WEBVTT - Chapter 8: Selective Memory

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<v Speaker 1>You were listening to Strawberry Spring, based on a short

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<v Speaker 1>story by Stephen King. See Edwards. You asked to see us.

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<v Speaker 1>Come back later if you're busy, Take a seat, make

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<v Speaker 1>yourself comfortable. I was just about to read the latest

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<v Speaker 1>copy of the New Sharon Times. I thought you might

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<v Speaker 1>care to join me. New Sharon Times, March Night. Henry,

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<v Speaker 1>you you're right here that five girls have all been murdered.

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<v Speaker 1>Gail Kerman, Charlotte Foster, Adele Perkins, Chelsea Spencer, and most recently,

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<v Speaker 1>Hannah Gray. Ages range from eighteen to twenty years old,

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<v Speaker 1>victims of New Sharon's very own Spring Heeled Jack. We

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<v Speaker 1>still have no leads, and the campus of New Sharon

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<v Speaker 1>remains open, a virtual hunting ground for a killer that

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<v Speaker 1>has a blood lust that can't or won't be satiated.

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<v Speaker 1>That last line, it might be my favorite. It's very poetic, Henry.

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<v Speaker 1>I don't know who's doing more damage at this point.

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<v Speaker 1>The two of you were Spring Heeled Jack. Either way,

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<v Speaker 1>it's left me no choice. I'm going to announce that

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<v Speaker 1>spring break will be moved up a week. I just

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<v Speaker 1>don't see any other way but to clear out the campus.

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<v Speaker 1>I need you to put that in tomorrow's paper, and

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<v Speaker 1>do me a favor, try to keep the editorializing to

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<v Speaker 1>a minimum. All I care about is making sure everyone

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<v Speaker 1>gets home safely. Can I quote you on that? Do

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<v Speaker 1>you want to graduate? Not what I was thinking. When

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<v Speaker 1>we are called in, some conversations come to an inevitable conclusion.

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<v Speaker 1>We scattered out at the office like frightened sheep before

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<v Speaker 1>a storm. We were going to be abandoning the campus,

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<v Speaker 1>handing over an empty and haunted legacy to police looking

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<v Speaker 1>for clues, and one dark specter leaving a trail of

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<v Speaker 1>death and sorrow in his wake. I can't believe it's

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<v Speaker 1>only been a few weeks since this all started. It

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<v Speaker 1>does seem like it's been forever since we were in

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<v Speaker 1>the name Spring Neo Jack. I walked with Anne, but

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<v Speaker 1>I felt very much alone. It was hard to believe

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<v Speaker 1>how much could change in such a short period of time.

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<v Speaker 1>Five women were dead, countless lives had been shattered, and

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<v Speaker 1>there was an exponential amount of damage that I wouldn't

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<v Speaker 1>begin to understand for years to come. The word inevitable

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<v Speaker 1>kept echoing in my head. Captain, It's it's me, Yeah,

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<v Speaker 1>I know what can I do for you? You're not

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<v Speaker 1>gonna want to hear this. But with the latest victim, yes,

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<v Speaker 1>that's her. This puts me in a terrible predicament. I

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<v Speaker 1>can close the campus and and hope that's the end

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<v Speaker 1>of the murders, or I or you can give me

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<v Speaker 1>and my man a chance to see this through. I

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<v Speaker 1>don't know if these kids. They have a hard enough

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<v Speaker 1>time getting to classes now worrying about a killer. I

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<v Speaker 1>think we all need a break. I need a break.

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<v Speaker 1>Listen to me. If you let them go home now,

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<v Speaker 1>we may never catch and bring hill Jack. You have

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<v Speaker 1>to give me a little more time. He's one of them.

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<v Speaker 1>I can feel any in my bones. I'm a cop

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<v Speaker 1>and sometimes cases get salt on a hunch, and I

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<v Speaker 1>have that hunch. I will catch him. Come hell or

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<v Speaker 1>I water Earl. You may be right. I can't imagine

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<v Speaker 1>what you're going through. I feel for you, I really

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<v Speaker 1>really do, not for me, But can I be frank

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<v Speaker 1>I I think you can use a break too. We

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<v Speaker 1>need a reset, all of us. If they all go home,

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<v Speaker 1>there will be no one left for him to kill.

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<v Speaker 1>For to catch. My mind is made up. I have

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<v Speaker 1>to go. Look. I am sorry for your loss. Closing

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<v Speaker 1>the campus down. What do you think I think it

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<v Speaker 1>all goes away. It doesn't. It's not possible. What would

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<v Speaker 1>you have them do? Keep everyone on campus? He'll kill again,

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<v Speaker 1>he asked. What makes you so sure he'll kill until

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<v Speaker 1>he gets caught. Isn't that what you would do. That's

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<v Speaker 1>a strange question. I wouldn't kill. We should talk about

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<v Speaker 1>what us. And there is no us. There never was

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<v Speaker 1>and there never will be except there was. Okay, I

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<v Speaker 1>have to go. Let me know if you need help

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<v Speaker 1>with the paper. I turned and walked away. I wanted

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<v Speaker 1>to look back and see if Anne was still there.

