers. They sway back and forth, even though
Speaker 1: there's no wind in front of me. The ground rises
Speaker 1: steeper and steeper, like it's going up a mountain. There's
Speaker 1: a cave in the side of it. The trees around
Speaker 1: the caves stick out like giant toothpicks, like the forest
Speaker 1: used to be flat there, and the cave grew up
Speaker 1: out of it. Do you see the movie screen? I
Speaker 1: hear pasture. I look down and there's a frog on
Speaker 1: the mossy ground. It's looking up at me with dark eyes.
Speaker 1: Why do frogs have weird pupils? Excuse me, Pasture says,
Speaker 1: from the frog's mouth, what's this about frogs? I can't
Speaker 1: help but giggle at his voice, coming out of a
Speaker 1: little green frog. You're a frog, lily, the frog says sternly.
Speaker 1: You're supposed to be thinking of a movie theater. Well,
Speaker 1: I don't know what to tell you, frog screw, but
Speaker 1: my mind is imagined the woods instead, with a frog
Speaker 1: in a cave. There's a cave. The frog blinks. He
Speaker 1: looks directly at the cave. Surely it sees it. No
Speaker 1: who I'm imagining the frog? Pasture isn't actually seeing what's
Speaker 1: in my head. Go to the cave. I'm already at
Speaker 1: the cave, I say. I do move closer, though it's
Speaker 1: dark inside. As I get closer, though, I see that
Speaker 1: it's not that dark. It's just that someone has built
Speaker 1: a wall just past the entrance, made out of some
Speaker 1: sort of black It's actually kind of shiny. Maybe it's
Speaker 1: volcanic rock. That's what lava turns into. I've always wanted
Speaker 1: to have a piece of volcano rock. I wonder if
Speaker 1: I could break off a chunk of it. Oh wait,
Speaker 1: I'm just imagining it. I keep forgetting. I need you
Speaker 1: to go into the cave. Frogs Ker says. He's still
Speaker 1: right beside me. He's staring off in his space at
Speaker 1: the moment, probably because he's kind of blind. I can't
Speaker 1: believe I imagine Pasture as a blind frog. If anything,
Speaker 1: I think he'd be a frog with a thousand eyes.
Speaker 1: I walk toward the cave, the black rock while looms
Speaker 1: over me. Loom means that it's really tall and makes
Speaker 1: me feel really small. There's also a thing called a loom.
Speaker 1: I saw one once when we went to Plymouth. There
Speaker 1: was a lady using this weird device that makes giant
Speaker 1: cat cradles, and she calls it a loom. I assume
Speaker 1: because it was so big and it made her feel
Speaker 1: small for being In my imagination, everything here is pretty
Speaker 1: clean and clear looking. Usually when I imagine stuff, it's
Speaker 1: kind of vague, like a red stir is an apple,
Speaker 1: or a yellow circle is the sun, or a different
Speaker 1: kind of apple. I thumb into the black wall, I
Speaker 1: actually feel it on my nose and open my eyes.
Speaker 1: I'm still sitting in the corner of the room. The
Speaker 1: feeling on my nose is gone. There is no wall. Well, okay,
Speaker 1: there's four walls, but they aren't the one blocking the
Speaker 1: cave in my imagination. What is it? Pasture asks, why
Speaker 1: did you stop? There's a wall in my head. For
Speaker 1: a firmost to put it there, Raziel has to be
Speaker 1: in that cave. I really hope it doesn't get out
Speaker 1: of that. There's a cave inside my head. All the
Speaker 1: other kids in jail will make fun of me. They'll
Speaker 1: call me a lily empty head or something more clever.
