Before we jump into the July episode, a huge shout out to the folks who keep this show going. An enormous thank you to Jamie, Misty, James, Jordan, Mackenzie, Brit, and Maria, nearly eight years in, and we are still an independent show, just the two of us. And your contributions make all the difference in the world, so thank you. There are so many ways you can support this show. Telefriend, give us a rating and leave us a review. TimTim570 writes, I love this podcast, but please put more episodes out. They are all great, plus they can get me through my workday. We hear you TimTim570 and we wish we could make this show faster too. Another way to support this podcast is to tell us your ghost story. Send us your pitch at you can see me in the dark at gmail.com. Alright, let's begin. I'm Melissa Swayze. I'm Nate Rean, and this is you can see me in the dark. You can stood so for 80 years and might stand for 80 more. Within walls continued upright, bricks met neatly, floors were firm and doors were sensibly shut. Silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone. That is the opening paragraph of The Haunting of Hill House by Shirley Jackson. We've never opened the show with a quote before, but it's one that's been on my mind since I heard this month's story. In most of our episodes, people have died or experienced tragedy, and their ghost linger, whether to wrap up unfinished business or perhaps because they don't know that they are dead at all. But I've often wondered about this question, that what if it's not the energy left behind of a once living, breathing human body? What if it's the house itself? Can a house be born bad? Freddie knew that the imposing building housed some of Tennessee's most notorious criminals.

But he wasn't prepared for how moving through the building would put him face to face with something truly evil.

You can see me in the dark presents.

Freddie. I live in Nashville, Tennessee. I've been here 24 years and this story is really important to me because before this I'd never experienced anything. That ever made me question just life you know what you could see what you could touch what you could smell and this was the one thing that changed all of them. I grew up in Lexington, Kentucky. I lived there. I went to University, Kentucky. I graduated two business degrees and during that time, you know, even before that, I really got very inspired and intrigued by film and commercial acting. So I took classes at UK on top of what I was doing for my degrees in theater just to get some understanding and see if it was really something I wanted to pursue I did. So then I went outside of classes and started working with a teacher there, acting teacher there in Lexington. Got more inspired, more driven to be able to continue that pursuit. And one of my friends at that time had moved down to Nashville and she was doing very well and she had worked with the acting coach here as well as had an agent and was booking regularly. And so I said, well, you know, for when I graduate and set up jumping right into jobs, you know, I'd really like to go down and give this a go. And just, you know, experiment further because I was enjoying it very much. So I came down to Nashville and 2001, the end of, tell me, 2001 into 2020, sorry, 20202, and loved it here. You know, Nashville I thought it was always a bigger expression of Lexington. That time Nashville was starting to build as far as having a lot of different film and commercial acting opportunities. Of course all the country music videos and stuff that are filmed here. But then also you have Atlanta, you have Louisiana.

The Tomas are a big hotspot and then you have North Carolina.

That was a very hotspot at the Tom too for regional opportunities that would come up.

And at the time it was fun because that a friend that lived in the National City,

which is right off the Browley Parkway, if you're going west on that.

And every time I passed it, I would see the Tennessee State Prison. And it's such an impressive and imposing site when you see it, even from the road. And I was like, I knew at that time, even before I moved to Nashville, that's where they fell in the last castle. That's where they used exterior shots on the green mile. That's where they used shots from the walk to line was walking. And even I got a shot him out because he's from Lexington. You know Ernest goes to jail with film there folks. So I mean, Jim Varney was from Lexington and so he went on to do all those, you know, films and such. But I always say that because that's a funny one, but a lot of great films were filmed there.

And seeing what was involved in that knowing it was right there, but it was so close,

but it's so far away because it absolutely closed off to public.

And at that time back then, it was closed off to public as well as pretty much anything

unless you had a registration right to be able to film on that property that was approved

by all the government bodies. 2002, like when I was really on a sun run, I was booking one in three auditions, which is crazy because usually one in tennis fantastic, but I was really on a good sun run. And that really got awareness out and more opportunities with the rise because of

that and such. And my agent called me and she was like, yeah, I have something you don't even have

to audition for. It's yours if you want it. It's a public service thing that would be like, it's

called methadeth. It was about methamphetamine, which at the time was rampant because this is before

they'd actually stop allowing a

Fedron, you know, the pseudo- you know, pseudo- a Fedron like pseudo-fed and stuff like that

for being regulated so people would actually take that and use that one of their ingredients to make math and such. So I was like, I don't know. It's like, you know, how long does a shoot, you know, and stuff like that. I wasn't trying to be like, you know, jerk,

but I was just like,

wouldn't know what was involved.

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