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<v Speaker 1>In my mind's eye, she's still standing there, and and

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<v Speaker 1>I split up. She could handle getting the paper together,

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<v Speaker 1>announcing an early spring break. Not much to do there,

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<v Speaker 1>that will take about ten minutes. Right in the headline,

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<v Speaker 1>it's what wasn't being said that made everything so uneasy.

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<v Speaker 1>The wind really picked up that day. The snow flurries

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<v Speaker 1>hit hard. I bundled myself up and decided to stop

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<v Speaker 1>by my apartment to grab some things. It was a

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<v Speaker 1>safe bed that I'd be spending the night at Rachel's.

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<v Speaker 1>New Sharon was old, full of tradition, and in the

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<v Speaker 1>middle of winter, at the beginning of spring. It was

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<v Speaker 1>also full of old power transformers and shifting knob into wiring,

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<v Speaker 1>the kind that had a habit of failing when winter

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<v Speaker 1>went on a bit too long. I remember entering my

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<v Speaker 1>place to a power outage. For a brief moment, I

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<v Speaker 1>wondered if spring heeled Jack had something to do with

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<v Speaker 1>this too. First, the fog now blackout. I tried the

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<v Speaker 1>light switch a couple of times, but no luck. I

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<v Speaker 1>had a flashlight somewhere in the kitchen and a transistor

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<v Speaker 1>radio nearby. I stumbled over a chair trying to find

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<v Speaker 1>the bold. Fortunately for me, the radio took batteries, so

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<v Speaker 1>at least I had something to do to pass the time.

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<v Speaker 1>I turned on the radio, hoping to get a weather update,

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<v Speaker 1>but all I got was static. Maybe the color station

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<v Speaker 1>lost power too. I grabbed the radio, change of clothes,

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<v Speaker 1>a cheap bottle of wine, and headed over to see Rachel.

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<v Speaker 1>It was called out Chris, the kind of air that

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<v Speaker 1>stung your lungs every time you took a breath. I

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<v Speaker 1>thought about each breath I took on the way over.

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<v Speaker 1>I thought about the victims when they walked, when they

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<v Speaker 1>took their glass breath and then before I knew it,

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<v Speaker 1>I found myself standing on Rachel's store step. I had

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<v Speaker 1>no idea how long I've been walking or how I

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<v Speaker 1>got there. That's it, forever did it. It's harder to

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<v Speaker 1>find this place in the dark than you think. Candles

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<v Speaker 1>how romantic. Where's the power out here too? Yes, there

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<v Speaker 1>is nothing more romantic than writing my mid turn paper

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<v Speaker 1>by candle light only one glass. I really have to

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<v Speaker 1>get my side paper done before spar break. Early Trauma

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<v Speaker 1>and Childhood Development a study in coping mechanisms. That's a

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<v Speaker 1>lofty title, it is. But I need you to get

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<v Speaker 1>back to me now and forth from my peaches to

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<v Speaker 1>get out of order. Okay, but only if we finish

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<v Speaker 1>our wine and forget about school for one night. Deal

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<v Speaker 1>One night. Oh h that night that her moment had

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<v Speaker 1>dropped fifteen degrees, I woke up next to Rachel. It

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<v Speaker 1>was cold in her apartment. The old radiator and pipes

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<v Speaker 1>must have frozen. I shivered as I watched the warm

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<v Speaker 1>vapor of my breath dissipated into the moonlight bedroom. I

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<v Speaker 1>couldn't sleep. I don't know what it was, but something

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<v Speaker 1>was in the air. I don't know the thing about Vietnam.

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<v Speaker 1>Why aren't we bringing our boys home? It's not our war.

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<v Speaker 1>Old men are dying. Rachel slept soundly. There was some

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<v Speaker 1>sound coming from the radio. Kevin Hartigan was coming in

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<v Speaker 1>loud and clear, so loud, in fact, I couldn't understand

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<v Speaker 1>how it didn't wake Rachel. I jumped out of it.

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<v Speaker 1>I realized I must have left the goddamn thing on

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<v Speaker 1>when I took it from my apartment. I grabbed it

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<v Speaker 1>off the nightstand. I tried to turn it off. I

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<v Speaker 1>turned it so hard I broke the knob. I didn't

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<v Speaker 1>want to wake Rachel, so I rushed into her living room.