Speaker 1: I can't think of a clever mean name right now,
Speaker 1: probably because there's a cave inside my head where a
Speaker 1: brain should be. Other kids, though they're really good at
Speaker 1: coming up with mean names. You think they spend all
Speaker 1: their off time coming up with insults. The police will
Speaker 1: be here very soon, Pasture tells me. I know, I've
Speaker 1: already heard them coming, yelling at the front door, kicking
Speaker 1: it in. I didn't say anything because I was trying
Speaker 1: to focus. It wasn't until the yelling stopped that I
Speaker 1: realized it hadn't happened yet. I'd almost forgotten what it
Speaker 1: was like to scent something before it actually happened. It's
Speaker 1: really confusing sometimes once they get here, we won't be
Speaker 1: able to do this until you're alone again. That might
Speaker 1: not be for a while, and it's important we get
Speaker 1: Razio out. Can you focus? I shrug at him. You
Speaker 1: know me, I'm all about focus, at least when I'm painting.
Speaker 1: I wish I was painting. I probably shouldn't even think
Speaker 1: about wishes, though, considering that spur furs bread and butter,
Speaker 1: and it hasn't been that long since he got flom
Speaker 1: bayed back to hell. You can never be too careful,
Speaker 1: especially considering lily Passure interrupts. Close your eyes. We returned
Speaker 1: to the cave. In my brain, the black wall still
Speaker 1: fills the entry, and I approach it feel it with
Speaker 1: my hands. I can literally feel the smooth surface on
Speaker 1: my palms, even though I'm sitting here with my hands
Speaker 1: in my lap. I'm pretty sure my legs didn't turn
Speaker 1: into volcanic rock. I'm actually feeling an imaginary thing in
Speaker 1: my head. It's crazy. Pasture is now a deer. He
Speaker 1: looks pretty soft. There's about a dozen eyes covering his head,
Speaker 1: all looking in different directions. I have a weird imagination sometimes,
Speaker 1: all right, he says from the deer's mouth. His many
Speaker 1: eyes blink. Do you remember what you did defer for earlier,
Speaker 1: when you used your hands and cause the cuts to
Speaker 1: open on him? They didn't open on him, they open
Speaker 1: on missus Lake. And yes, I can still see the
Speaker 1: awfulness of it behind my eyelids, which is weird because
Speaker 1: my eyes are closed and I'm already imagining something else.
Speaker 1: How am I doing this? How can I remember seeing
Speaker 1: someone's body get shredded by my hands gesturing at the
Speaker 1: air while also imagining a cave in a wall in
Speaker 1: his weird you'd ask, deer, I remember, I sigh. You
Speaker 1: weren't supposed to learn of that ability until you matured,
Speaker 1: he tells me, while chewing on a piece of bark
Speaker 1: he peeled off of one of the trees sticking out
Speaker 1: of the mountainside. It's extremely dangerous. You tore open the veil.
Speaker 1: You made those gestures, each digit, each finger of your
Speaker 1: hands sliced the veil as fine as a strand of
Speaker 1: your hair, invisible to the naked eye. Aren't all eyes naked.
Speaker 1: Do people dress up their eyes? I guess glasses are
Speaker 1: like eyeball dress up? Now, my mom used to put
Speaker 1: makeup on her eyes. Not the actual eye itself, that
Speaker 1: would hurt, but the lids. Do eyelids count as part
Speaker 1: of the eye? What are you saying? I ask that
Speaker 1: I can cut through reality. Now is not the time
Speaker 1: to get into the logistics. But yes, basically you are
Speaker 1: the knife that cuts the veil after all. But why
Speaker 1: the pas deer leans down, rips up some of the
Speaker 1: moss and starts to chew it instead of the tree
Speaker 1: bark hungry little guy? I guess Later he says, right, now,
Speaker 1: do the same thing, but don't don't actually do it
Speaker 1: in real life because you could end up slicing off
Speaker 1: your own legs or falling through the floor or something.
Speaker 1: Just imagine you're doing it. I hold up my hands.
Speaker 1: They are imaginary hands. Gosh, it's weird saying that I
Speaker 1: hold up my imaginary hands in my imaginary forest and
Speaker 1: spread my fingers apart. Each finger can slice through reality. Huh,
Speaker 1: it's crazy. Why would they give me this? What could
Speaker 1: this possibly do for me? Is it meant to be
Speaker 1: used as a weapon or something else, Lily pas deer says,
Speaker 1: do it. I slice my imaginary fingers at the imaginary
Speaker 1: rock while blocking the imaginary cave entrance. Nothing happened, I
Speaker 1: tell the deer. The deer blinks half its eyes. Try
Speaker 1: pushing on the wall. I reach out with my hands.
