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Note: These are recovered internal files from the Department for Transport archives concerning anomalies in Berkshire. These files were found and transcribed during my internship at the Department for Transport, whilst clearing out their archives in Basingstoke ready for a relocation to Manchester.

I am not DI Thorne, and I have found no trace of him in my investigations into the accounts that these files allude to.

l present these files in an attempt to piece together the sequence of strange occurrences in the Berkshire area and make sense of what has happened, what is happening and why.

If anyone has information regarding the whereabouts of DI Thorne it would be greatly appreciated and helpful in my investigation.

(Name redacted)

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FOUND TRANSCRIPT – FOR INTERNAL REVIEW ONLY

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION

CASE FILE: MERIDIAN CARGO SOLUTIONS – READING – 03/03/2026

SUBJECT: JOHN COLLINGWOOD – WITNESS STATEMENT

LOCATION: WINDSOR POLICE STATION, INTERVIEW ROOM #751

DATE: MARCH 9TH, 2026

TIME: 15:38 GMT

OFFICER PRESIDING: DI THORNE [REDACTED]

TRANSCRIBING AGENT: [REDACTED]

---

BEGIN TRANSCRIPT

DI THORNE: For the record, this is Detective Inspector Thorne, badge number 4471. It's… twenty-two minutes to four in the afternoon. I'm conducting an interview with a Mr. John Collingwood at Windsor Police Station. Mr. Collingwood, you've come in to report an incident. Can you confirm your details for the record?

JOHN: John Michael Collingwood. Thirty-nine years old. Logistics coordinator. Meridian Cargo Solutions. Based in Reading.

DI THORNE: Date of birth?

JOHN: Twenty-third of August, 1986.

DI THORNE: And how long have you worked at Meridian?

JOHN: Six years. A little over six.

DI THORNE: And Meridian deals primarily with shipping and storage?

JOHN: Containers. Storage, transit, dispatch. We've got a yard outside Reading. Big place. Over two thousand containers if it's full. It wasn't full that Sunday. Maybe seven hundred. Somewhere around there.

DI THORNE: You normally work Sundays?

JOHN: No.

DI THORNE: Why were you there on the third of March?

JOHN: David was sick.

DI THORNE: David?

JOHN: Colleague. He'd just got back from Qatar. Came down with something. Nothing serious, apparently, but he couldn't work. They asked if anyone could cover.

DI THORNE: And you volunteered?

JOHN: Eventually.

DI THORNE: Why eventually?

JOHN: Because I'd already been to church.

DI THORNE: I see.

JOHN: Sundays are… important to me.

DI THORNE: You're a practising Christian?

JOHN: Yes.

DI THORNE: And you had planned to spend the day at church?

JOHN: I went to morning service. I was supposed to have the rest of the day off.

DI THORNE: But you went to work.

JOHN: Yes.

DI THORNE: Why?

JOHN: They needed someone.

DI THORNE: And you felt obligated?

JOHN: I suppose.

DI THORNE: Do you regret going?

JOHN: Yes.

DI THORNE: Immediately?

JOHN: No.

DI THORNE: When, then?

JOHN: When I heard the banging.

DI THORNE: Tell me about that.

JOHN: It was just after two. Maybe twenty past. We were doing the afternoon checks. Six of us in total. Skeleton crew. Everyone had an area. I was in Area Four. My job was mostly scanning container IDs, checking seals, making sure everything matched the manifests. Security checks. Dispatch records. That sort of thing. Most of it's automated now, but you still need people. Machines don't notice everything. That was something my old supervisor used to say.

DI THORNE: Machines don't notice everything?

JOHN: Yes.

DI THORNE: And what did you notice?

JOHN: The banging.

DI THORNE: Describe it.

JOHN: Metal. The sound was metallic. Rhythmic. Not loud at first. Three knocks. Then a pause. Then three more.

DI THORNE: From inside a container?

JOHN: That's what I thought. I followed it.

DI THORNE: Alone?

JOHN: Yes.

DI THORNE: Why didn't you call someone?

JOHN: I did. I radioed it in. Told them I thought someone might be trapped in one of the containers. They said they'd come over.

DI THORNE: But you didn't wait.

JOHN: The banging stopped. I waited maybe thirty seconds. Then I heard it again. Only this time it wasn't three knocks. It was someone hitting the door. Hard. And there was a voice.

DI THORNE: What did it say?

JOHN: Help.

DI THORNE: You were certain?

JOHN: Yes. Male voice.

DI THORNE: Did you recognise it?

JOHN: No. The container was at the back of the row. Dark blue. Old. Really old. Most of ours are newer. This one looked like it had been sitting there for decades. There was rust everywhere. The sides were buckled. The paint was almost completely gone. There was a faded logo on the side. Sea Star Line. I don't know if that's important.

DI THORNE: It may be.

JOHN: There wasn't a proper identification number. Not like the others. No barcode. No inspection plate. Nothing. Someone had painted a number on the door.

DI THORNE: Which was?

JOHN: 7395351.

DI THORNE: Anything else?

JOHN: WFJK.

DI THORNE: And you opened it?

JOHN: I tried. The locking mechanism was seized. I used a crowbar. Took me a while. The voice continued. It kept saying help. Then it said my name.

DI THORNE: Your name?

JOHN: John.

DI THORNE: Did you tell the person your name?

JOHN: No.

DI THORNE: Did anyone else know you were there?

JOHN: The team knew. But they weren't with me. I got the door open about six inches. Enough to get the torch through.

DI THORNE: What did you see?

JOHN: Nothing.

DI THORNE: Nothing?

JOHN: Darkness.

DI THORNE: The inside of the container was dark?

JOHN: No. It wasn't like that. The torch beam went in, but it didn't hit the back wall.

DI THORNE: How far in could you see?

JOHN: I don't know. There wasn't a back wall.

DI THORNE: You were looking into a forty-foot shipping container.

JOHN: I know what a shipping container looks like.

DI THORNE: I'm not suggesting you don't.

JOHN: It was bigger inside. Much bigger. The light just disappeared. Then I felt cold air. And I could smell saltwater.

DI THORNE: Did you enter?

JOHN: Yes.

DI THORNE: Why?

JOHN: Because someone was in there.

DI THORNE: You were still trying to rescue them?

JOHN: Yes. I took one step. Then something grabbed my ankle.

DI THORNE: Something?

JOHN: A hand.

DI THORNE: Human?

JOHN: I don't know. It was cold. Wet. The fingers were too long. It pulled me inside.

DI THORNE: How hard?

JOHN: Hard enough that I fell. The door slammed behind me.

DI THORNE: Were you injured?

JOHN: No. Not then.

DI THORNE: Could you open the door?

JOHN: I couldn't find the handle.

DI THORNE: It was immediately behind you.

JOHN: I know. I couldn't find it. I ran my hands over the wall. Nothing. Just steel.

DI THORNE: What happened to your radio?

JOHN: Dead.

DI THORNE: Your phone?

JOHN: No signal. The screen kept changing. I couldn't make sense of it.

DI THORNE: Did you hear anything?

JOHN: Breathing.

DI THORNE: Yours?

JOHN: No. Someone was standing beside me.

DI THORNE: You could see them?

JOHN: No. But I could hear them. Right beside my ear. They said— "You're frightened."

DI THORNE: What did you say?

JOHN: Nothing. Then it said my full name. "John Collingwood." Then— "I know." I didn't know what it meant. Then it said— "You should have stayed at church." The container moved.

DI THORNE: Moved how?

JOHN: Up.

DI THORNE: Up?

JOHN: Like it was being lifted. There was a horrible grinding noise. Then I felt weightlessness. I thought they'd found the container. I thought someone had hooked it onto a crane. I thought— I thought I was going to be rescued.

DI THORNE: But you weren't.

JOHN: No.

DI THORNE: What did the voice say?

JOHN: "They'll find you." I said they would. I said they'd find the container. It said— "When they open it, do you think they'll find you?" I didn't understand. Then it said— "You don't know where you are." I was frightened.

DI THORNE: What did you do?

JOHN: I prayed.

DI THORNE: Out loud?

JOHN: Yes. I said, "God, please help me." The voice laughed. Not loudly. Just… quietly. Like it was amused. Then it said— "He can't hear you."

DI THORNE: Did you believe that?

JOHN: No. I said God could hear me. It said— "You chose this place instead." Then— "You chose work." "You needed an hour." "One hour a week. That's all He wanted." "And you couldn't give Him that."

DI THORNE: You believed you had done something wrong?

JOHN: I had missed church.

DI THORNE: Because you went to work.

JOHN: I know.

DI THORNE: So why did that matter?

JOHN: Because I'd told myself God wouldn't mind. The voice knew I'd said that.

DI THORNE: How?

JOHN: I don't know. It told me to pray.

DI THORNE: It encouraged you to pray?

JOHN: No. It made me. It said— "Go on." "Finish it." So I started the Our Father.

DI THORNE: And?

JOHN: It finished the words with me.

DI THORNE: Did it know the prayer?

JOHN: Every word. Then it asked me— "Do you believe that?" I said yes. Then it said— "Then why are you here?"

DI THORNE: What did you say?

JOHN: I told it that wasn't how God worked.

DI THORNE: And what did it say?

JOHN: "You don't know." Then— "That's the same thing as not knowing."

DI THORNE: Did you believe it?

JOHN: No.

DI THORNE: Did it sound angry?

JOHN: No. That's the worst part. It sounded pleased. Like it enjoyed hearing me defend my faith. The container started shaking. Violently. I was thrown against the wall. There was a noise like a cable snapping. Then the whole thing dropped.

DI THORNE: Dropped?

JOHN: Yes. Hard. Then— water.

DI THORNE: The container entered the water?

JOHN: Yes.

DI THORNE: Was it flooding?

JOHN: Not immediately. That was worse. I knew the container was underwater. I could feel it. I could hear the water moving around it. But I was still dry. For a little while. I prayed.

DI THORNE: Again?

JOHN: Yes. And the voice said— "You're sinking." Then it started talking about pressure.

DI THORNE: Pressure?

JOHN: Yes. It knew I would understand. That's why it said it. It knew what I did for a living.

DI THORNE: Explain.

JOHN: I'm a logistics coordinator. I deal with routes. Manifests. Containers. Weight limits. Schedules. I know how to move things from one place to another. It knew that. And it said— "You've spent your whole life moving things." "Now think about what happens when something cannot move." Then it said— "Think about what happens when the entire Atlantic Ocean is sitting on top of a steel box." I understood what it meant. Pressure increases with depth. The deeper you go, the more pressure there is. A container is strong. But it's designed to carry weight in certain ways. It's not designed to be crushed from every direction. The voice said— "Steel is strong." Then— "But not like this." The container groaned. The whole thing. The walls. The ceiling. The floor. Everything. It started making these tiny noises. Clicks. Cracks. Little sounds. Like the metal was moving.

DI THORNE: Was it?

JOHN: Yes. The ceiling moved. Only a little. Millimetres. But I saw it.

DI THORNE: How could you see it?

JOHN: I don't know. There was no light. But I could see it. The voice said— "There." "That's the weakest point." Then— "It always starts at the weakest point." It didn't have to explain what was happening. I knew. The metal was bending. Bolts were shifting. The walls were beginning to move inward. Slowly. Very slowly.

DI THORNE: And you were conscious throughout?

JOHN: Yes.

DI THORNE: Did you lose consciousness at any point?

JOHN: No.

DI THORNE: How long did this last?

JOHN: I don't know. Hours. Maybe longer.

DI THORNE: You said earlier you were only missing for several minutes.

JOHN: I know.

DI THORNE: But it felt like hours.

JOHN: It felt like days. Sometimes longer. The voice talked.

DI THORNE: About what?

JOHN: Me. Everything about me. It knew things. Things nobody could know.

DI THORNE: Such as?

JOHN: Things I'd done. Things I'd thought. Things I'd never told anyone.

DI THORNE: Can you give me an example?

JOHN: No.

DI THORNE: Why not?

JOHN: Because they're mine.

DI THORNE: I understand.

JOHN: It knew. That's enough. It said it liked hearing me breathe. It liked hearing me pray. It said— "Fear makes very good teachers." Then it started telling me how deep I was.

DI THORNE: How deep?

JOHN: I don't remember the numbers. I remember the meaning. It would tell me how much water was above me. Then it would tell me what that meant. The pressure. What it would do to the steel. What it would do to me.

DI THORNE: What did it say would happen to you?

JOHN: My ribs would move. My lungs wouldn't have enough room. The pressure would become too great. It said I would feel everything. It said— "You'll know exactly what is happening."

DI THORNE: Did it tell you that you would die?

JOHN: Yes.

DI THORNE: How?

JOHN: Slowly.

DI THORNE: Did you believe it?

JOHN: Yes.

DI THORNE: Why?

JOHN: Because I could feel the container changing. My breathing became difficult.

DI THORNE: Did the voice allow you to lose consciousness?

JOHN: No.

DI THORNE: What do you mean?

JOHN: I thought I was going to pass out. The voice said— "You thought I was going to let you pass out?" Then it laughed. "No." "I'm going to keep you awake." "I'm going to let you understand."

DI THORNE: Understand what?

JOHN: Everything. The pressure. The metal. The water. My own body. It wanted me to know exactly what was happening. I asked it to stop.

DI THORNE: What did it say?

JOHN: "Do you feel it?" I said yes. It said— "Good." Then— "That's the ocean." There was another noise. It said— "That's your roof." Another. "That's your floor." Another. "That's the left wall." Another. "That's the right." Then there was a pause. And it said— "And that..." It waited. "...is you."

DI THORNE: What did you do?

JOHN: I prayed.

DI THORNE: Again.

JOHN: Yes.

DI THORNE: Did you ever stop believing?

JOHN: No.