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<v Speaker 1>Kevin was relentless, angry. From what I could make out,

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<v Speaker 1>he was yelling the entire time about everything and anything.

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<v Speaker 1>Five women from murder in Cold Blood, no subspects, a

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<v Speaker 1>sniveling chiller tiding behind his damn in sight the murders

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<v Speaker 1>and spring heeled Jack. He'll catch him sooner or later.

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<v Speaker 1>He'll mess up, won't Henry? What are you talking to me?

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<v Speaker 1>I couldn't tell if I was asleep, awake, or somewhere

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<v Speaker 1>in between, a dream, sleep walking through, just visiting someone

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<v Speaker 1>else's dream. And then when I couldn't take it any longer.

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<v Speaker 1>I turned the radio over and opened the compartment. I

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<v Speaker 1>was about to take out the batteries when I saw,

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<v Speaker 1>under a shaft of moonlight there weren't any batteries in

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<v Speaker 1>the radio. But how I must have been training. I

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<v Speaker 1>had to have been training. There wasn't much else to do,

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<v Speaker 1>and now I was quite away. That's when I saw

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<v Speaker 1>Rachel's folder in the warm red glow of the firelight.

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<v Speaker 1>I opened it. It was like opening Pandora's box. What

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<v Speaker 1>I read couldn't be put back. Subject Henry Denton, aged

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<v Speaker 1>twenty two. He has managed to overcome many struggles, the

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<v Speaker 1>loss of both parents and a sibling. For most subjects,

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<v Speaker 1>one or two personal setbacks would be enough to break

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<v Speaker 1>an ordinary person, but Henry din has created his own

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<v Speaker 1>coping mechanisms to help him continue on a productive path.

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<v Speaker 1>His survival instincts are primeval. Over the last three months,

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<v Speaker 1>the subject has been pretty herring to graduate through college

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<v Speaker 1>with a degree in journalism, he has also been thrust

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<v Speaker 1>into a police investigation by association of his involvement with

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<v Speaker 1>the college newspaper. He chooses to bury himself in his

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<v Speaker 1>work rather than face real world consequences and overcompensates for

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<v Speaker 1>personal relationships with avoidance, sleep deprivation, and mild behavioral issues

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<v Speaker 1>culminating an O c D. Maybe the result of a

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<v Speaker 1>debilitating the head injury suffered during adolescence. Subject is in

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<v Speaker 1>a long term relationship that shows second thoughts regarding the

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<v Speaker 1>future of that relationship, and maybe to hit it by

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<v Speaker 1>a colleague. She thinks I'm having an affair with Anne.

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<v Speaker 1>But you do think of Anne is more than a friend,

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<v Speaker 1>don't you. I don't know, wrong answer, Henry, I said,

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<v Speaker 1>I don't know, But would you be willing to leave Rachel?

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<v Speaker 1>I know, away a clean break? You might say cut time,

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<v Speaker 1>if you know what I mean. No, not Rachel than Anne.

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<v Speaker 1>Perhaps No. Well, you can't have your cake and eat

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<v Speaker 1>it too. That's not how life works. Someone will have

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<v Speaker 1>to suffer. If not Rachel and Anne, then who then who? Henry?

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<v Speaker 1>You You've been suffering your entire life. I didn't have

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<v Speaker 1>the answer. I stared at the bedroom door, closed tight.

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<v Speaker 1>I knew Rachel was fast asleep behind, and I didn't

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<v Speaker 1>know what to make of what I was reading. But

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<v Speaker 1>I decided I couldn't stay and read anymore about me.

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<v Speaker 1>Rachel's breathing was so loud I could hear it from

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<v Speaker 1>the other room, pounding in my skull, aching in my brain.

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<v Speaker 1>The migraine hurt, my vision blurred. I wanted to make

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<v Speaker 1>it stopped, but how could I make the pain? The

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<v Speaker 1>noise I make haven't go away. Henry, who are you

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<v Speaker 1>talking to? Huh? No one? I was reading. Oh my god, Henry,

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<v Speaker 1>you've been analyzing me this entire time. I haven't been

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<v Speaker 1>analyzing you. I've I've been studying you everything. You've overcome,

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<v Speaker 1>the accident, losing your family, the orphanage, all of it.

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<v Speaker 1>And now look at you. You've put yourself through college

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<v Speaker 1>and you're about to start in life. Life is me?

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<v Speaker 1>Are you mad? I don't know what I am. Maybe

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<v Speaker 1>I should read your paper and find out, Henry. I

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<v Speaker 1>need some mayor. But it's freezing out. It's colder in here.