Speaker 1: I wonder if I'll have to register them as lethal weapons,
Speaker 1: like this guy in a movie my dad let me
Speaker 1: watch with him. Once. It was called Game of Death.
Speaker 1: They probably would have called it lethal weapons, but I
Speaker 1: think there is already a movie with that name. The
Speaker 1: wall doesn't move at first. I can feel it against
Speaker 1: my hands in real life, But then there's a grinding sound,
Speaker 1: like someone dragging a boulder down the sidewalk, and I
Speaker 1: feel the rock move. A large chunk of it slides
Speaker 1: inward and pops out the other side with a noisy clatter.
Speaker 1: As it does, the rest of the wall rumbles, and
Speaker 1: several other broken pieces shift, some falling down on my
Speaker 1: outstretched arms, others just catching in a nook. And then
Speaker 1: my head explodes in a rainbow of light. Not really physically,
Speaker 1: I'm not dead, obviously, I'm writing this in my journal,
Speaker 1: after all. But there's a whole rainbow of colors that
Speaker 1: come pouring out of the hole in the wall, and
Speaker 1: since my head is right there looking in, it's all
Speaker 1: I can see. There are some shades of colors I
Speaker 1: can't even describe. You want to know if they're like
Speaker 1: green or blue or red, but I'm telling you they
Speaker 1: are indescribable. I open my eyes just as the first
Speaker 1: police officer comes into my room. I see him for
Speaker 1: just a second standing in the doorway, one hand on
Speaker 1: the knob, the other on his gun. He's looking directly
Speaker 1: at me. I'm looking at him, and then the other
Speaker 1: colors pour out of my eyes like the beam of
Speaker 1: a giant flashlight. I can't see anything but all these
Speaker 1: colors red. I see lots of red, not like bloody red,
Speaker 1: but like someone plugged a red light bulb into the
Speaker 1: light fixture and the entire room is bathed in redness.
Speaker 1: The policeman is also red, and I can see an
Speaker 1: outline through his clothes of items on him, like handcuffs
Speaker 1: and some small metal box and a badge on his chest.
Speaker 1: Underneath all that, I can see his skeleton. I see
Speaker 1: every bone in his body. It's overlapping his clothes and
Speaker 1: his handcuffs in his face, which looks absolutely stunned by
Speaker 1: all this. I wonder if he sees my skeleton too.
Speaker 1: And then the light is gone, and the policeman is
Speaker 1: standing there in the doorway, bewildered, I staring forward, one
Speaker 1: hand on the knob, the other on his gun. But
Speaker 1: the gun drops from his hand and clatters to the floor.
Speaker 1: What the f he says, and then he stumbles forward.
Speaker 1: He drops to his knees. Behind him in the hallway
Speaker 1: is another police person. They are looking down toward the
Speaker 1: Lake's bedroom. I suspect they can see missus Lake's charred remain,
Speaker 1: since I forgot to shut the door on my way out.
Speaker 1: They turn when their partner stumbles Kelvin. They say it's
Speaker 1: a lady cop, but I couldn't tell at first because
Speaker 1: her voice is really deep, almost as deep as Guthrie's.
Speaker 1: It must be nice to have a deep, authority sounding voice.
Speaker 1: My voice sounds all squeaky, like a mouse, and nobody
Speaker 1: takes me seriously, probably in part because of it, and
Speaker 1: part because I'm having to tell people about the future,
Speaker 1: which nobody thinks I can see. Cal Are you okay?
Speaker 1: She steps into the room, pointing her gun at me.
Speaker 1: For a moment before lowering it. I thought she might
Speaker 1: shoot me, but my love holds out. I can't see,
Speaker 1: says Officer Calvin. He puts his hand on the floor
Speaker 1: and feels around. Everything is red. I can't see. He
Speaker 1: starts to panic, scrabbling around, clutching the lady officer's pant leg.