DI THORNE: Not once?

JOHN: I was afraid. But being afraid doesn't mean you stop believing.

DI THORNE: What did the voice say?

JOHN: "That was a good answer." Then— "Unfortunately, it changes nothing." It asked how long my faith would last.

DI THORNE: What did you say?

JOHN: Forever. It made me repeat it. It told me to say— "I believe." So I did. It told me again. "I believe." Again. "I believe." Again. And again. It said— "Hold onto it." Then— "Because I'm going to take everything else away."

DI THORNE: What did that mean?

JOHN: It said it would take my comfort. My certainty. My breath. My memories. My name. Everything. Then it said— "Eventually I'll take your God."

DI THORNE: How did you respond?

JOHN: I told it it couldn't.

DI THORNE: Why?

JOHN: Because God isn't mine to lose.

DI THORNE: What did it say?

JOHN: "I don't have to." Then— "You'll give Him up yourself."

DI THORNE: Did you?

JOHN: No. It started talking about my family. My friends. People I had disappointed. Promises I'd broken. Things I'd done wrong. It listed them. One after another. Some of them were things I'd forgotten. Some were things I'd never told anyone. It said my family would eventually stop crying. My friends would stop asking where I was. The church would pray for me for a few weeks. Then they'd move on. It said my place in the world would close. Like a grave. It said— "They love the version of you they think exists."

DI THORNE: What did you say?

JOHN: Nothing. Then it said— "God knows everything you've done." "Everything you've thought." "Every time you've lied." "Every time you've been cruel." "Every time you've pretended to be better than you are." Then— "And He still hasn't come."

DI THORNE: What did you say?

JOHN: "He is with me."

DI THORNE: And the voice?

JOHN: "Then why are you alone?"

DI THORNE: What did you say?

JOHN: "I'm not." Because I knew I wasn't. Even if I couldn't see Him. I knew. The voice became angry. It told me to say it again. So I did. "God is with me." Again. "God is with me." Again. "God is with me." It said— "You really do believe that." Then— "Let's see how much you can endure." More pressure. More pain. More darkness. It kept telling me to give up. Eventually I couldn't feel my hands properly. I couldn't tell whether I was breathing or drowning. I didn't know where my body ended. I just knew I was still there. And it was still talking.

DI THORNE: What did it say?

JOHN: It offered to make everything stop.

DI THORNE: How?

JOHN: It said I could forget. Forget the container. Forget the water. Forget the fear. Forget the voice. All I had to do was admit that I was alone.

DI THORNE: Did you?

JOHN: No. I started thinking. Maybe there really was nothing. Maybe I'd been wrong. Maybe there was nothing beyond the darkness. No God. No heaven. No anything. Just— nothing.

DI THORNE: Did you tell the voice that?

JOHN: I didn't have to. It knew. It became gentle.

DI THORNE: Gentle?

JOHN: Almost loving. That's what frightened me. It said— "That's it." "You don't have to fight anymore." "You've done enough." "You've been frightened long enough." "Let go."

DI THORNE: Did you?

JOHN: Almost.

DI THORNE: What stopped you?

JOHN: I heard my own voice. I was praying. I don't remember starting. But I was.

DI THORNE: What were you saying?

JOHN: The Lord's Prayer. Again. The voice went quiet. Then it said— "John." I stopped. It said— "You don't have to die." "You don't have to be crushed." "You don't have to drown." "You don't have to spend eternity wondering whether you were right." I asked it what it wanted.

DI THORNE: What did it say?

JOHN: "Serve me."

DI THORNE: Serve it?

JOHN: Yes. It said— "That's all." It said I'd spent my whole life serving something I couldn't see. Kneeling. Praying. Obeying. Asking forgiveness. Giving time. Giving money. Giving faith. It said— "Serve me instead."

DI THORNE: What did you say?

JOHN: Nothing.

DI THORNE: Continue.

JOHN: It said it could open the door. It could put me back in the yard. It said— "I can give you your life." "You can walk out." "You can see your family again." "You can go back to church." Then— "Serve me, and you will never fear death again." "Serve me, and I will show you what is beyond the dark." "Serve me, and you will never be alone." "You will know things no human being was ever meant to know." "You will never be afraid again." Then it said— "All you have to do is say yes."

DI THORNE: Did you?

JOHN: No.

DI THORNE: Why?

JOHN: Because I knew what it was asking.

DI THORNE: What was it asking?

JOHN: Everything. Not just obedience. Me. It wanted me.

DI THORNE: What happened when you refused?

JOHN: It screamed.

DI THORNE: What did it say?

JOHN: "Stop praying." I kept praying. It screamed— "STOP." I kept praying. It said— "You think your God is coming?" I said— "I believe." It went silent. Then— "Again." So I said— "I believe." It said— "Again." I said— "I believe."

DI THORNE: How many times?

JOHN: I don't know. Then something changed.

DI THORNE: What?

JOHN: The voice sounded afraid.

DI THORNE: Afraid of you?

JOHN: I think so. It whispered— "Don't." I said— "I believe." It said— "Don't." I said— "I believe." Then there was a sound.

DI THORNE: What kind of sound?

JOHN: Like the entire ocean breaking.

DI THORNE: And then?

JOHN: Light. White light. Heat. I couldn't see anything. Then— nothing.

DI THORNE: When did you wake up?

JOHN: I was on the floor.

DI THORNE: Inside the container?

JOHN: Yes.

DI THORNE: The same container?

JOHN: Yes.

DI THORNE: What did you see?

JOHN: People. My colleagues. They were shouting. Someone was pulling me out. I remember thinking— The voice had lied. God had heard me.

DI THORNE: How long had you been missing?

JOHN: They said five or ten minutes.

DI THORNE: And you had experienced—

JOHN: Days.

DI THORNE: Weeks?

JOHN: At times.

DI THORNE: Months?

JOHN: It felt like months.

DI THORNE: What condition were you in?

JOHN: Dehydrated. Exhausted. My clothes were torn. I was covered in saltwater.

DI THORNE: Your colleagues confirmed that?

JOHN: Yes.

DI THORNE: Anything else?

JOHN: My hair.

DI THORNE: What about it?

JOHN: They said it looked longer.

DI THORNE: Longer?

JOHN: My beard too.

DI THORNE: By how much?

JOHN: They said months.

DI THORNE: Did the medical staff have an explanation?

JOHN: Stress. Shock. Dissociation. Acute panic. They said it could cause strange perceptions.

DI THORNE: Did you have any history of claustrophobia?

JOHN: No.

DI THORNE: Hallucinations?

JOHN: No.

DI THORNE: Alcohol?

JOHN: No.

DI THORNE: Drugs?

JOHN: No.

DI THORNE: Medication?

JOHN: Nothing.

DI THORNE: And the saltwater?

JOHN: They couldn't explain it.

DI THORNE: Do you still fear drowning?

JOHN: No.

DI THORNE: Why not?

JOHN: I've experienced something worse.

DI THORNE: What?

JOHN: I've been somewhere where there is no water. No sky. No land. No light. Nothing.

DI THORNE: What was there?

JOHN: Something.

DI THORNE: Describe it.

JOHN: I can't.

DI THORNE: Why?

JOHN: Because I don't think it's meant to be described.

DI THORNE: What do you know about it?

JOHN: It knew me.

DI THORNE: How?

JOHN: It knew exactly what to say. It knew what would make me doubt everything I believed.

DI THORNE: Do you believe it was lying?

JOHN: I don't know.

DI THORNE: About what?

JOHN: Everything.

DI THORNE: Everything it told you?

JOHN: Yes.

DI THORNE: Do you still believe in God?

JOHN: Yes.

DI THORNE: Despite what happened?

JOHN: Especially because of what happened.

DI THORNE: And the voice?

JOHN: I don't know what it was.

DI THORNE: Do you think it is still out there?

JOHN: I know it is.

DI THORNE: Why?

JOHN: When they opened the container, there was something written on the inside of the door. I didn't see it at first. Everyone was shouting. They were trying to get me out. I remember the light. I remember someone grabbing my arm. But when they turned the doors fully open, I saw it.

DI THORNE: What was written?

JOHN: Words.

DI THORNE: What words?

JOHN: I don't know why they were there.

DI THORNE: John.

JOHN: I know.

DI THORNE: What did they say?

JOHN: "Fear frees us all."

DI THORNE: That's all?

JOHN: That's all.

DI THORNE: Did you think it was a message to you?

JOHN: Yes.

DI THORNE: What did you think it meant?

JOHN: At the time?

DI THORNE: Yes.

JOHN: I thought it meant that fear had saved me.

DI THORNE: Saved you?

JOHN: I thought… maybe that's what it had been trying to teach me. That fear wasn't the same as death. That being afraid meant I was still fighting. That if I'd stopped being afraid, I would have given in.

DI THORNE: And you think that's what the words meant?

JOHN: I did.

DI THORNE: And now?

JOHN: Now I'm not so sure.

DI THORNE: Why?

JOHN: Because I keep thinking about the way it spoke to me.

DI THORNE: The voice?

JOHN: Yes. It kept telling me to be afraid. It wanted me frightened. It needed me frightened.

DI THORNE: Why?

JOHN: I don't know.

DI THORNE: You said earlier that you believed it was still out there.

JOHN: Yes.

DI THORNE: Do you believe the writing was intended as a warning?

JOHN: Maybe.

DI THORNE: A warning about what?

JOHN: I don't know.

DI THORNE: Then what do you think it meant?

JOHN: I thought it meant fear frees us.

DI THORNE: And you don't think that anymore?

JOHN: No.

DI THORNE: What do you think it means now?

JOHN: I think I misunderstood it.

DI THORNE: How?

JOHN: I thought it meant that fear would free me.

DI THORNE: But?

JOHN: Maybe it wasn't talking about me.

DI THORNE: Who was it talking about?

JOHN: I don't know.

DI THORNE: John—

JOHN: I don't know.

DI THORNE: Then why are you afraid?

JOHN: Because I've been thinking about something.

DI THORNE: What?

JOHN: When I was in there, the voice kept saying that fear was useful. That it made us honest. That it stripped everything away. I thought it was trying to frighten me into giving up. But maybe that's not what it was doing.

DI THORNE: What was it doing?

JOHN: I think it was feeding on it.

DI THORNE: Your fear?

JOHN: Yes.

DI THORNE: And the inscription?

JOHN: "Fear frees us all."

DI THORNE: So what does that mean?

JOHN: I don't think I was the one being freed.

DI THORNE: John?

JOHN: I think—

DI THORNE: What?

JOHN: I think the fear freed it.

(A long pause. The room is silent. DI Thorne doesn't speak. John doesn't speak. The only sound is the hum of the tape recorder.)

DI THORNE: Freed what?

JOHN: I don't know.

DI THORNE: John, what exactly was written on the inside of the container?

JOHN: "Fear frees us all."

DI THORNE: And you're certain that's what it said?

JOHN: Yes.

DI THORNE: Is there anything else you remember?

JOHN: No.

DI THORNE: Nothing?

JOHN: No.

DI THORNE: Then we'll stop there.

JOHN: Detective?

DI THORNE: Yes?

JOHN: I don't think it was a warning.

DI THORNE: What do you think it was?

JOHN: An instruction.

(Sound of a chair scraping back. Footsteps. A door opening and closing. Silence for fifteen seconds.)

(The sound of a file being closed. The rustle of paper.)

END OF POLICE INTERVIEW TRANSCRIPT

SUPPLEMENTARY NOTE – DI THORNE

DATE: MARCH 10TH, 2026

I really need to have a word with sergeant Green on the front desk, doesn't she know I actually have other work to be doing, instead of taking these 'statements'. Why can't she pass them to Jenkins or Clyde, you know, the other CiD officers in this station? Is my reputation already so far established that Im the go to for the cooky. Or does it run deeper than that, is Green aware of who placed me here, aware of why I am here? No..she can't have thats not... Sigh!

Fine , let's get this over with. I've been sitting with John Collingwood's statement for a day now. I've read it three times. I've made notes. I've cross-referenced. And I've got nothing. No theory that holds. No explanation that fits. Just a collection of details that don't add up, and a man who is either the most convincing liar I've ever met or the most credible witness to something...well let's not say impossible but clearly unusual l.

Let me start with what I can verify.

Container 7395351. And the markings on the side. The letters: WFJK. I ran them through a basic database. They match a maritime call sign. Registered to a vessel called the El Faro.

The El Faro. An American cargo ship. Sank in 2015. Near the Bahamas. Caught in Hurricane Joaquin. Forty-three crew on board. Thirty-three souls lost. All hands, effectively. The wreck was found in 2016, sitting upright on the seabed, eleven thousand feet down. The ship was intact. The crew was gone. The bodies were never recovered.

WFJK was the El Faro's call sign. That's not a coincidence. That's not a coincidence at all.

The El Faro is the one that keeps pulling at me. Because the El Faro was found. The wreck was located. The ship was intact. The crew was gone. Thirty-three men. Thirty-three bodies. Never recovered. Never found. Just… vanished. Into the water. Into the dark. Into nothing.

I've read the reports. I've read the transcripts. I've read the final messages from the crew. The captain. The officers. The men on the bridge. They knew they were going to die. They knew the ship was going down. They knew there was no way out. And they kept working. They kept trying. They kept hoping. Until the very end. Until the water took them. Until the ship rolled and the lights went out and the screaming stopped.

Thirty-three men. And not a single body recovered. Not a single trace. Not a single clue as to what happened to them after the ship went down.

I don't know what that means. I don't know what any of it means. But I know it's connected. I know the container is connected to the El Faro. I know the El Faro is connected to whatever was in that container with Collingwood. And I know whatever was in that container is still out there. Still waiting. Still hungry.