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<v Speaker 1>I stepped outside, hoping some fresh air would help. I

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<v Speaker 1>expected the fog to hit me in the face. Like

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<v Speaker 1>so many other nights in Strawberry spring first began but

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<v Speaker 1>stead the whole northern New England area was belted by

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<v Speaker 1>a shrieking norther that began in sleep and ended in

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<v Speaker 1>the foot of snow. I trudged through the streets, holding

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<v Speaker 1>my arms close to my sides, moving them up and

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<v Speaker 1>down to keep warm. I was under dress, but at

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<v Speaker 1>two in the morning, Couis m'm I didn't want to

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<v Speaker 1>go back to Rachel's fird coat. I'd rather suffer in silence.

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<v Speaker 1>I was so busy to generate the body heat that

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<v Speaker 1>I failed to realize I was walking past all of

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<v Speaker 1>the murders. Dean Edward's voice kept ringing in my ears.

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<v Speaker 1>Con Lung Charlotte Foster two, I didn't Perkins three, Chelsea

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<v Speaker 1>Spencer four in a grave. I passed the first murder

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<v Speaker 1>scene where it all began, the Animal Sciences parking lot.

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<v Speaker 1>I ran through the quad, past the dorms, through the

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<v Speaker 1>narrow pathways of the buildings, until I finally stood and

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<v Speaker 1>stared at Dean Edward's window, where Hannah gras dismembered head

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<v Speaker 1>was found. I saw my reflection staring back at the

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<v Speaker 1>It was like an out of body experience, the kind

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<v Speaker 1>of Ragent talks about. I felt like I was watching

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<v Speaker 1>someone else run across the grounds. I could see, I

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<v Speaker 1>could see what they saw, hear what they heard, but

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<v Speaker 1>it wasn't And then how the body experience, and I

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<v Speaker 1>wasn't sleep walking, It wasn't a dream. It was real.

0:15:19.160 --> 0:15:23.120
<v Speaker 1>The clues added up. The killer had been staring everyone

0:15:23.160 --> 0:15:26.280
<v Speaker 1>in the face the entire time. It wasn't some monster

0:15:26.480 --> 0:15:29.200
<v Speaker 1>from a movie that goes from a book or some

0:15:29.400 --> 0:15:33.400
<v Speaker 1>agent had cursed Spring heel Jack was a man. He

0:15:33.520 --> 0:15:37.240
<v Speaker 1>looked just like you. He lived among us, He killed

0:15:37.360 --> 0:15:40.320
<v Speaker 1>at will. He was no one, and he was everyone

0:15:40.520 --> 0:15:43.440
<v Speaker 1>all at once. And when I found myself standing in

0:15:43.480 --> 0:15:46.760
<v Speaker 1>the middle of campus staring at my reflection in the

0:15:46.800 --> 0:15:51.560
<v Speaker 1>glass of Dean Edward's office window, it was overwhelming. Awoke

0:15:51.680 --> 0:15:55.000
<v Speaker 1>from a never ending Nightmary and eerie glow surrounded me.

0:15:55.080 --> 0:15:58.560
<v Speaker 1>Is snow gathered on my shoulders. The vintage glass panes

0:15:58.640 --> 0:16:02.680
<v Speaker 1>were distorted, and I did recognize the person staring back

0:16:02.720 --> 0:16:05.440
<v Speaker 1>at the I panic. I picked up a rock and

0:16:05.480 --> 0:16:09.320
<v Speaker 1>did what I could to make him disappear. As the

0:16:09.360 --> 0:16:12.640
<v Speaker 1>window shattered into a thousand pieces, the sound woke me.

0:16:12.880 --> 0:16:16.600
<v Speaker 1>My subconscious took over, and as soon as the image

0:16:16.640 --> 0:16:20.280
<v Speaker 1>staring back at me vanished, it put Spring heeled Jack

0:16:20.680 --> 0:16:25.760
<v Speaker 1>to sleep for another eight years until another Strawberry Spring

0:16:26.360 --> 0:16:33.840
<v Speaker 1>came to pass. Who is it, Who's there? I could

0:16:33.880 --> 0:16:37.040
<v Speaker 1>see a shape through the fog. But I can't believe

0:16:37.120 --> 0:16:41.280
<v Speaker 1>my eyes. It can't be not after all this time,

0:16:43.160 --> 0:16:53.600
<v Speaker 1>I missed you, Henry, Dad, you're alive. But that's impossible. Henry, Hey,

0:16:53.720 --> 0:17:05.080
<v Speaker 1>can you hear me? My god, hang out, Henry. We

0:17:05.160 --> 0:17:09.760
<v Speaker 1>don't have time for this. Henry. There is a killer

0:17:09.800 --> 0:17:18.840
<v Speaker 1>on the loose. Get off the past whole. You're running

0:17:18.920 --> 0:17:25.280
<v Speaker 1>out of time where Henry, wake up? Oh my god,

0:17:25.960 --> 0:17:29.800
<v Speaker 1>I remember it was you. You're the reason they died.