Speaker 1: She looks at me with accusing eyes. She thinks I
Speaker 1: did this. I guess technically she's right. What happened? She
Speaker 1: shouts her gun points at me again. What did you do?
Speaker 1: I put my hands up in the air, hoping she
Speaker 1: doesn't think I have a weapon on me, realizing my
Speaker 1: hands are actually weapons. So I guess I do have
Speaker 1: weapons on me. So please, lady cop, don't kill me
Speaker 1: for holding them up. I didn't do anything. I lie
Speaker 1: because I know that if I try to explain the
Speaker 1: whole angel in my brain cave punching a rainbow hole
Speaker 1: out of my eyeballs to her, the next visit to
Speaker 1: my brain cave might beat a pria bullet out of
Speaker 1: my meatball. She grabs her little walkie talkie and presses
Speaker 1: the button in it. Ten forty four. We need assistance,
Speaker 1: officer down. Officer Calvin finds the door frame and pulls
Speaker 1: himself back up to his feet. He stands there holding
Speaker 1: the wall, staring at nothing in particular. His eyes look bloodshot,
Speaker 1: like he didn't get that much sleep last night. I
Speaker 1: didn't catch a good look at them before Raziel shot
Speaker 1: out of my eyes, so it could very well be
Speaker 1: that they were like that to begin with, but I
Speaker 1: kind of doubt it. Suddenly he turns and looks directly
Speaker 1: at me. He doesn't blink his eyes themselves, the colored
Speaker 1: part of his eyes, they're tinged red too. She's lying,
Speaker 1: he says. He doesn't sound scared or rattled at all.
Speaker 1: I wasn't expecting to be accused of lying it. Excuse me.
Speaker 1: He licks his lips and then cocks his head like
Speaker 1: he's listening to a radio. There is no radio. There's
Speaker 1: not even sound coming from over his walkie talkie. An angel,
Speaker 1: he says to nobody in particular. That's what she was freeing,
Speaker 1: an angel. I know. Do you hear that? He turns
Speaker 1: into the direction of his partner. Does he see her? Now?
Speaker 1: What's that voice? I can hear you, Patty, I'm right here,
Speaker 1: cal Officer Patty says. She reaches out and offers him
Speaker 1: her hand. No, he says, I hear your thoughts about stealing.
Speaker 1: You borrowed your sister's car back in high school. Officer
Speaker 1: Patty lowers her gun. Think goodness, what are you talking about?
Speaker 1: She looks at her partner. How do you even know
Speaker 1: about that? He continues his red eyes, looking through her.
Speaker 1: You scratched it trying to park, covered it up with
Speaker 1: paint that didn't match. She noticed, but never knew what happened.
Speaker 1: Why are you thinking about this? I'm not This was unfortunate,
Speaker 1: Passion remarks. Understatement of the year right here, folks. Runner
Speaker 1: up is there's at the hospital telling me you won't
Speaker 1: feel a thing. Talk about liars, lady, I felt everything.
Speaker 1: Where's Raziel? I asked him, without saying the words aloud,
Speaker 1: At least I hope I don't say them aloud. I've
Speaker 1: been having some trouble with that lately. Last thing I
Speaker 1: need is both officers looking at me even more mental?
Speaker 1: Is he inside that Officer Calvin's meetball. Raziel is on
Speaker 1: his way here back to us. Pasher says. The gift
Speaker 1: of knowing is temporary, the blindness, sadly is not. Raziel
Speaker 1: was in corporeal. He had to be in order to
Speaker 1: be in your mind like that. But you're not meant
Speaker 1: to see us in that way. It's why we take
Speaker 1: on physical manifestations when we traverse the veil or your plane.