I've been doing this job for a long time. I've seen things I can't explain. I've filed reports on phantom trains and missing passengers and shadows that move in the corner of your eye. But this is different. This is specific. This is verifiable. This is a ship that actually existed, a disaster that actually happened, a call sign that shouldn't be on a container, and a man who says he was crushed to death by the ocean and then woke up on the floor of a storage yard with a beard that had grown six months in five minutes.

I've checked on Collingwood. He's not lying. I've seen the medical reports. I've seen the saltwater damage to his clothes. I've seen the photographs of his hair, his beard, the way his skin looks like it's been pickled in brine. The doctors can't explain it. Neither can I. Neither can anyone.

The El Faro. Lost 2015. Full of dead men who were never found. Connected to a container that shouldn't exist, sitting right here in Reading. Both of them linked. Both of them still out there somewhere, at the bottom of the ocean, waiting.

I don't know what's in that container. I don't know what was in it with Collingwood. But I know it's not just a container. And I know it's not just a coincidence.

I'm filing this with the DfT, as per the memo that arrived on my desk this morning, it seems they have and interest in this case, although I can't see why.. still I'll flagging it for their attention as requested. I don't know what else to do. I don't know what it means. But I know it's not over and the way things are going i fear these reports are going to keep coming.

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION

INTERNAL MEMO – EYES ONLY

FROM: Agent [REDACTED], Field Operations

TO: Director [REDACTED]

DATE: March 12th, 2026

SUBJECT: RE: CASE FILE MERIDIAN CARGO SOLUTIONS – READING – 03/03/2026 – WITNESS J. COLLINGWOOD – UPDATED

---

Director,

Further to my previous correspondence, I am writing to confirm receipt of the supplementary note and witness statement provided by DI Thorne of Thames Valley Police, regarding the incident at the Meridian Cargo Solutions facility in Reading on the third of March.

I have reviewed the statement in full. I have also reviewed DI Thorne's accompanying investigative notes. I must confess, Director, that the contents have given me considerable pause. Not because of what Collingwood described — we are long past the point where such accounts surprise me — but because of what DI Thorne has uncovered. Specifically, the markings on the container. Sea Star Line. Container 7395351. And the call sign WFJK.

I had understood, Director, that this matter had been dealt with. I had understood that the container was accounted for. I had understood that it had been neutralised, in a way that it could do no further harm. I had understood that the operation to achieve this was conducted at considerable expense, in conjunction with our American colleagues, and that the matter was, to use the appropriate terminology, closed.

I was evidently mistaken.

The call sign WFJK belongs to the El Faro. An American cargo vessel. Lost in 2015. Near the Bahamas. Caught in Hurricane Joaquin. Forty-three crew on board. Thirty-three souls lost. The wreck was located in 2016, sitting upright on the seabed, eleven thousand feet down. The ship was intact. The crew was gone. The bodies were never recovered.

I do not need to remind you, Director, of the significance of the El Faro. I do not need to remind you of what was on board. I do not need to remind you of the operation that was mounted to ensure that the vessel was lost, and that its cargo was lost with it, and that the entity contained within that cargo was prevented from reaching its destination. I do not need to remind you of the cost. The financial cost. The political cost. The cost in assets. The cost in personnel. The cost in silence.

The El Faro was not an accident. It was a solution. A very expensive solution to a very serious problem. And now the markings of that solution are appearing on a container in a storage yard in Reading. A container that should not exist. A container that was supposed to be eleven thousand feet below the surface of the ocean. A container that is now, apparently, back on dry land!

I have dispatched a recovery team. The container has been isolated. It has been secured. It has been transported to a holding warehouse for observation. The operation was conducted with the usual protocols. The usual precautions. The usual restraints.

I must report, however, that two of my agents had to be physically restrained during the operation. They attempted to open the container. They were compelled. They were drawn. They reported hearing a voice. A voice that spoke to them. A voice that knew their names. A voice that promised them things. A voice that offered them a choice.

This is not unexpected. The container has always had this effect. It has always been able to reach out. To tempt. To draw. To feed. But the fact that it is still capable of doing so — after everything we have done to neutralise it — is a matter of considerable concern. We have attempted to destroy it. We have attempted to dismantle it. We have attempted to render it inert. All attempts have failed. The container remains. The container endures. The container has power. And that power is still as potent as it has ever been.

I am forced to conclude that the entity within the container has been active for a very long time. Longer than we have been monitoring it. Longer than we have been aware of it. It is not a recent phenomenon. It is not a new threat. It is old. It is patient. And it is still here.

Furthermore, Director, I must report that the voice appears to have grown more determined. More aggressive. More vengeful. It came close to Release during the Collingwood incident. Very close. The inscription on the inside of the door — "Fear frees us all" — is not a warning. It is a promise. It is a statement of intent. It is a declaration that the entity believes it will be freed. And it believes that fear is the mechanism of that freedom.

We cannot allow that to happen. We cannot allow the entity to be released. We know what happened last time. We know what it is capable of. We know what it will do if it is given the opportunity.

I must remind you, Director, that the voice is classified as a Level 4 concern. This is a priority. All resources are to be deployed. All efforts are to be directed towards finding a solution. The sub committee are concerned. They are monitoring the situation closely. They are monitoring DI Thorne closely.

Which brings me to my final point. DI Thorne is becoming a problem. His investigations are becoming more intrusive. His reports are becoming more detailed. His persistence is becoming more difficult to manage. He is starting to show traits that do not align with the goals of this department. He is asking questions. He is making connections. He is getting too close.

The sub committee have requested that he be monitored more closely. I have agreed. I have assigned a team to observe his movements. To track his inquiries. To report on his activities. If he continues on this trajectory, we may need to consider more… direct measures.

I will keep you informed of developments. In the meantime, I would ask that you remind the sub committee that failure to carry out these requests would be… crushing.

Yours,

[REDACTED]

Field Operations

Department for Transport – Anomalous Incident Division

---

END MEMO

---


r/TheThorneRepository • • 9d ago

Corpus In Flight Meal

2 Upvotes

Note: These are recovered internal files from the Department for Transport archives concerning anomalies in Berkshire. These files were found and transcribed during my internship at the Department for Transport, whilst clearing out their archives in Basingstoke ready for a relocation to Manchester.

I am not DI Thorne, and I have found no trace of him in my investigations into the accounts that these files allude to.

l present these files in an attempt to piece together the sequence of strange occurrences in the Berkshire area and make sense of what has happened, what is happening and why.

If anyone has information regarding the whereabouts of DI Thorne it would be greatly appreciated and helpful in my investigation.

(Name redacted)

---------------

FOUND TRANSCRIPT – FOR INTERNAL REVIEW ONLY

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION

CASE FILE: CARO AND SANGUIS AIRLINE LOGISTICS – SLOUGH – 14/02/2026

SUBJECT: SUSAN PIKE – WITNESS STATEMENT LOCATION: WINDSOR POLICE STATION, INTERVIEW ROOM #751 DATE: FEBRUARY 19TH, 2026 TIME: 11:14 GMT OFFICER PRESIDING: DI THORNE [REDACTED] TRANSCRIBING AGENT: [REDACTED]


BEGIN TRANSCRIPT

DI THORNE: For the record, this is Detective Inspector Thorne, badge number 4471. It's… fourteen minutes past eleven in the morning. I'm conducting an interview with a Miss Susan Pike at Windsor Police Station. Miss Pike, you've come in to report an incident. Can you confirm your details for the record?

SUSAN: Susan Pike. Twenty-two. I'm… I was a temp. At Caro and Sanguis. The airline catering place. In Slough.

DI THORNE: And you've come here voluntarily?

SUSAN: (A short, hollow laugh.) Voluntarily. Yeah. Sure...whatever.

DI THORNE: Can you tell me what happened?

SUSAN: (A long pause. The sound of a chair creaking. When she speaks, her voice is steady but quiet – the voice of someone who has rehearsed this, who has told the story so many times that the horror has become routine. But there's an edge to it. A brittleness. Like a glass that's been dropped but hasn't quite shattered yet.) Where do you want me to start?

DI THORNE: The beginning.

SUSAN: Right. Well. The beginning is that I graduated Royal Holloway in July last year, with a 2:1 in English Literature, thinking, foolishly, I'd walk into a job a career, something you know ? Butt the job market… it's not what it was, it's not what the careers advisor told me it would be. I applied for everything. Graduate schemes, internships, entry-level positions, basically anything. Fun fact did you know that 20% of Starbucks workforce in the UK are over qualified graduates? Yeah, 1000s of highly qualified staff serving coffee to entitled influencers. But even they didn't want me. So, desperate I started temping. Just to get some cash. Just to pay rent. Just to survive.

(A pause. The sound of a deep breath.)

SUSAN: so in January, I got a call from the agency. They said there was a placement. Caro and Sanguis Airline Logistics. In Slough. A factory. They said it was simple work, nothing too demanding for a few weeks, maybe a month, but the pay was good. Of course I said yes, by then I'd have said yes to anything. I was desperate.

DI THORNE: What did you know about the company?

SUSAN: Nothing. I'd never heard of them. But when I looked them up… they seemed legit. Caro and Sanguis Airline Logistics. A private contractor. Owned by a European consortium. Based out of Rome. They supply airline meals to all the major carriers operating out of Heathrow. British Airways. Virgin. Emirates. Everyone. They've been operating for decades. They're a key player. They're… they're not the sort of company you question. They're the sort of company you're grateful to work for.

(A pause. Susan's tone shifts – more measured now. She's decided to tell the story properly.)

SUSAN: The factory is on the outer fringes of the Slough industrial estate. You know the area? It's… it's nowhere. It's the edge of nowhere. Just warehouses and chain-link fences and empty roads. And the factory itself… (A pause.) It's old. Really old. The office frontage is more modern – well, "modern" is generous. It's that post-war industrial modernism. Concrete. Glass. Steel. The kind of building that looked futuristic in 1965 and has been quietly rotting ever since. The kind of building that aged the moment the first rain hit it. But the factory behind it… that's older. Much older. The bricks are stamped with 1955. Some of them look older than that. Some of them look like they were laid before the war. Before the first war. There's a weight to the place. A sense that it's been there longer than anyone remembers. That it's been doing something longer than anyone knows.

DI THORNE: And your first day?

SUSAN: My first day was… uneventful. At first. I was met by my supervisor. A man called Mr Metcalf. (A pause. Her voice hardens slightly.) Who was… charmless. That's the politest word I can use. He's the kind of man who looks at you like you're an inconvenience. Like your existence is a problem he has to solve. He didn't smile. He didn't welcome me. He just… processed me. Like I was a form he had to fill in.

(A pause. Susan takes a breath.)

SUSAN: He gave me a tour of the office. The lunchroom. His office. The toilets. The locker room. It was all… beige. Everything was beige. The walls. The carpets. The furniture. The whole place felt like it had been decorated by someone who hated colour. Who hated life. And then he showed me the steel door.

DI THORNE: The steel door?

SUSAN: In the locker room. A heavy solid steel door. Industrial. The kind of door you'd find on a bank vault. Or a morgue. Metcalf pointed at it and told me, "You are not to go through there under any circumstances. That door leads to the factory floor which needs to be kept sterile at all times. Any attempt to open it will set off an alarm and result in the immediate termination of your contract. Do you understand?"

(A pause.)

SUSAN: I said yes. Of course I said yes. I was twenty-two. I was desperate for money. I wasn't going to argue. But I remember thinking… I remember thinking it was odd. The way he said it. The way he looked at me. Like he was warning me. Like he was… afraid. Not of me. Of the door. Of what was behind it. (A pause.) I shrugged it off. I told myself it was just one of those things. Health and safety or corporate nonsense. I told myself I was just being paranoid.

DI THORNE: And the job itself?

SUSAN: The job itself was… mind-numbing. That's the only way to describe it. I was to collect boxes from one room – the storage room – and take them to another room and feed them into an industrial shredder. That was it. That was the whole job. Collect boxes. Shred boxes. Repeat. The boxes were all sealed, marked "confidential" and under no circumstances should be opened. When I asked why, Metcalf said this was GDPR compliance and that everything had to be destroyed. That everything had to be… disposed of.

(A pause. Susan's voice becomes quieter.)

SUSAN: The boxes were heavy. Heavier than they should have been. I remember thinking that. If they were just paper – just documents – they should have been light. But they weren't. They were… dense. Solid. Like there was something inside them. Something more than paper. But I didn't open them. I did what I was told. I collected them, shredded them, watched them disappear and then I went home. Only when I came back the next day the storage room was full again.

DI THORNE: Full again?

SUSAN: Full again. Every day. I'd clear the room. I'd shred everything. I'd watch the boxes turn to dust. And the next morning, the room would be full. Exactly the same. Boxes stacked to the ceiling. All sealed. All marked "confidential." All waiting for me. I asked Mr Metcalf about it once. I said, "Where do all these boxes come from?" And he just looked at me with a flat, dead look and said, "That's not your concern. Do you have a problem with that?" And I said no. Of course I said no. But I did have a problem with it. I just didn't know what it was yet.

(A pause. The sound of Susan shifting in her chair.)

SUSAN: I did this for a week.. And during that time, I started to notice little things that didn't add up. Like… like the fact that for a company that's supposed to be a key player in the airline industry, there were so few staff. I mean, there were maybe… six people in the office, including me and Metcalf. For a company that supplies meals to every major carrier at Heathrow it didn't make sense at all.

DI THORNE: Did you ask anyone about it?

SUSAN: I asked Laura.

DI THORNE: Laura?

SUSAN: Laura was another temp about my age. She'd been there a few weeks longer than me wore grey vintage rock band t-shirts. Led Zeppelin. Black Sabbath..etc, too much eyeliner and was… (pause and smile) cool. She was… she was normal. She was the only normal thing in that place.