0:17:30.359 --> 0:17:32.760
<v Speaker 1>You were chasing us. It's all your fault. You tried

0:17:32.760 --> 0:17:36.520
<v Speaker 1>to kill Mom. You killed them. It's all coming back

0:17:36.520 --> 0:17:39.280
<v Speaker 1>to me now, like a bad dream. Only it wasn't

0:17:39.280 --> 0:17:44.160
<v Speaker 1>a dream. He's here, pure evil, standing right in front

0:17:44.160 --> 0:17:48.720
<v Speaker 1>of me. It's cooled out. Let's not attract attention. Come on,

0:17:48.840 --> 0:17:51.400
<v Speaker 1>let's get in the car. Words warm, and let's talk

0:17:51.440 --> 0:17:55.320
<v Speaker 1>about it. It's been almost fifteen years. For all that time.

0:17:55.480 --> 0:17:59.280
<v Speaker 1>I blamed myself. I thought it was my fault we crashed.

0:18:00.040 --> 0:18:02.879
<v Speaker 1>I didn't see the dear, I didn't warn mom and time.

0:18:03.160 --> 0:18:06.040
<v Speaker 1>I thought it was my fault. But they didn't die

0:18:06.119 --> 0:18:09.040
<v Speaker 1>because of me, did they. They died because of you.

0:18:09.600 --> 0:18:14.560
<v Speaker 1>They died because of you. Are What's what's wrong? Oh?

0:18:14.640 --> 0:18:20.119
<v Speaker 1>My head. It hurts. You've been alive all this time.

0:18:21.200 --> 0:18:26.320
<v Speaker 1>You're alive. You're alive, and they're dead. You were beating her,

0:18:26.720 --> 0:18:30.280
<v Speaker 1>hurting her, causing her pain. I saw it all growing up.

0:18:30.880 --> 0:18:34.960
<v Speaker 1>I learned from you. I saw it all. It was

0:18:35.000 --> 0:18:39.359
<v Speaker 1>a long time ago. I've changed, okay. I've come to

0:18:39.480 --> 0:18:44.160
<v Speaker 1>make peace with you, with my past. I'm not violent anymore.

0:18:44.440 --> 0:19:06.760
<v Speaker 1>Don't call me shun. We can get past that. I shouldki. Yeah, Henry,

0:19:07.560 --> 0:19:11.520
<v Speaker 1>holy shit, Oh my god, can you hear me? What's

0:19:11.520 --> 0:19:21.600
<v Speaker 1>your name? John? I need nay the parking lot immediately.

0:19:21.640 --> 0:19:37.959
<v Speaker 1>A man has been stabbed. He what have you done? Rachel?

0:19:38.440 --> 0:19:44.200
<v Speaker 1>Where are you in here? I'm upstairs. I'm on my way.

0:19:45.920 --> 0:19:51.000
<v Speaker 1>Are you okay? Thank e? There? Here? Are you okay?

0:19:51.680 --> 0:19:54.199
<v Speaker 1>Just bloat on your arms. I cut myself on a

0:19:54.240 --> 0:19:58.920
<v Speaker 1>card door. I'll be fine. Hey, where's your bay? Never mind?

0:19:59.040 --> 0:20:01.920
<v Speaker 1>I see it. Come on, let me help you get downstairs.

0:20:02.600 --> 0:20:06.960
<v Speaker 1>We need hurry. My water broke. Put your arm around me.

0:20:07.119 --> 0:20:11.119
<v Speaker 1>I got you. She looks scared. Why is she looking

0:20:11.160 --> 0:20:14.600
<v Speaker 1>at me like that? Rachel? I set I've got you.

0:20:26.520 --> 0:20:30.800
<v Speaker 1>Stay focused. Just breathe, honey. We're only a few minutes

0:20:30.840 --> 0:20:42.760
<v Speaker 1>from the hospital. Come on, come on, please him to

0:20:42.960 --> 0:20:58.640
<v Speaker 1>be careful. You don't want to come to Henry, Henry

0:20:58.840 --> 0:21:04.439
<v Speaker 1>and wake up. Henry. It's me, Kevin, get up. You

0:21:04.640 --> 0:21:09.800
<v Speaker 1>still have time, my head. What happened? We happened. What

0:21:09.960 --> 0:21:13.880
<v Speaker 1>happened is you and me. I've been trying so hard

0:21:13.920 --> 0:21:18.000
<v Speaker 1>to get to you. Look at her, Rachel doesn't look