Speaker 1: I take one of my hands that I'm still holding
Speaker 1: up reaching for the skies they do in Cowboy movies,
Speaker 1: and wave it over my head. Whoosh. Officer Patty frowns
Speaker 1: at me. I put my hand back up. The next
Speaker 1: ten minutes are spent with Officer Calvin telling one secret
Speaker 1: after another. He sits there spouting them out like a
Speaker 1: garden hose someone forgot to turn off. Some of them
Speaker 1: belong to me, like how I almost died in unicorn pajamas.
Speaker 1: Others belong to Officer Patty. Both police people don't know
Speaker 1: what to make of it, and lots of shouting and
Speaker 1: arguing happens as they cope with him suddenly knowing things
Speaker 1: she didn't want anyone to know. Me. On the other hand,
Speaker 1: I don't really care because half the stuff he tells
Speaker 1: she doesn't even believe anyway, and the other half would
Speaker 1: only be embarrassing if someone my age ever found out. Eventually,
Speaker 1: Officer Patty guides her partner to my bed and has
Speaker 1: him sit down while she goes to check the master bedroom,
Speaker 1: where she finds missus Lake and then goes to the
Speaker 1: bathroom in barfs. Officer Calsman tells me she's barfing. I
Speaker 1: guess she didn't want us to know that. Fifteen minutes later,
Speaker 1: emergency ambulance people arrive to treat Officer Calvin. More police
Speaker 1: show up. They start searching the rest of the house.
Speaker 1: They spend a lot of time in the master bedroom.
Speaker 1: Someone comes upstairs with the ladder and goes into the
Speaker 1: crawl space. They come back out with a special box
Speaker 1: that does not have Meredith in it, according to Pasture.
Speaker 1: I see them look inside and then look at each
Speaker 1: other with concern. Officer Calvin starts telling me and the
Speaker 1: ambulance people what's in the box, but Pasture makes me
Speaker 1: cover my ears so I don't hear it. It's not fair.
Speaker 1: I'm eleven years old. I know how babies are made.
Speaker 1: My parents used to have a picture book called How
Speaker 1: Babies Are Made with construction paper, doggies and bees and people.
Speaker 1: But if Pastor says I shouldn't hear what's in the box,
Speaker 1: I'm not going to argue with him about it. I've
Speaker 1: come to accept that he has my best interest in mind.
Speaker 2: Either. Kids. It's me mister Katy Pasta, and I just
Speaker 2: wanted to tell you thank you so much for watching
Speaker 2: Terry's video or for listening to tonight's episode of the podcast.
Speaker 2: It's a brand new year, which means a brand new
Speaker 2: time for content. We're doing our best to bring you
Speaker 2: the newest things.
Speaker 1: I know.
Speaker 2: In twenty twenty four, I had released less videos than
Speaker 2: I ever had any year in the last fourteen years.
Speaker 2: But hey, as things start to piece themselves back together.
Speaker 1: So do I.
Speaker 2: So I will be seeing you guys a bit more
Speaker 2: in this year, I promise you. And as always, I
Speaker 2: want to give a very big thank you to everybody
Speaker 2: who supports me over at Patreon, Patreon dot com slash
Speaker 2: mister Creepypasta. I cannot thank you guys enough. Thank you
Speaker 2: guys so much for being supporters. That goes for everybody
Speaker 2: who is down in the description, as well as Acid System,
Speaker 2: Ball Arms, The Rat, Bake Rattler, Brandon Mendoza, Renda Crow, Brimstone, Pannemonium, Calpuna, Shame,
Speaker 2: Smoker Dealer, Chicago hit Man, Corey Kenshin, Crown Up, five Away, Crisader,
Speaker 2: joke about curse pox, Primark to go to Best thank
Speaker 2: of Polson, I'm taking Kaid, Dianna Kraus, Ellie Hotmeyer and
Speaker 2: chatted Buns est to Bean Jellahalsey, Hayy's nephew, Jimo, Jerry
Speaker 2: Hour Minute, Second Time, Jay Keams, Jennis Pat Jordan, Humble,
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Speaker 2: Sally Man, Tlly Sue, the shop is Brothers. Thank you
Speaker 2: guys so much for being here, thank you for listening,
Speaker 2: thank you for watching, and sweet dreams