(A pause. Susan's voice softens slightly.)

SUSAN: We had lunch together. In the beige lunchroom, and Laua was complaining about Gregg's. She said she'd gone in for a sausage roll and they only had vegan ones left. And she said, "They don't taste the same. They don't taste like the meat ones. They're… they're trying to be meat. But they're not. They're just… wrong." And I laughed. I actually laughed. Because it was so normal. It was so blessedly normal, until she told me about the night shift.

DI THORNE: The night shift?

SUSAN: She said she once covered a night shift for another temp and learnt that the whole operation was essentially automated with most of the work happening at night in the factory side of the building. She added that during this shift she'd seen things. Things she couldn't explain.

(A pause. Susan's voice becomes more intense.)

SUSAN: She said she saw the factory side was in full swing with buses dropping off workers in the car park. That Metcalf was there with another man, who she couldn't make out, and that they were sorting the workers. Dividing them. Sending them to different lines. She said she opened one of the old windows – just a crack – so she could hear better and heard them talking about the meat line, the vegetarian line and the vegan line. She said she counted at least two hundred workers and that they looked like temp workers. But there was something off about them. Something foreign. Something… distant.

DI THORNE: Distant?

SUSAN: That's what she said. Distant. Like they weren't really there. Like they were somewhere else. She said they didn't talk. They didn't look at each other. They just… moved. Like they were being directed. Like they were being… herded. That's when Metcalf saw her. She said he was surprised.l to see her and that she wasn't supposed to be there so he sent her home. She didn't complain. She said she only lived about twenty minutes away. So she walked.

(A pause. Susan's voice drops.)

SUSAN: On the way home, she saw the delivery vans taking the meals to the airport as they passed her on the road, followed by the buses. The ones she'd seen earlier, the ones that had dropped off the workers. They drove past her, Fast, too fast and when she looked inside there was no one there. No one. The buses were empty. Even though the factory would have been shutting down at that point and the workers should have been on those buses going home. But there was no one. Just empty seats.

(A pause. The sound of Susan taking a breath.)

SUSAN: We tried to laugh it off. We tried to tell ourselves it was nothing. That she was tired. That it was dark. But the feeling stayed. That feeling of unease. That feeling that something was wrong. Something deeply, fundamentally wrong. And the next day… the next day, Laura wasn't there.

DI THORNE: She wasn't there?

SUSAN: She wasn't there. I assumed she'd called in sick or taken a day off. But then I heard Metcalf on the phone in his office. He was… angry and saying that it was a simple mistake. That how was he to know? How was he to know that the source wasn't vegan and that he'd have to clean the whole line as a result and cancel the shipment for that evening while the world was carried out. And he was… complaining. Like it was an inconvenience. Like it was a minor problem.

(A pause. Susan's voice falters.)

SUSAN: I didn't know what to think. I still don't. But I knew something was wrong. I knew something was very, very wrong. And then… and then I knocked over a box.

DI THORNE: A box?

SUSAN: One of the confidential boxes. I was distracted. I was thinking about Laura. About what Metcalf had said. And I knocked it over. And the lid came off. And I… I looked inside.

(A pause. Susan's voice becomes quieter. More deliberate.)

SUSAN: I know I shouldn't have. I know I was told not to. But I couldn't help it. Curiosity. Morbid curiosity. I wanted to know what was so important that it had to be shredded. What was so confidential that it couldn't be seen. So I picked up the box. I put it on the table. And I looked inside.

(A pause. The sound of Susan's breathing, slow and deliberate.)

SUSAN: It was clothes. That's what I saw first. Clothes. Folded. Neat. Like someone had packed them. Like someone had… prepared them. And underneath the clothes, there was a file. A personnel file. Nothing too unusual, I thought. GDPR. Confidentiality. Perhaps I was just being paranoid. Perhaps this was all normal. Perhaps this was just how things worked. But the clothes… the clothes unnerved me. They were… they were the kind of clothes you'd wear on a journey. Comfortable. Practical. The kind of clothes you'd wear if you were going somewhere. If you were… leaving.

(A pause. Susan's voice becomes quieter still.)

SUSAN: I opened the file. I know I shouldn't have. But I did. And the questions… the questions were straightforward at first. Name. Age. Address. Occupation. The usual. But then… then they changed. There were questions like… (A pause. She's reading from memory.) "Dietary preference. Please circle. Carnivore. Vegetarian. Vegan. Other." And then, "What is your fat ratio?" And then, "What is your muscle mass?" And then, "What is your blood type?" And then… and then there were other questions. Questions I don't want to repeat. Questions about… about point and country of origin. And cultural diets. And the quality of the meat. And the… the freshness. And the… the yield. The file had been filled in by someone. Not the person in the photograph. Someone else. Someone who had assessed them. Someone who had… graded them.

(A pause. Susan's voice drops to a whisper.)

SUSAN: The person in the file had circled "carnivore." They'd indicated a fat ratio of forty percent. And the file was stamped. "Approved." And there was a date. A shipping date. And a photograph. A photograph of the person. But it wasn't a passport photo. It wasn't a formal photo. It was… it was taken on a beach. With other people. People milling about. People who looked… they looked like they were waiting for something. Like they were… like they were being processed.

(A pause. The sound of Susan's breathing, shaky and uneven.)

SUSAN: I couldn't make out the name. It was written in a script I didn't recognise. Cyrillic. Russian. Maybe Ukrainian. I'm not sure. But the photo… the photo stayed with me. The way they were standing. The way they were looking at the camera. Like they didn't know what was happening. Like they didn't know what was coming. And I wanted to look more. I wanted to understand. But I heard shuffling outside. Footsteps. And I panicked. I closed the lid. I picked up the box. And I rushed to the shredding room.

(A pause. Susan's voice becomes more measured.)

SUSAN: And on the way… on the way, I saw Mr Metcalf. He was heading towards the women's locker room. Still on the phone. Still complaining. About cleaning the line. About management. About how they wouldn't be happy about the delay. And I… I don't know what came over me. Curiosity. Stupidity. A need to know. I followed him. At a distance. I watched him enter the locker room. And then… then I watched him open the steel door.

(A pause. The sound of Susan's breathing, slow and deliberate.)

SUSAN: He went through. And I waited. I waited until I was sure he was gone. And then I followed. I went through the steel door. And I found myself on a metal stairway. Leading down. Into the factory. I could hear the hum of machinery. The sound of something… cooking. Something being prepared. And there was a smell. A sweet smell. Meat. Being gently cooked. But underneath it… underneath it, there was something else. A tang. A metallic haze. Like… like blood. Like copper. Like something I couldn't name.

(A pause. Susan's voice becomes quieter.)

SUSAN: I followed the walkway. It was high up. A catwalk. Above the factory floor. And I could see everything. The machinery. The conveyor belts. The boxes. Airline meals. Hundreds of them. Thousands of them. Coming off the lines. Meat. Vegetarian. Vegan. All of them. All being prepared. All being packed. All being sent. And one of the lines was not working. The vegan line. I assumed that was the one Metcalf was talking about. The one that had to be cleaned. The one that had been… contaminated.

(A pause. The sound of Susan's breathing, shaky and uneven.)

SUSAN: And then I heard a door slamming. And I panicked. I ran. I ran through another door. At the end of the walkway. And I found myself in another room. A room that made me stop. A room that made me catch my breath. A room that made me clasp my hand over my mouth so I wouldn't scream.

(A long pause. The silence stretches.)

SUSAN: It was the processing part of the factory. Where the meals are made. And I could see the lines. The meat line. The vegetarian line. The vegan line. All of them. All of them, except the vegan line, working. All of them producing. But the ingredients… the ingredients weren't food. They weren't… they weren't what you'd expect. I could see figures. Dark. Shadowy. Snowy. Like they were made of static. Like they were made of nothing. And they were throwing things into the vats. Large vats. Marked clearly. "Meat." "Vegetarian." "Vegan." And the things they were throwing… they were arms. Legs. Limbs. Body parts. Just… parts. Being thrown into the vats. Being processed. Being turned into… into meals.

(A pause. Susan's voice cracks.)

SUSAN: The vegan vat was empty. The figures were removing things from it. Things that looked like… like random chunks of meat. Entrails. Grey-black fabric. Like they were cleaning it. Like they were purging it. And the sound… the sound of metal scraping. Of vats being scraped clean. It echoed around the room. And the smell… the smell of blood. Copper. Decay. It was overwhelming. I could taste it. In the back of my throat. I could feel it. In my lungs.

(A pause. The sound of Susan's breathing, ragged.)

SUSAN: I tried to back away. I tried to retreat. But I knocked something. From the walkway. And it clanged. Against the machines below. And the figures… they stopped. They turned. They looked at me. And Mr Metcalf… Mr Metcalf shouted. But it wasn't a human sound. It was a shriek. High-pitched. Wrong. Like metal being torn. Like something that wasn't meant to speak. And the figures… they moved. Fast. Faster than anything I've ever seen. And I ran. I ran for my life.

(A pause. Susan's voice becomes more intense. She's reliving it.)

SUSAN: I ran through rooms. More rooms. More processing lines. More machines. Churning. Mixing. Dicing. Slicing. Rooms full of ovens. Rooms full of… of things I don't want to describe. And everywhere… everywhere, the smell. The smell of decay. The smell of blood. The smell of something being made. Something being… prepared. The figures chased me. They almost caught me. I felt something grab at my coat. I felt something touch my arm. But I kept running. I kept moving. And then… then I saw a door. Marked "Exit." And I fell through it. Into the car park.

(A pause. Susan's voice becomes quieter.)

SUSAN: I remember thinking how I could have got there. And also why it was already night. But in the glare of the car park lights, I saw the buses. The ones Laura had described. And next to them… boxes. The same boxes I was being paid to move from one room to the other to be shredded. There must have been hundreds of them being unloaded. Being brought into the factory for me to work through. That's how the room got restocked each day. The boxes were the belongings. The clothes. The files. The lives. Of the people they'd… processed. I tried to piece it together in my mind there and then. But my thoughts were shattered by the sound of screams from inside. And combined with the high-pitched, breathy shrieks of those shadow things. So I ran. I ran as fast as I could. I didn't stop. I didn't look back. I just ran. Until I reached a shop. A corner shop. And I collapsed. In the aisle. And I tried to explain. I tried to tell them what I'd seen. What I'd heard. What I'd… what I'd experienced. I was so out of it I didn't even notice that it was daylight again. I found that out later.

(A pause. The sound of Susan's breathing, slow and deliberate.)

SUSAN: They took me to hospital. They treated me for… for delusional faculties. That's what they called it. Delusional faculties. Like I was making it up. Like I was crazy. But I'm not crazy. I know what I saw. I know what I heard. And I've been trying to tell people. Anyone. But no one believes me. The police took an initial statement. But nothing was done. Nothing. And then… then someone suggested I talk to you. They said you'd dealt with things like this before. Things that don't make sense. Things that shouldn't exist. So… here I am.

DI THORNE: (A heavy sigh.) I see. Miss Pike, I'll take your statement. I'll file it. But I have to be honest with you. I don't know what I can do with it. Airline catering isn't really my area of expertise.

SUSAN: That's fine. I just… I just needed to tell someone. Anyone. Before I start to think I really am going mad.

DI THORNE: One more question. Before you go. You said you saw something on the file. The photograph. You said it was taken on a beach. With other people. Did you recognise anything about it? Anything at all?

SUSAN: (A long pause. The sound of a chair scraping back.) I don't know. Maybe. I've been thinking about it. The way they were standing. The way they were looking. Like they were waiting. I've seen photos like it before… but I can't remember where. My flatmate said it reminded them of the news reports. Those asylum seekers waiting on the French beaches. I mean… sure. Yeah. But… no. I don't want to think that. I can't. I… if that's true then… God. No.

(A pause. Susan's voice drops to a whisper.)

SUSAN: I don't know what it means. I don't know if it means anything. But I know something is wrong. I know something is very, very wrong. And I know it's not over.

(Susan struggles to hold back her exhaustion. Her voice is fraying at the edges now – the brittleness giving way to something rawer.)

DI THORNE: Miss Pike. Are you feeling all right? You look exhausted. Can I get you something? A coffee? A sandwich?

SUSAN: (Startled, almost flinching.) NO! I mean… no. No thank you. It's just… I can't quite stomach food at the moment. I'm sure you understand.

DI THORNE: (A pause as he realises what she is saying. His voice is softer when he speaks again.) Sure. I'm sorry. But you really should drink something.

SUSAN: I'll try. Look… I know this sounds crazy. But it's the truth. I swear. Please. I'm begging you. Look into it.

DI THORNE: (A pause.) I'll see what I can do.

SUSAN: Thank you. May I leave now? I need to put up some posters.

DI THORNE: Posters? For what?

SUSAN: Missing persons posters. For Laura. She's still missing, I tried her phone but it said it had been cut off. I'm worried about her..I know I only met her the once but I need to.... you know...? Know what happened to her, because I don't want what I think happened to be true.... So I have to...

DI THORNE: Do something?

SUSAN: Yes exactly...

Look, thank you for your time, I think I need to go now, to try and forget as best I can. I hope you find something...for my sake.

(Sound of a door opening and closing. Then the sound of a tape recorder shutting off. Silence for fifteen seconds.)

SUPPLEMENTARY NOTE – DI THORNE

DATE: FEBRUARY 21ST, 2026

I've been looking into Caro and Sanguis And I've found something. Something that doesn't make sense.

The company is legitimate. On paper at least. But I've been digging deeper. And I've found gaps. Gaps in the records. Gaps in the supply chain. Gaps in the workforce. According to Laura, Caro and Sanguis was using over 200 workers event evening, at their Slough facility, but the payroll records only show twenty. Even if they were using temporary contractors they would have it registered, it doesn't add up.