0:21:18.040 --> 0:21:20.760
<v Speaker 1>so good. You should just put her out of her misery,

0:21:20.840 --> 0:21:23.560
<v Speaker 1>just like you did with mom. Mom. What are you

0:21:23.600 --> 0:21:28.200
<v Speaker 1>talking about? Who are you? You still don't remember? Don't

0:21:28.240 --> 0:21:32.919
<v Speaker 1>worry about it. It'll come back to you. It's me, Henry,

0:21:32.960 --> 0:21:40.440
<v Speaker 1>It's Kevin. Don't you remember I'm your brother and you

0:21:40.560 --> 0:21:51.560
<v Speaker 1>need to hurry up. We're running out of time. Spencer,

0:21:52.880 --> 0:21:55.760
<v Speaker 1>we g got all your person of interest, Henry Gain

0:21:55.880 --> 0:21:58.520
<v Speaker 1>was in a car accident on Silver Road, white and

0:21:58.560 --> 0:22:04.479
<v Speaker 1>hand roaming aar in general. Got it? Thanks? Are you okay?

0:22:05.359 --> 0:22:08.000
<v Speaker 1>We've got a second victim from the accident of Pilgrim Road.

0:22:08.760 --> 0:22:13.760
<v Speaker 1>Male late twenties to early thirties, head trump, no external bleeding.

0:22:14.600 --> 0:22:19.879
<v Speaker 1>Spousal female has my wife the baby? She's gonna be okay?

0:22:20.000 --> 0:22:25.960
<v Speaker 1>Justin who likes my wife? She's pregnant. We've already got around.

0:22:26.320 --> 0:22:30.080
<v Speaker 1>She's on her way to the hospital. Thank god, can

0:22:30.119 --> 0:22:39.600
<v Speaker 1>you stand up? HENRYA you're okay? Yes, Chief Spencer, Please,

0:22:39.760 --> 0:22:42.720
<v Speaker 1>I need to get to the hospital. Okay, I'll take

0:22:42.760 --> 0:22:45.240
<v Speaker 1>it from here. I went in my car. Would you

0:22:45.240 --> 0:22:52.640
<v Speaker 1>get you to the hospital. Yeah? What happened back there?

0:22:52.800 --> 0:22:56.960
<v Speaker 1>We got in the nexcident. No, Henry, not there at

0:22:57.000 --> 0:23:00.200
<v Speaker 1>the police station. That man, he said he was your mother.

0:23:02.119 --> 0:23:04.800
<v Speaker 1>We have to get to Rachel. How far are we?

0:23:04.800 --> 0:23:09.359
<v Speaker 1>We'll be there soon. Tell me about your father. There's

0:23:09.359 --> 0:23:11.439
<v Speaker 1>nothing to tell. He abandoned us when I was just

0:23:11.520 --> 0:23:14.399
<v Speaker 1>a kid. I thought he died in Korea, but that

0:23:14.520 --> 0:23:17.359
<v Speaker 1>was just lying. This doesn't look like the way to

0:23:17.400 --> 0:23:22.399
<v Speaker 1>the hospital. Henry. Where are we going? Why did you

0:23:22.440 --> 0:23:27.480
<v Speaker 1>have a knife? What a knife? I did? You stabbed

0:23:27.480 --> 0:23:30.880
<v Speaker 1>your father? I don't like this, Henry. We should make

0:23:30.960 --> 0:23:35.880
<v Speaker 1>him stuck and growing up? Were you too close? This

0:23:36.200 --> 0:23:40.680
<v Speaker 1>isn't the way to the hospital. We are not going

0:23:40.840 --> 0:23:50.720
<v Speaker 1>anywhere until you answer some questions today. That man at

0:23:50.720 --> 0:23:55.320
<v Speaker 1>the police station, your father. You didn't just stab him, Henry.

0:23:56.200 --> 0:24:00.000
<v Speaker 1>He sliced his throat from year to year, the only

0:24:00.000 --> 0:24:03.520
<v Speaker 1>anything holding his head in place. Where some tendons you

0:24:03.600 --> 0:24:07.159
<v Speaker 1>look just like a murder victim. A murder victim of

0:24:07.200 --> 0:24:11.359
<v Speaker 1>spring Heeled Jack. What are you saying? What am I saying?

0:24:12.240 --> 0:24:14.760
<v Speaker 1>These are all the files from the spring Hill Jack murders.

0:24:14.800 --> 0:24:16.880
<v Speaker 1>I want you to look at these pictures, Henry. Look

0:24:16.920 --> 0:24:20.520
<v Speaker 1>at them. Do you see anything familiar? Do you? Do you? Henry?