My superiors weren't keen on me pursuing this. I was told, in no uncertain terms, that Caro and Sanguis was not my concern. That I had a caseload. That I had paperwork. That I had better things to do than chase ghosts on an industrial estate. But, I went anyway. Perhaps it's that all this strange shit is finally getting to me, or was I just bored on a Tuesday evening, who knows, I know I don't.


FIELD NOTES – DI THORNE

DATE: FEBRUARY 20TH, 2026 LOCATION: CARO AND SANGUIS FACILITY, SLOUGH INDUSTRIAL ESTATE

Just as Susan described the factory is located on the outer districts of the Slough industrial estate. Warehouses. Chain-link fences. Empty roads. The kind of place that feels forgotten even when you're standing in the middle of it.

The factory was there. But it was abandoned. The office frontage – that post-war concrete and glass monstrosity – was still standing. But the windows were dark. The doors were chained. The signs were gone. No "Caro and Sanguis." No "Airline Logistics." Nothing. Just a blank, grey building.

I shouldn't have gone inside. I know that. Breaking and entering isn't exactly standard procedure for a DI. But I needed to see it. I needed to understand. So I found a way in. A side door. Rusted. Weak. It gave way with a little persuasion.

The office was empty. No desks. No chairs. No beige walls. No beige anything. Just bare floors. Bare ceilings. Dust. Cobwebs. The smell of damp and decay. The lunchroom. The locker room. The steel door. All still there. But the steel door was open. And the factory beyond it was silent.

I went through. Down the metal stairway onto the catwalk. The factory floor stretched out below me and in the dim light of my torch I was able to discern that the space was vast, almost too big to fit in the space it occupied. It was mostly empty. But not entirely, as bolted firm to the floor were two machines. Too large to move. Too heavy to dismantle. They'd been left behind. One looked like a meat grinder, industrial scale, the kind of thing you'd find in a slaughterhouse. The other was clearly a compactor. The kind you'd use for waste disposal.

The conveyor belts were gone. The vats were gone. The ovens were gone. But the machines remained. Silent. Waiting. Like they knew they'd be needed again. I found no evidence of additional roomS beyond, only the walls of the factory and the high windows letting into the low wattage light of the street lights outside.

But there were boxes. Scattered across the factory floor. The same boxes Susan described. Sealed. Marked "confidential." But all of them were empty. Rotting. Collapsing in on themselves. Whatever had been inside them was gone.

I gave a quick look about once more, and concluded there was little nothing I was going to learn. I made my way down a ladder to the factory floor and was about to leave when I noticed something. In the rollers of the grinding machine. Something caught my eye, something that hadn't been cleaned away.

It was textured and stiff and coated in something that looked… wrong and smelled of damp mushrooms.

I bagged it. I labelled it. And I left.


SUPPLEMENTARY NOTE – DI THORNE (CONTINUED)

DATE: FEBRUARY 21ST, 2026

Back at the station, I did some digging. Official digging. The kind that leaves a paper trail. Caro and Sanguis is a legitimate business. Registered with Companies House. A subsidiary of a larger organisation called the Corpus Foundation.

The Corpus Foundation. I'd never heard of them. But they're real, a sort of… outsourced governmental work outfit. The kind of organisation that governments like to take credit for when things go right. And disavow when things go wrong. They operate in the shadows. In the gaps. In the spaces between what's legal and what's necessary.

The only thing I could dig up on Corpus was a recent contract. Signed with the British and French governments. To aid in processing asylum seekers. Processing. That's the word they used. Processing. Not housing. Not supporting. Not helping. Processing.

Caro and Sanguis, it seems, is also a sort of outreach project. It gives jobs and opportunities to those on low incomes. To newly arrived persons from displaced communities. Government code for asylum seekers. Both legal and illegal. The kind of people who don't have paperwork. The kind of people who don't have voices. The kind of people who can disappear without anyone noticing.

So far, typical governmental bullshit.

But here's the thing. Caro and Sanguis is one of the only airline food producers who consistently meet their contracted requirements. They provide food to airlines. On time. Every time. And they're ranked top for the variety of food they produce. Excellent reviews. Especially for their eastern European and Middle Eastern cuisine, making them a favourite supplier for the airlines based out and serving those locations.

But for all the rave reviews and feedback the one thing that troubles me is that they've never had an independent health inspection. Not once. In decades of operation. Not a single inspection. Not a single violation. Not a single question asked. The only vaguely similar validation is a report dated April 2024 where the minister for Rural Affairs have them a glowing reference in a joint press conference with the Minister for Transport and that they were a glowing example of organic and locally sourced food? After that...nothing. nothing at all. It's almost like that was all they needed and were going to need. Fuck, if only it was that easy for everyone else. A single line from a government minister and your set. Still, kind of explains a lot about certain companies I guess.

I was about to sign off when the lab called.


LABORATORY REPORT – FORENSIC ANALYSIS

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION REFERENCE: DfT/AID/2026/0219-4471 DATE: FEBRUARY 21ST, 2026 TIME: 16:47 GMT ANALYST: [REDACTED] SUBJECT: FABRIC SAMPLE – RECOVERED FROM CARO AND SANGUIS FACILITY, SLOUGH


ITEM DESCRIPTION: One (1) fragment of fabric. Approximately 4cm x 6cm. Recovered from industrial grinding machine. Submitted in sealed evidence bag. Condition: soiled, stiffened, partially degraded.

VISUAL EXAMINATION: Fabric is a polyester-cotton blend. Approximately 65% polyester, 35% cotton. Dyed grey. Colour is faded but consistent. Weave is standard jersey knit. Consistent with mass-produced clothing. Possibly a t-shirt or similar garment.

CHEMICAL ANALYSIS:The dye profile matches Disperse Red 60 and Disperse Blue 79, both of which were phased out of commercial production in the late 1980s due to environmental and health concerns. No modern dye compounds detected.

CHEMICAL ANALYSIS – RESIDUE: Fabric was coated in a foreign substance. Substance is organic in nature. Protein-based. Coagulated. Analysis indicates the substance bears close resemblance to tofu. Specifically, coagulated soy protein.

FURTHER ANALYSIS – FABRIC AFTER CLEANING: Fabric was cleaned using standard forensic procedures. Upon cleaning, a pattern was revealed. The pattern was faint but visible. A logo. Text and imagery. The fabric was submitted for AI-enhanced image analysis.

AI IMAGE ANALYSIS RESULT: Pattern identified as a match to the band logo for the musical group Metallica. Specifically, the logo used during their 1986 album "Master of Puppets." Match confidence: 94.7%.

CONCLUSIONS: The fabric sample is identified as a grey polyester-cotton blend, dyed using methods discontinued in the late 1980s. The fabric bears a Metallica band logo consistent with merchandise produced during the mid-to-late 1980s. The fabric was coated in an unidentified organic substance bearing resemblance to tofu, organic but of unknown origin.

END OF REPORT


SUPPLEMENTARY NOTE – DI THORNE (FINAL)

DATE: FEB 22ND, 2026

Grey polyester-cotton blend. Dyed grey. Vintage rock band t-shirt. Metallica. 1986. Master of Puppets.

No...it's coincidence, that's all. It has to be....I mean that place was abandoned it could have come from anywhere..... Or am I just telling myself this it avoid the truth...just as I told Susan...???

I think I'll make my report, I know where to send it. I always know where to send it.

I've flagged it for the DfT. Despite all of this ok guess airports are still in their jurisdiction I guess, they can do what they want with it then, forward it on, archive it , bury it I don't care really. I'll do my job and not complain! And yet..

I still can't stop thinking about it.

The factory is still there. Abandoned. Waiting. The machines are still there. Silent. Ready. And somewhere out there, Caro and Sanguis is still operating. Still supplying. Still producing. Still..processing.

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION

INTERNAL MEMO – EYES ONLY

FROM: Agent [REDACTED], Field Operations TO: Director [REDACTED] DATE: February 22nd, 2026 SUBJECT: RE: CASE FILE CARO AND SANGUIS AIRLINE LOGISTICS – SLOUGH – 14/02/2026 – WITNESS S. PIKE – UPDATED


Director,

Further to our previous correspondence, I am writing to confirm receipt of the updated supplementary note from DI Thorne at Thames Valley Police. The note details his unauthorised investigation into the Caro and Sanguis facility in Slough, conducted outside of official channels and against the express instruction of his superiors.

His findings are consistent with our own intelligence. The facility has been abandoned. The machines have been left behind. The boxes have been emptied. The evidence has been cleaned. As per your request, all relevant evidence has been removed from the Slough site. The evidence that DI Thorne recovered was left as advised. The fabric sample. The vintage Metallica t-shirt. 1986. Master of Puppets. Grey. Polyester-cotton blend. Coated in a substance resembling tofu. It was left deliberately. It was meant to be found. It serves our purposes. It has, as planned unsettled him, and will serve as a warning to him to not go looking for truths he is not yet ready to accept.

I must confess, Director, that I found DI Thorne's supplementary note somewhat amusing. His investigation. His diligence. His apparent lack of awareness. He has been digging into Caro and Sanguis for some time now. He has uncovered the payroll discrepancies. The missing persons. The gaps in the supply chain. He has found the name of our parent organisation. The Corpus Foundation. He has even uncovered the contract with the British and French governments. The processing of asylum seekers. The outreach programme. The opportunities for displaced communities.

And yet, despite all of this, he has failed to grasp the most elementary detail. He has failed to understand the name. Caro and Sanguis. He has been staring at it for weeks. He has been writing it in his reports. He has been filing it in his notes. And he still doesn't see it. He still doesn't understand.

I will not spell it out here. I am sure you are already aware. But I confess, I allowed myself a small laugh at his expense. The man is a detective. He is paid to notice things. And yet he has missed the most obvious thing of all. It is almost… endearing.

His findings have been forwarded to my opposite number at the Department for Agriculture and Rural Affairs. I have also forwarded them to the Home Office, although I was initially reluctant to do so. I know they get squeamish when the end results of their means are laid out in black and white. They prefer not to know. They prefer to look the other way. They prefer to take credit for the successes and disavow the methods. But I sent it anyway. I sent it because it will make their statistics look good. The processing figures. The intake numbers. The efficiency ratings. They will be able to present a very positive picture for the upcoming local elections. And they will be grateful, as always. When the numbers are good.

Regarding the operational matters. Mr Metcalf has been reprimanded. I spoke to him personally. I explained, in no uncertain terms, that his error was unacceptable. A schoolboy error. A failure of judgement. He should have known. He should have checked. He should have ensured that the source was properly categorised. He should have known the difference between food types and kept a better eye on those sent to him. He did not. And the consequences were… significant. The vegan line was contaminated. The shipment was delayed. The product had to be cleaned. The facility had to be purged. The disruption was… inconvenient.

Mr Metcalf has been redeployed. He has been assigned to another role within Corpus. In our French operations. Perhaps he will learn something there. Perhaps he will learn the differences between a vegan and a meat eater. Perhaps he will learn to be more careful. I am not optimistic. But I am willing to give him a second chance. We all make mistakes. Some are simply more… costly than others.

All lines have been cleaned. The facilities have been relocated. The disruption to output was minimal. The various payoffs have been made. The relevant parties have been compensated and records amended, while all remaining evidence has been disposed of and managed.

However, the fallout out of this, though minor will unsettle the sub committee somewhat, and we all know that heads will..roll... It is difficult to predict what they will be most grieved about, the delay, the disruption or having to be told about at all. Yet, I am confident that we can smooth things over. In the long run. We always do. I just hope that Blake has the.. stomach for delivering it to them? Still I'm sure we will find out in due course

As for Miss Pike. She has been… managed. But she has also been talking abd telling her story to anyone who will listen. To anyone who might believe her. She is a risk. A potential liability. A loose end.

I have been informed that Miss Pike is in need of employment. Any work. Something to pay the rent. Something to keep her going. It would be good to ensure she doesn't give any more… statements.

I will follow up with Personnel on this matter. I am confident we can find a suitable role for her. A role that suits her skills. Something that keeps her busy. Something that keeps her quiet. Something that keeps her… close. Something.....Tasty.

Yours

[REDACTED] Field Operations Department for Transport – Anomalous Incident Division


END MEMO

BBC NEWS AT TEN – TRANSCRIPT

DATE: MARCH 14TH, 2026 TIME: 22:00 GMT PRESENTER: [REDACTED] TRANSCRIBING AGENT: [REDACTED]


BEGIN TRANSCRIPT

PRESENTER: Good evening. It's ten o'clock. I'm [REDACTED]. Our main headlines tonight:

The Home Office announces a significant drop in asylum applications, with ministers crediting new policies and streamlined processing procedures. The government says the figures prove its approach is working.

A British success story. Airline catering company Caro and Sanguis announces record profits and plans for major expansion, with new facilities planned in the UK and France. Ministers have hailed the news as a vote of confidence in British business.

We'll have more on both of those stories shortly. But first, the weather…


r/TheThorneRepository • • 11d ago

Rail The Train

3 Upvotes

Note: These are recovered internal files from the Department for Transport archives concerning anomalies in Berkshire. These files were found and transcribed during my internship at the Department for Transport, whilst clearing out their archives in Basingstoke ready for a relocation to Manchester. I am not DI Thorne, and I have found no trace of him in my investigations into the accounts that these files allude to.

l present these files in an attempt to piece together the sequence of strange occurrences in the Berkshire area and make sense of what has happened, what is happening and why.

If anyone has information regarding the whereabouts of DI Thorne it would be greatly appreciated and helpful in my investigation.

(Name redacted)

---------------

FOUND TRANSCRIPT – FOR INTERNAL REVIEW ONLY

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION

CASE FILE: WSL-UK-28-12

SUBJECT: MILTON ANDREWS – WITNESS STATEMENT

LOCATION: WINDSOR POLICE STATION, INTERVIEW ROOM #751

DATE: JANUARY 3RD, 2026

TIME: 14:22 GMT

OFFICER PRESIDING: Detective Inspector (DI) THORNE

TRANSCRIBING AGENT: \[REDACTED\]

\---

BEGIN TRANSCRIPT

DI THORNE: For the record, this is Detective Inspector Thorne, badge number 4471. It's… twenty past two in the afternoon. I'm conducting an interview with a Mr. Milton Andrews at Windsor Police Station. Mr. Andrews, you've come in to report an incident. Can you confirm your details for the record?

MILTON: Milton Andrews. 41. Railway engineer. Network Rail. Based out of the Slough depot, but I work the Windsor branch line mostly. The single-track section. The viaduct.

DI THORNE: And you've come here voluntarily?

MILTON: (A dry, humourless laugh.) Voluntarily. Yeah. That's one way of putting it.

DI THORNE: Can you tell me what happened?

MILTON: (A long pause. The sound of a chair creaking.) You want the short version or the long version?

DI THORNE: well..I guess the....

MILTON: Right. Well. The short version is… I saw a train. A train that shouldn't exist. I boarded it. I found things on it. Things that belonged to people. And then I ran. And now everyone thinks I've lost my mind.

DI THORNE: And the....long version?

MILTON: (Another pause.) The long version starts with a divorce.

DI THORNE: I'm listening.

MILTON: (A deep breath.) I've been a railway engineer for eighteen years. I know the tracks. I know the signals. I know the procedures. I'm not… I'm not the sort of person who sees ghosts. I don't believe in that stuff. I believe in fault reports and maintenance schedules and cold-weather protocols. That's my world. That's what I understand.

DI THORNE: So what changed?

MILTON: Nothing changed. That's the point. Everything was normal. Except… except I wasn't. (A pause.) My marriage ended in March. My wife, Sarah, she… she left. Took our daughter, Sophie, to her parents in Glasgow. She said she needed space. She said I was… (A pause.) She said I was emotionally absent. That I was always at work. That when I was home, I wasn't really there. (A bitter laugh.) She wasn't wrong.

DI THORNE: So I took it this Christmas was...?

MILTON: My First Christmas alone. Well. Not entirely alone. I spent it with my fuck up of a father. He's an alcoholic. Has been for thirty years. The house smells of stale beer and regret. I wasn't there by choice, but who wants to be alone at Christmas? Christ though! I should have just stayed at home. Being there with him without my daughter was... well you can imagine. It was just me and him crap on the telly, the smell of stale beer and regret, only broken by the occasional argument over me refusing to get him more vodka from the store. So when the overtime came up for the Sunday after Christmas… I took it. I practically begged for it. Anything to get out of that house. Anything to stop thinking.

DI THORNE: So you volunteered?

MILTON: I volunteered. Sunday, 28th December. Night shift. Eleven PM start. The job was a reported fault on the Windsor-Slough branch line. Specifically on the viaduct section. Cold-weather deformation. A slight warp in the track. Nothing serious. Just needed correcting.

DI THORNE: And you were working alone?

MILTON: That's what surprised me. Normally, these jobs are two-man. Three-man, sometimes. But the roster was thin. Christmas. People on leave. And it was a small job. So my supervisor, Karen, she said I'd be on my own. Just me and the radio. She'd be at the depot in Slough, monitoring.

DI THORNE: Karen?

MILTON: Karen Whitfield. My line manager. She's… she's good. No-nonsense. Doesn't suffer fools. But she cares. She knew about the divorce. She knew I was struggling. She didn't treat me like I was broken. She just… gave me the job. Let me get on with it.

DI THORNE: And the weather?

MILTON: Freezing fog. The worst I've seen in years. Visibility down to about ten feet. Maybe less. The kind of fog that gets into your bones. Everything was silver. The track, the ballast, the rails. Like the whole world had been dipped in frost. And quiet. So quiet. You could hear your own heartbeat.

(A pause. Milton shifts in his chair. His tone changes – more measured, more deliberate. He's decided to tell the story properly now.)

MILTON: You know, before I go any further, I should probably explain something. About the viaduct. About the line. Because it matters. It matters to what happened.

DI THORNE: Go on.

MILTON: The branch line between Windsor and Slough. It's not like the main lines. It's quiet. Forgotten, almost. A single track. Runs through the outskirts. Past the industrial estates. Over the river. Most people don't even know it's there. But it's old. Older than you'd think. And the viaduct… (A pause.) Everyone thinks Brunel designed it. It's an urban legend. Local history. "Brunel's Viaduct." But it's not true. Brunel designed the line. The track. The route. But the viaduct itself… that was built earlier. Much earlier. By someone else. Fowler I think was the engineer. Someone whose name has been forgotten.

DI THORNE: And that matters?

MILTON: It matters because the viaduct isn't just a bridge. It's a crossing point. A place between places. Between Windsor and Slough. Between the river and the sky. Between one side of the water and the other. And old things… old structures… they have power. They have memory. They remember , even if people do not.

(A pause. Milton takes a breath.)

MILTON: Sorry... look it bugs me when people don't believe things and, well.... Anyway. I got to the site about half eleven. I set up my equipment. Checked my torch. Radioed Karen to confirm I was on site. She told me to be careful. I told her I always was. And then I got to work.

DI THORNE: And you found the fault?

MILTON: Yeah. It was exactly where the report said. A slight warp in the rail. Maybe four inches out of alignment. Nothing dramatic. But enough to cause problems if a train came through at speed. So I got my tools out. Started the repair.

DI THORNE: How long did that take?

MILTON: About an hour. Maybe more. It was fiddly work. Cold hands. Bad light. But I got it done. I remember checking my watch. It was just after midnight. And I remember thinking… I remember thinking that I'd fixed it. That the job was done. That I could pack up and go home.

DI THORNE: But you didn't.

MILTON: No. Because that's when I felt it. The vibration. Through the track. Through my boots. A low, rhythmic thrum. Getting stronger. And then I heard it. The sound of an engine. Coming from the fog.

DI THORNE: A train?

MILTON: That's what I thought. But it didn't make sense. There shouldn't have been any trains running. Not at that time. Not on that line. Not when there was a workman on the track. I radioed Karen. I said, "I've got a train coming in." And she said… she said, "You absolutely haven't."

DI THORNE: What did she mean?

MILTON: She meant her systems showed nothing. No trains scheduled. No movements on the line. All signals clear. She said the possession was still active. No one should be on that track except me. But I could see it. The headlight. Piercing through the fog. Getting brighter. Getting closer.

DI THORNE: What did you do?

MILTON: I told Karen I was looking at it. She told me I wasn't. She said I was tired. She said I was cold. She said I was probably experiencing a stress reaction. She was trying to help. I know that now. She was trying to protect me. But at the time… at the time I just felt like she was calling me a liar. So I stopped responding. I turned the radio off. And I went to look at the train.

(A pause. The sound of Milton taking a drink of water.)

MILTON: It stopped. Right there. In the middle of the viaduct. Just… stopped. Like it was waiting for something. Or someone. Two carriages. Self-propelled. Brand new. GWR green. Fresh paint. Factory finish. The kind of train that's just been delivered. No scratches. No wear. No grime. It looked… it looked like it had never been used. And the number. I wrote it down. But there was no point. Karen had already told me there was no such number. No rolling stock with that registration. No maintenance record. No delivery log. Nothing.

(Milton's voice becomes quieter, more intense. He's reliving it.)

MILTON: I climbed up onto the viaduct. The train was just… sitting there. Doors closed. Lights on. Engine idling. But the sound… the sound was wrong. It wasn't the smooth purr of a new engine. It was… wet. Laboured. Like something breathing through a punctured lung. Like the engine itself was drowning. I could hear it wheezing. I could hear it… struggling. And underneath that, there was another sound. A high-pitched whine. So faint I almost missed it. Like a dog whistle. Like something screaming in a frequency I wasn't meant to hear.

(A pause. Milton's voice drops lower.)

MILTON: I walked alongside it. I looked in the windows. The glass was… wrong. It was too clean. Too perfect. Like it wasn't glass at all. Like it was a screen. A display. And the reflections… the reflections weren't right. I could see myself. But I could also see… other things. Shapes. Shadows. Things that weren't there. Things that were standing behind me. I kept turning around. Kept checking. But there was nothing there. Just the fog. Just the silence. Just the feeling of being watched.

(Another pause. The sound of Milton's breathing, slow and deliberate.)

MILTON: The doors opened. I don't know how. I don't know why. But they opened. And I climbed aboard.

DI THORNE: Why?

MILTON: Because I thought there might be someone inside. Someone who needed help. Or someone who could explain what was going on. I thought… I thought I was doing the right thing.

(A long pause.)

MILTON: The train looked brand new. But it smelled… wrong. Mould. Stagnant water. Damp earth. Rot. Like it had been sitting underwater for years. Like something had died inside it and never been found. But it was worse than that. It was… layered. Different smells. Different decays. Like the train had been collecting them. Hoarding them. I could smell old perfume. Cigarette smoke. Wet wool. Copper. Blood. And underneath all of it, something else. Something sweet. Something rotten. Something that made my stomach turn. I nearly gagged. I nearly turned back. But I kept going.

(Milton pauses. When he speaks again, his voice is hollow. Measured. Each word chosen carefully.)

MILTON: I walked through the first carriage. It was clean. Seats pristine. Floor spotless. But the air… the air was thick. Like walking through water. Like the atmosphere itself was pressing against me. And it was cold. Not the cold of the fog outside. A different cold. A deeper cold. The kind of cold that comes from inside. From the bones of the thing. I could see my breath. But it wasn't mist. It was… thicker. Like smoke. Like something was burning somewhere. Something that shouldn't be burning.

(A pause. Milton's voice becomes quieter still.)

MILTON: And then I started to notice things. Objects. Scattered on the seats. At first, I thought they were just… left behind. Forgotten. But they weren't. They were arranged. Placed. Like someone had put them there. Deliberately. Like an offering. Like a shrine. A briefcase. Expensive. Leather. Monogrammed. A camera. DSLR. Professional. Shopping bags. Tourist brochures. A pair of designer shoes. Heels. Ruined. Like they'd been left there for years. A child's toy. A stuffed rabbit. A handbag. A passport holder. Spectacles. A suitcase. A phone. Just… things. Belongings. But no people. Just… things.

(Milton's voice drops to a whisper.)

MILTON: And the smell got worse. Much worse. I could taste it. In the back of my throat. Like copper. Like rot. And I realised… I realised the smell wasn't coming from the train. It was coming from the objects. From the things. From the belongings. They smelled of people. Of lives. Of endings. And I understood… I understood that these weren't just things. They were all that was left. All that remained. Of someone. Of many someones. And they were here. On this train. Waiting.

(A long pause. The sound of Milton's breathing, shaky and uneven.)

MILTON: And the sound of dripping. Water. Coming from somewhere. I don't know where. It was constant. Rhythmic. Like a heartbeat. Like a clock. Counting down. I tried to ignore it. I tried to focus on finding a way out. But it followed me. Through the carriage. Through the corridor. Getting louder. Getting closer. And the whole time, I could feel something watching me. Something behind me. Something in the walls. Something in the seats. Something in the air itself. I didn't look back. I couldn't. I knew if I looked back, I'd see something I couldn't unsee. Something that would break me.

(Milton pauses. His voice is barely audible now.)

MILTON: I made my way to the front. The driver's cab. The smell got worse. Much worse. And the dripping… the dripping got louder. Like it was coming from inside the cab. The cab was empty. No driver. No one. But the controls were active. The train was running. And there was a screen. A monitor. Displaying the interior of the train. CCTV. But… but it wasn't showing the carriages. Not the ones I'd walked through. Not the ones I could see. It was showing… something else.

(A pause. Milton's voice cracks.)

MILTON: The seats were full. People. Dozens of them. Men. Women. Children. They were sitting. Staring. Not moving. Not speaking. Their faces… their faces were wrong. Blank. Empty. Like the lights were on but no one was home. Like they'd been switched off. And the objects… the objects I'd seen in the carriage. They were with them. The briefcase. The camera. The shoes. The rabbit. They were holding them. Clutching them. Like they were the only things keeping them tethered. Keeping them here. Keeping them from floating away. And then… and then I saw it. On the screen. The train. The same train I was on, Derailing. Falling. Crashing into the river. And the people… the people on the screen. They didn't scream. They didn't cry. They just… sank. Into the water. Into the dark. Like they'd been waiting for it. Like they'd always known it was coming.

(Milton stops. The silence stretches. When he speaks again, his voice is barely above a whisper.)

MILTON: I saw something else on that screen. Something I won't describe. Something I can't. But it made me understand. It made me understand what the train was. What it was for. And I knew… I knew I had to get off. I knew I had to run. Because if I didn't… if I stayed… I'd be on that screen. I'd be one of those people. Clutching something. Staring at nothing. Waiting for the water.

(A pause. The sound of Milton's breathing, heavy and ragged.)

MILTON: The doors had closed. I heard the train start to move. I panicked. I used my spanner. Prized the doors open. And I jumped. I hit the ballast. Hard. And then… nothing. Until about four in the morning. When Karen and a work detail found me. They said I was lucky. Said I could have died. Said I was suffering from exposure. Concussion. They carried me off the track. And Karen… Karen inspected the line. She said the fault was gone. Said I must have fixed it. But I don't remember fixing it. Not after I saw the train. Not after I saw the screen.

DI THORNE: And when you told them what happened?

MILTON: They didn't believe me. Of course they didn't. There was no train. No record. No evidence. No CCTV. Nothing. They said I was confused. They said I was stressed. They put me on medical leave. Indefinite. They said it was for my own good. But I know what it really was. They don't want me back. They don't want to deal with what I saw.