0:24:21.600 --> 0:24:25.520
<v Speaker 1>Make it stop, Henry. It looks like spring Healed Jack

0:24:25.560 --> 0:24:27.439
<v Speaker 1>had his way with him, doesn't it. I want you

0:24:27.480 --> 0:24:30.439
<v Speaker 1>to take a closer look. What do you see? I

0:24:30.520 --> 0:24:33.000
<v Speaker 1>don't have to come closer. I don't have to take

0:24:33.040 --> 0:24:36.000
<v Speaker 1>a book. I already know. But he wants me to

0:24:36.040 --> 0:24:39.600
<v Speaker 1>play a game, so I'll play on your mark. It

0:24:39.640 --> 0:24:43.439
<v Speaker 1>looks like murder scenes. Henry, it looks like murder scenes.

0:24:43.640 --> 0:24:51.560
<v Speaker 1>To get set, actually, Chief Gods, this looks like a

0:24:51.640 --> 0:25:12.600
<v Speaker 1>murder scene. Yeah, m maternity ward, how can I help?

0:25:13.080 --> 0:25:17.359
<v Speaker 1>Excuse me? My wife was brought in earlier. She was

0:25:17.400 --> 0:25:20.960
<v Speaker 1>in labor. What's her name, Rachel Denton. She's in three

0:25:21.040 --> 0:25:27.680
<v Speaker 1>fifteen down the hall to your left. Thank you, she

0:25:27.800 --> 0:25:30.760
<v Speaker 1>made it here in time. I couldn't forgive myself as

0:25:30.800 --> 0:25:34.199
<v Speaker 1>something to happen to No. Oh, thank god, honey, you're okay.

0:25:35.000 --> 0:25:39.760
<v Speaker 1>I was so worried. What do you want to meet

0:25:39.800 --> 0:25:44.560
<v Speaker 1>your daughter? A daughter? I didn't realize we're going to

0:25:44.640 --> 0:25:51.120
<v Speaker 1>have a girl. Yes, yes, I don't. Oh my gosh,

0:25:52.560 --> 0:25:59.520
<v Speaker 1>I can't believe we would be daddy's daddy's little girl.

0:26:00.920 --> 0:26:05.320
<v Speaker 1>The sound of that terrifies me. Everything I hear it

0:26:05.400 --> 0:26:09.119
<v Speaker 1>rings in my ears. The elevator down the hall, the

0:26:09.160 --> 0:26:13.080
<v Speaker 1>wheelchairs rolling across the linoleum floor, the phones at the

0:26:13.160 --> 0:26:20.240
<v Speaker 1>nurses station, the babies crying out for their mothers, the screams.

0:26:20.840 --> 0:26:25.119
<v Speaker 1>I recognize that look, the look of a helpless girl,

0:26:25.840 --> 0:26:29.679
<v Speaker 1>her life in my hands, staring back at me. The

0:26:29.760 --> 0:26:31.680
<v Speaker 1>last thing I want to do is heard our little

0:26:31.720 --> 0:26:38.520
<v Speaker 1>girl and might hope her te tape. She's fine, she's mine.

0:26:39.040 --> 0:26:44.320
<v Speaker 1>You can't have her, She'll always be mine. Do we

0:26:44.400 --> 0:26:48.399
<v Speaker 1>have to do this now? I can see out the window,

0:26:48.840 --> 0:26:53.280
<v Speaker 1>the snow melt running down the gutters. Strawberry spring is back.

0:26:53.760 --> 0:26:55.760
<v Speaker 1>Out of the corner of my eye. I can see

0:26:55.760 --> 0:26:59.480
<v Speaker 1>the headline on rachel side table. This morning's paper says

0:26:59.480 --> 0:27:02.360
<v Speaker 1>a girl was killed on the New Sharon campus near

0:27:02.400 --> 0:27:06.560
<v Speaker 1>the Civil War cannons. She was killed family melting snowbag.

0:27:06.960 --> 0:27:09.360
<v Speaker 1>She was not old. There. I've been thinking about these

0:27:09.359 --> 0:27:12.240
<v Speaker 1>foggy nights and those years ago. My head with an egg,

0:27:12.320 --> 0:27:14.760
<v Speaker 1>and I walked from here and passed all the shadows

0:27:14.760 --> 0:27:22.480
<v Speaker 1>without shape or substance. We have her, Henry. She's hysterical here.

0:27:23.040 --> 0:27:26.800
<v Speaker 1>By the way. Anne was here earlier, Oh she was.