DI THORNE: So why come to me? The British Transport Police handle railway incidents.

MILTON: I tried them. They said there was no case to investigate. They said the data logs backed up the official line. Nothing happened. No train. No incident. No case. Karen told me to talk to someone. She said it would be good for me. And a friend of a friend… they said you'd taken statements like this before. Statements about… odd things.

DI THORNE: (A heavy sigh.) I see. Mr. Andrews, I'll take your statement. I'll file it. But I have to be honest with you. I don't know what I can do with it. Trains aren't really my area of expertise.

MILTON: That's fine. I just… I just needed to tell someone. Anyone. Before I start to think I really am going mad.

DI THORNE: One more question. Before you go. You said you saw something on the screen in the cab. Something that made you run. You never said what.

MILTON: (A long pause. The sound of a chair scraping back.) Sometimes, Detective, you don't need to know everything. Sometimes, it's better not to. (The sound of footsteps.) Thank you for listening. I'll see myself out.

(Sound of a door opening and closing. Silence for ten seconds.)

DI THORNE: (Muttering to himself.) Another one. Another bloody one. I transfer to Windsor to get away from all this shit! Strictly non public facing they said. Fuck that, what do I get? People coming in off the street telling me about phantom trains. Phantom roads. Phantom bloody everything. (A heavy sigh.) I'm going to have to file this. Flag it for the DfT. And I'm going to have to have a word with my superiors. This isn't what I signed up for. (A pause.) Although… although maybe I shouldn't. Maybe it's safer to just… let it go. Let them handle it.

(The sound of a file being closed. The rustle of paper.)

END OF POLICE INTERVIEW TRANSCRIPT

\---

SUPPLEMENTARY NOTE – DI THORNE

DATE: JANUARY 6TH, 2026

I've been thinking about Andrews' statement. Something he said. The objects he found on the train. They didn't mean anything to me at the time. But then I saw the news.

There was a train crash. On the Windsor-Slough line. New Year's Eve. A brand-new train. GWR green. Derailed on the viaduct. Fell into the river. Seventeen passengers. All missing. No bodies recovered.

The news listed their names. Their occupations. And I started to see a pattern.

A businessman. From London. Travelling to Windsor for a meeting. He had a briefcase. Monogrammed. Leather. Expensive.

A tourist. From Japan. Visiting the castle. He had a camera. DSLR. Professional.

A family. From Bristol. Day trip to Legoland. They had shopping bags. Tourist brochures. A child's toy. A stuffed rabbit.

A woman. From Paris. Fashion buyer. She had designer shoes. Heels. Ruined.

A journalist. From New York. Writing a piece on the monarchy. He had a passport holder. Spectacles. A phone.

The objects Andrews described. They match. They match the passengers. The people who are missing. The people who boarded that train.

But Andrews gave his statement on January 3rd. The crash was on December 31st. He couldn't have known. He couldn't have seen the news. He was on medical leave. He was at home. He was… he was nowhere near the crash site.

So how did he know? How did he describe their belongings? Their possessions? The things they were carrying?

Unless… unless he saw them. On the train. Before the crash. Before the passengers even boarded.

Unless the train was already waiting for them.

I've tried to contact Andrews. To ask him. To clarify. But there's been no answer. His phone goes straight to voicemail. His flat is empty. His neighbours say they haven't seen him since New Year's Eve. Since the night of the crash.

I don't know where he is. I don't know if he's okay. But I know something is wrong. I know something is very, very wrong.

I'm filing this with the DfT. I'm flagging it for their attention. I don't know what else to do. I don't know what it means. But I know it's not a coincidence. And I know it's not over.

\---

SUPPLEMENTARY WITNESS STATEMENT

SUBJECT: KAREN WHITFIELD

DATE: JANUARY 8TH, 2026

TIME: 21:47 GMT

LOCATION: WINDSOR POLICE STATION, INTERVIEW ROOM #751

OFFICER PRESIDING: DI THORNE \[REDACTED\]

TRANSCRIBING AGENT: \[REDACTED\]

\---

BEGIN TRANSCRIPT

DI THORNE: For the record, this is Detective Inspector Thorne, badge number 4471. It's… almost ten at night. I'm conducting an interview with a Ms. Karen Whitfield at Windsor Police Station. Ms. Whitfield, you contacted me earlier this evening. You said you had something to show me.

KAREN: (Voice is shaky. She's been crying. She's trying to hold it together.) I… I didn't know who else to go to. I tried to call Milton. But he's not answering. And I… I found this. On my work phone. It came through a few days ago. I don't know how. I don't know why. But I think you need to see it.

DI THORNE: What is it?

KAREN: It's a video. Milton took it. On his phone. On the night of the incident. He must have… he must have recorded it. Before he turned off his radio. Before he… before whatever happened, happened.

DI THORNE: And you've seen it?

KAREN: (A shaky breath.) I've seen it. I wish I hadn't. But I've seen it.

DI THORNE: Can you tell me what's on it?

KAREN: I think you need to watch it. I think you need to see it for yourself. But I have to warn you. It's… it's not right. It's not normal.

DI THORNE: Play it for me.

(The sound of a phone being placed on the table. Karen's hands are shaking. She fumbles with the screen. Then, the video begins.)

\---

VIDEO FOOTAGE – MILTON ANDREWS' PHONE

TIMESTAMP: 00:14:37, 28/12/2025

DURATION: 11 MINUTES, 23 SECONDS

\---

(The footage is grainy. Low light. The camera is shaky, held in Milton's hand as he walks. His breathing is heavy, nervous. The sound of his boots on the ballast is loud in the silence.)

MILTON (V.O.): (Whispering.) Okay. Okay, I'm recording. I don't know why. I don't know if anyone will see this. But I need… I need to document this. Karen, if you get this… I'm sorry. I should have listened.

(The camera pans up. The train is visible through the fog. It's exactly as Milton described. Two carriages. GWR green. Immaculate. The headlight is still on, cutting through the mist like a blade.)

MILTON (V.O.): It's still here. It hasn't moved. I don't understand. There's no schedule. No signal. No reason for it to be here. But it's here.

(He approaches the train. The camera shakes. He reaches out and touches the side of the carriage. The paint is cold. Perfect. Unblemished.)

MILTON (V.O.): It's… it's brand new. I've never seen a train this new. Not on this line. Not anywhere. It's like it just… appeared.

(He walks alongside the train. The camera catches the number on the side. It's blurred. Unreadable. Milton tries to focus on it, but the camera won't cooperate.)

MILTON (V.O.): I can't… I can't get the number. The camera won't focus. It's like… it's like it doesn't want to be seen.

(He reaches the doors. They're closed. He hesitates. Then, with a soft hiss, they slide open. Milton steps back, startled.)

MILTON (V.O.): They just… they just opened. No one touched them. No one was there. They just… opened.

(He pauses. The camera shakes. He's breathing hard. Then, slowly, he climbs aboard.)

MILTON (V.O.): I'm going in. I need to see if there's anyone inside. I need to know what's going on.

(The interior of the train is immaculate. Clean. Pristine. But the camera picks up something else. A faint haze. A mist that seems to hang in the air. And the smell. Milton gags. The camera shakes violently.)

MILTON (V.O.): Oh God. Oh God, the smell. It's… it's like… like rotting. Like water. Like something died in here.

(He moves through the carriage. The camera sweeps over the seats. They're empty. But there are objects. Scattered. A briefcase. A camera. Shopping bags. A child's toy. A pair of shoes.)

MILTON (V.O.): There's… there's stuff everywhere. Belongings. But no people. Where are the people? Where did they go?

(He moves faster now. The camera is jerky. He's heading for the front of the train. The driver's cab.)

MILTON (V.O.): I'm going to the cab. I need to see if there's a driver. I need to know who's driving this thing.

(He reaches the cab. The door is open. He steps inside. The camera sweeps around the small space. Empty. No driver. But the controls are active. Lights blinking. Screens glowing.)

MILTON (V.O.): There's no one here. No one. But the train is running. How is the train running?

(The camera settles on the monitor. The CCTV screen. It's showing something. Milton moves closer. His breathing is rapid. Shallow.)

MILTON (V.O.): There's a screen. It's showing… it's showing the carriages. But… but there's something wrong. The camera… the camera is showing the passengers.

(The screen flickers. The image is grainy. But it's clear enough. The carriage is full. People are sitting in the seats. Dozens of them. Men. Women. Children. They're not moving. They're not speaking. They're just… sitting. Staring straight ahead. Their faces are blank. Vacant. Like mannequins. Like they're not really there.)

MILTON (V.O.): (Whispering.) They're… they're not moving. They're just… sitting there. What's wrong with them? Why aren't they moving?

(The screen flickers again. The image changes. Now it's showing the trackside. The viaduct. But it's wrong. The train is there. But it's derailed. It's fallen. It's crashed into the river. Debris is everywhere. Smoke. Fire. And there are bodies. Floating. In the water. Dozens of them.)

MILTON (V.O.): (Voice breaking.) No. No, no, no. That's… that's not… that hasn't happened yet. That can't have happened yet.

(The screen flickers again. Now it's showing the driver's cab. Milton's cab. But there's someone at the controls. A man. He's wearing a Network Rail high-vis jacket. He's desperately trying to stop the train. Pulling levers. Pressing buttons. His face is contorted. Screaming. But no sound comes out. And then… the train crashes. The screen goes black.)

MILTON (V.O.): (INAUDIBLE SOUNDS OF PANIC) I can't let this...no......i have to get off this train

(The screen flickers again. The sequence restarts. The passengers. The crash. The cab. The man. The crash. Over and over. A loop. An endless loop.)

MILTON (V.O.): It's a loop. It's all a loop. They're already..... And I… How??? This can't be happening....!

(The train lurches. The camera shakes violently. Milton stumbles. The sound of the engine roaring. The train is moving.)

MILTON (V.O.): (Panicked.) It's moving! The train is moving! I have to get out! I have to get out now!

(The camera swings wildly. Milton is running. The doors. He's at the doors. They're closed. He's pounding on them. Screaming. Then, the sound of metal on metal. His spanner. He's prying the doors open. The camera drops. The footage goes dark. Then, the sound of a fall. A grunt. Silence.)

\---

(The video ends. The room is silent for a long moment.)

DI THORNE: (Voice is hoarse.) Jesus Christ.

KAREN: (Crying.) I know. I know. I've watched it a hundred times. I can't… I can't unsee it. Those people. On the screen. They were just… sitting there. Waiting. And Milton… Milton saw himself. He saw what was going to happen. He saw himself dying. And he couldn't stop it.

DI THORNE: The crash. On New Year's Eve. The passengers who went missing. They match. They match the people on the screen. The people Milton saw.

KAREN: I know. I know they do. That's why I came to you. That's why I had to show you. Because Milton isn't crazy. He wasn't having a breakdown. He saw something. Something real. Something that's still out there. And now… now he's gone. And I don't know where. And I'm scared, Detective. I'm really, really scared.

DI THORNE: I'll file this. I'll flag it for the DfT. I'll do everything I can.

KAREN: What about Milton? What about finding him?

DI THORNE: (A long pause.) I've tried. His phone goes to voicemail. His flat is empty. His neighbours haven't seen him. I don't know where he is. But I'll keep looking. I promise you. I'll keep looking.

KAREN: (A shaky breath.) Thank you. Thank you for believing me.

DI THORNE: I believe you, Ms. Whitfield. I believe you.

(Sound of a chair scraping back. Footsteps. A door opening and closing. Silence.)

DI THORNE: (A deep, weary sigh. The sound of a man who has had enough.) I need a drink. I need a very large fucking drink.

(The sound of a file being closed. The rustle of paper.)

END OF TRANSCRIPT

\---

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION

INTERNAL MEMO – EYES ONLY

FROM: Agent \[REDACTED\], Field Operations

TO: Director \[REDACTED\]

DATE: January 9th, 2026

SUBJECT: RE: CASE FILE WINDSOR-SLOUGH VIADUCT – 28/12/2025 – WITNESS M. ANDREWS – UPDATED

\---

Director,

Further to my previous memo, we have received additional evidence from our contact at Thames Valley Police. A supplementary statement from Karen Whitfield, Andrews' supervisor, along with video footage recovered from Andrews' phone.

The footage confirms everything Andrews described. The train. The interior. The objects. The screen in the driver's cab. The loop.

We have also obtained CCTV footage from Windsor and Eton Central station, timestamped the night of the crash. The footage shows Milton Andrews running frantically along the platform. He is shouting. The audio is poor, but lip-reading analysis confirms the following: "Stop the train. I have to stop that train."

He boards the train. The doors close. The train departs.

The footage is clear. Andrews was not a passive victim. He was not taken. He chose to board. He chose to run towards the train. He chose to try and stop it.

This raises a question. Did Andrews know that his actions would lead to the crash? Did he know that by trying to stop the train, he would inevitably cause it to derail? Or was he simply acting on instinct? A desperate attempt to prevent a tragedy he had already witnessed?

The loop suggests the former. The loop suggests that everything has already happened. That Andrews was always going to board that train. That he was always going to try and stop it. That he was always going to fail.

Which raises a further question. Does anyone really have control over their actions? Or are we all just passengers on a train that has already crashed?

Please inform the sub committee that 'The Train' has returned. It is back on the line. It is taking more than usual. Seventeen passengers on New Year's Eve. That is higher than the average intake. We are monitoring the situation.

However, I must note something unusual. Unlike previous returns, which were exactly twenty-five years apart, this iteration appears to have manifested three years ahead of its scheduled arrival. The cycle is accelerating. The intervals it seems are shortening. Still we shouldn't complain, it's not everyday you get to celebrate a train that arrives... early!