0:27:28.000 --> 0:27:30.760
<v Speaker 1>She said she had to move town. She's going to

0:27:30.880 --> 0:27:34.120
<v Speaker 1>call you later, something about an inevitable conversation too had

0:27:34.160 --> 0:27:39.280
<v Speaker 1>to have and did she lead because she was worried

0:27:39.359 --> 0:27:44.800
<v Speaker 1>something would happened to her? Wonder that events. I have

0:27:44.920 --> 0:27:49.679
<v Speaker 1>no idea. An inevitable conversation sounds like it could mean anything,

0:27:51.040 --> 0:27:54.359
<v Speaker 1>except I don't think it does. It could mean and

0:27:54.600 --> 0:27:57.560
<v Speaker 1>it's going to come from me. It could mean she's

0:27:57.560 --> 0:28:01.000
<v Speaker 1>going to write a story about spring Neo Jack. You

0:28:01.040 --> 0:28:04.399
<v Speaker 1>could mean anything. You couldn't mean. I'm going to have

0:28:04.480 --> 0:28:06.959
<v Speaker 1>to find her and ask her myself. Now it's not

0:28:07.040 --> 0:28:12.480
<v Speaker 1>the time, but last night, where were you? You can't

0:28:12.480 --> 0:28:16.520
<v Speaker 1>disappear on me anymore. I don't want any part of it.

0:28:17.760 --> 0:28:22.280
<v Speaker 1>Rachel is upset. It's not that I don't want to

0:28:22.280 --> 0:28:25.640
<v Speaker 1>tell her. It's that I can't be sure. I would

0:28:25.640 --> 0:28:28.840
<v Speaker 1>never start a go from work. I remember putting my

0:28:28.880 --> 0:28:31.080
<v Speaker 1>headlights on to search my way through the fog, but

0:28:31.200 --> 0:28:35.080
<v Speaker 1>that's all I remen She would call it a blackout

0:28:35.840 --> 0:28:41.880
<v Speaker 1>selective memory. Everything is fine. We don't have to worry

0:28:41.920 --> 0:28:44.840
<v Speaker 1>about anything. Nothing is going to change that. I'm not

0:28:44.920 --> 0:28:49.840
<v Speaker 1>planning on going anywhere ever. You have no idea how

0:28:49.880 --> 0:28:54.600
<v Speaker 1>happy I am to hear you say that. It's just you,

0:28:55.080 --> 0:29:01.360
<v Speaker 1>me and our baby and me, Henry. Don't forget about me.

0:29:02.960 --> 0:29:31.280
<v Speaker 1>I'm not planning on going anywhere. YEH did it? Strawberry

0:29:31.280 --> 0:29:35.880
<v Speaker 1>Spring Executive produced by Lee Metzger, Jared Goodstadt and Philip Alberstadt.

0:29:36.240 --> 0:29:39.680
<v Speaker 1>Written and directed by Lee Metzger, starring Garrett Headland, My

0:29:39.760 --> 0:29:43.960
<v Speaker 1>Love and Amilia Horizon, Gardiola, Sydney Sweeney, Ken Marino, Al

0:29:44.040 --> 0:29:47.959
<v Speaker 1>Madrigal and Breck Bessenger. Audio up in house production by

0:29:48.000 --> 0:29:52.320
<v Speaker 1>Georgiana Lck Franzheim and Laura Ramada, Edited by Carry Caulfield,

0:29:52.440 --> 0:29:56.760
<v Speaker 1>Eric and Jeremiah's Immerman. Sound design and mix by Jeremiah's Immerman.

0:29:57.040 --> 0:30:00.920
<v Speaker 1>Score by Jeff Peters. Original songs in music by Jared Goodstad,

0:30:01.040 --> 0:30:05.160
<v Speaker 1>Kubert and Jesse Siebenberg. Strawberry Spring is published in Stephen

0:30:05.200 --> 0:30:08.360
<v Speaker 1>King's story collection Night Shift, available in paperback and e

0:30:08.480 --> 0:30:11.120
<v Speaker 1>book from Anchor Books, and as an audio book from

0:30:11.160 --> 0:30:15.360
<v Speaker 1>Penguin Random House Audio, original score and soundtrack from Strawberry

0:30:15.360 --> 0:30:19.320
<v Speaker 1>Spring featuring Daddy Longlegs by Yakuza and the Bear, now

0:30:19.360 --> 0:30:22.840
<v Speaker 1>available on the I heart Radio app, Apple Music, Spotify,

0:30:23.080 --> 0:30:26.080
<v Speaker 1>or wherever you stream good music. For the full list

0:30:26.120 --> 0:30:29.080
<v Speaker 1>of production credits, please visit audio up dot com. You

0:30:29.120 --> 0:30:31.520
<v Speaker 1>will find more podcasts from I heart Radio on the

0:30:31.560 --> 0:30:34.800
<v Speaker 1>I heart Radio app, Apple Podcasts, or wherever you listen

0:30:34.880 --> 0:30:43.200
<v Speaker 1>to podcasts. Body