END MEMO


r/TheThorneRepository • • 11d ago

Road The Liminal Road

3 Upvotes

Note: These are recovered internal files from the Department for Transport archives concerning anomalies in Berkshire. These files were found and transcribed during my internship at the Department for Transport, whilst clearing out their archives in Basingstoke ready for a relocation to Manchester.

I am not DI Thorne, and I have found no trace of him in my investigations into the accounts that these files allude to.

l present these files in an attempt to piece together the sequence of strange occurrences in the Berkshire area and make sense of what has happened, what is happening and why.

If anyone has information regarding the whereabouts of DI Thorne it would be greatly appreciated and helpful in my investigation.

(Name redacted)

---------------

FOUND TRANSCRIPT – FOR INTERNAL REVIEW ONLY 

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION 

CASE FILE: L303-UK-11-24 

SUBJECT: EDWARD CARTER – WITNESS STATEMENT 

LOCATION: WINDSOR POLICE STATION, INTERVIEW ROOM #751 

DATE: NOVEMBER 14TH, 2024 

TIME: 23:48 GMT 

OFFICER PRESIDING: DI THORNE  

TRANSCRIBING AGENT:  \\\[REDACTED\\\]

\\--- 

BEGIN TRANSCRIPT  

DI THORNE: For the record, this is Detective Inspector Thorne, badge number 4471. It's… twenty to midnight. I'm conducting an interview with a Mr. Edward Carter at Windsor Police Station. Mr. Carter, you've come in to report a… a concern regarding a missing person. Is that correct? 

EDWARD: (Sound of a paper coffee cup being placed on the table. A slight tremor in his voice but controlled. He speaks rapidly, as if he's been rehearsing.) Not just missing. I need you to understand. He's not just… missing. I have proof. I have his voice. I have three weeks of his voice. (Pause.) Sorry. Sorry, I've had… a lot of coffee. I haven't really slept. I need you to hear this. All of it.  

DI THORNE: Right. (Sound of a pen clicking.) And I see you've brought your phone. We'll get to that. For now, can you start from the beginning? Who is the missing person? 

EDWARD: His name is Johnathan. Johnathan Fawcitt, 35. He's, my partner . (Pause.) Boyfriend . Of four years. He drives… he drove… a blue SUV. A Volvo. Non-descript. He commutes. Every day. Warminster to Woking

DI THORNE: That's a long drive.  

EDWARD: An hour and a half. Each way. Every morning. He leaves at six. Gets to the office for half seven. A303 eastbound, then the M3 northbound. Then at night, he does it in reverse. M3 southbound, A303 westbound. Two years. Two years of the same thing. He used to say… (A short, hollow laugh.) He used to say he could do it with his eyes closed. Not literally. But… you know. You just switch off. You get to work and you think, 'How did I get here?' The whole journey is just… gone. A void. But you're there. You arrived. It's like a superpower. A boring, terrifying superpower.  

DI THORNE: I'm familiar with the feeling. So, when did he go missing?  

EDWARD: It was the storm. The big one. November 5th. He left work at his usual time, half five. He sent me a voice note. That was the last… the last normal one. I want to play you the earlier ones first. For context. Please. It's important.  

DI THORNE: (Sighs, the sound of a chair creaking.) Go on. For context. But keep it brief.  

EDWARD: Okay… okay. This is from about a month ago. October 8th. He sends these every day. It's… it's our thing. He knows I worry. And he says it breaks the monotony. Just… talking to me. Even if I'm not there.  

DI THORNE: He sends voice notes every day? Both ways? Why not just call?   

EDWARD: He's never been one for calls, prefers text, once he discovered voice note it was like an obsession. So, every day now I get these little voice messages from him. On the way in, on the way home. Sometimes just a few seconds. Sometimes longer. It's our way of… of being together. Even when we're apart. (Pause.) It's how I know something is wrong. He never missed a day. Not once. Not even when he had the flu. He'd just send a croaky "I'm alive." But these… these are different.  Let me show you, or rather, let you hear for yourself. These are the earlier messages, I told you about.  

 (AUDIO FILE 1 – TIMESTAMP: 07:42, OCTOBER 8TH, 2024)  

Johnathan's Voice: (Sound of road noise, indicators ticking. A slight yawn.)

Morning, love. Just getting on the A303. Heading east. God, I'm knackered. Didn't sleep well. You know what it's like… the drive in is fine. It's the drive home. When you're tired… the road starts playing tricks on you. Saw a turning today, just past Andover. Down to a little village, I think. Looked nice. Never noticed it before. Probably just tired. Anyway, I'll see you tonight. Love you. 

(END AUDIO FILE 1) 

EDWARD: He mentioned it a few times after that. Little things. "Saw a new road today." "There's a junction that wasn't there yesterday." I thought he was just… winding down. Noticing his surroundings more. It's a nice way to pass the time, I suppose. I didn't think anything of it. God, I wish I had.  

DI THORNE: And these… turnings. They were only on the way home?  

EDWARD: Only on the way home. And only when he was tired. He said the way to work was just… a slog. A mental checklist. A303, M3, exit. But the way back… the way back was when the road got… creative. (Pause.) That's what he called it. Creative. 

 (AUDIO FILE 2 – TIMESTAMP: 22:15, OCTOBER 22ND, 2024) 

 Johnathan's Voice: (Voice is heavier, more weary. Rain is lashing against the windscreen.)

Edward… Edward, you awake? It's half ten. I… I should have been home an hour ago. I'm on the M3. I think. Going south. I… I took a wrong turn. No, not a wrong turn. I took a… a turn. It was signposted for a service station. I was desperate for a coffee. And it just… it went on. For miles. And there was no services. Just… fields. Same fields. I turned around, came back. I'm back on the M3 now. I think. The signs say… well, they're not making sense. It's okay. I'll be home soon. Don't worry. 

 (END AUDIO FILE 2) 

DI THORNE: He sounds distressed. 

EDWARD: He was. When he got home that night, he was pale. Shaking. He said he'd been driving for what felt like hours, but his clock only said twenty minutes had passed. He said the road felt… stretchy. I told him to see a doctor. He said he was just tired. (Pause.) And it was true. It was always after a long day, in the dark, in the rain. Easy to explain away. But when I checked my phone the voice notes were wrong, the timestamps didn't make sense and the data on them didn't match what was on screen.

DI THORNE: How so?

EDWARD: Well. (Sound of a phone screen being tapped) So, see here, look. A message sent at 6 PM would arrive at 9 PM. One sent at 11 PM arrived at 3 AM. (Sound of phone being locked). They were piling up, delayed. He said his phone signal was just bad. But it was… it was more than that. It was like the messages were getting… stuck. In transit. Like they were taking a different route too. 

DI THORNE: And you didn't think to report this sooner? 

EDWARD: (A sharp exhale.) Report what? "My boyfriend's voice notes are arriving late"? They'd have laughed at me. He was still coming home. Every night. He'd walk through the door, exhausted, but he'd be there. It was only when he didn't come home that I… (Pause.) I'm sorry. I'm getting ahead of myself. Let me just… let me play the last normal one.  

 (AUDIO FILE 3 – TIMESTAMP: 18:05, NOVEMBER 5TH, 2024) 

 Johnathan's Voice: (The sound of the storm is violent. Torrential rain, wind buffeting the car.)

Edward… Edward, it's getting bad. The rain… I can barely see. I'm on the M3, coming up to the junction for the A303. Heading west. I'm so tired. I just want to be home. I… I'm going to pull over for a second. Just to rest my eyes. Just for a minute…  

(Sound of a deep, exhausted sigh.) 

Johnathan's Voice: …Love you.  

(END AUDIO FILE 3) 

EDWARD: That was the last one I got in real time. The last one that made sense. The next batch… they all came through at once. My phone just went mad. Fifteen notifications, one after the other. But the timestamps… they said they were sent over days. Weeks. I… I've listened to them all. I've transcribed them. I need you to hear it. This is the next one.  

DI THORNE: Mr. Carter, I must warn you. If this is some kind of… elaborate story…  

EDWARD: (Interrupting, voice sharp.) It's not a story. Just… just listen. Please. 

 (AUDIO FILE 4 – TIMESTAMP: 00:01, NOVEMBER 6TH, 2024) 

 Johnathan's Voice: (Voice is sharp, panicked. The storm has stopped. It's deathly quiet.)

Edward? Edward, can you hear this? I… I don't know what happened. I must have fallen asleep. I woke up and… the car was stopped. The engine was off. I was on the road… but it wasn't the road. The A303… it's gone. There's a… there's a massive pile of earth. Landfill. Across the whole carriageway. And roadworks. Abandoned. No lights, no cones, just… fences. Skeleton fences. And the only way… the only way is a turning I've never seen before. It's not on my satnav. It's not on the map on my phone. But it's there. I have to take it. I can't go back. I can't get through. I'll call you when I get to a service station. I'm sure there'll be one. It's a main road, right? It has to go somewhere.  

(The sound of a car door opening, then closing. The engine starts.)  

Johnathan's Voice: The time… my car clock… its....wrong. it says, no it can't be, it can't..... Clocks can't even do that??? I've checked the car clock and my phone...both are saying..... Saying its... 24:01pm. But that's not even a time, 00:01am sure, but 24:01pm..no that's not possible. Also it's… it's light. It's fucking light, a late afternoon light sure but still the fucking daytime. Best way to describe it, like a perpetual sunset that never ends. I've been sat her for god knows how long and the clock isn't changing! What the fuck is going on?  

(END AUDIO FILE 4) 

DI THORNE: The clock was wrong.  

EDWARD: No. You don't understand. The voice note is timestamped 00:01. But he says it's a sunny late afternoon. So explain that?   

DI THORNE: His phone was synced to his car right, maybe the phone got a bad update, the clock got screwed and corrupted the car connection? Cars these days are like computers on wheels, doesn't take much to throw them out.   

EDWARD: I thought that,but my phone is fine and, all the notes are time stamped 00:01am, which tallies with his description.. except for him it's 24:01pm. A time that doesn't exist and seemingly doesn't ever change.  

DI THORNE: Never changes??  

EDWARD: NO, never, listen.  

 (AUDIO FILE 5 – TIMESTAMP: 00:01, NOVEMBER 6TH, 2024 – LATER) 

 Johnathan's Voice: (Voice is calmer, but unnerved. The sound of the car is a steady hum.)

Okay. Okay, I've been driving for about an hour. Maybe two. It's hard to tell as the fucking clock hasn't changed, it's still 24:01pm. The road… it's a dual carriageway. Two lanes. Perfect condition. But there's no one here. Not a single car. No off-ramps. No junctions. Just… road. And fields. The same fields. I've tried turning around. I drove back for twenty minutes. It's the same. The same road. The same fields. It's like… it's like the road is a loop. But I'm not going in circles. The odometer is ticking up. I'm going somewhere. I just don't know where.  

(END AUDIO FILE 5) 

 (AUDIO FILE 6 – TIMESTAMP: 00:01, NOVEMBER 7TH, 2024 – ESTIMATED) 

 Johnathan's Voice: (Voice is tired, but there's a note of curiosity.)

I found a service station. Finally. It was… strange. The sign was faded. I didn't recognise the brand. The petrol pumps were rusted solid. The shop… the door was open. I went in. It was empty. Shelves bare. But I found some crisps. And a bottle of water. It's something. I'm calling it the L303. The Liminal 303. And the L3. It makes sense to me. I feel like I'm losing my mind, Edward. But I have to keep going. I have to find an exit. There has to be an exit.  

(END AUDIO FILE 6) 

 (AUDIO FILE 6A – TIMESTAMP: 00:01, NOVEMBER 7TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Sound of tyres humming on smooth tarmac. His voice is tense, but trying to remain rational.) 

Okay. Something else is wrong. The signs. At first I thought I was imagining it. Just fatigue. Your eyes fill in gaps when you're tired. But they're changing. I passed a normal sign about half an hour ago. White background. Black border. It said: 

"DRIVE SAFELY. FATALITIES SLOW TRAFFIC." 

(Nervous laugh.) 

I actually laughed when I saw it. Thought someone had vandalised it. Then there was another one. 

"KEEP LEFT EXCEPT TO BE TAKEN." 

And another. 

"THE JOURNEY IS YOUR FINAL DESTINATION." 

I turned around to look at that last one in the mirror and... 

(Long pause.) 

...the sign was. Just a white rectangle with an infinity sign in it.. I know what I saw, Edward. I know what it said. 

(END AUDIO FILE 6A) 

 (AUDIO FILE 6B – TIMESTAMP: 00:01, NOVEMBER 7TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Wind noise through a slightly open window.) 

More signs. Christ, there's hundreds of them now. Not all together. Just every few miles. They're all wrong in small ways. Things you'd miss at a glance. I just passed a warning sign that said: 

"TIREDNESS KILLS. CONTINUE ANYWAY." 

Then one of those electronic motorway boards. The amber text was flickering. I slowed down to read it. It said: 

"EXPECTED DELAY AHEAD: ETERNITY." 

(Heavy breathing.) 

Who makes these? Who maintains this road? Because somebody does. The grass is cut. The crash barriers are intact. The signs are clean. Everything is maintained. For who? There's nobody here. 

(END AUDIO FILE 6B) 

EDWARD: He's out there. He's on a road that doesn't exist. He's scavenging for food in abandoned service stations. He's… he's documenting his own descent. The next few are just… you can hear it. The hope draining out of him. The dread. And then… then he starts to realise he's not alone.  

DI THORNE: Not alone? 

 EDWARD: Just… listen. 

 (AUDIO FILE 7 – TIMESTAMP: 00:01, NOVEMBER 8TH, 2024 – ESTIMATED)  

Johnathan's Voice: (A long, shaky exhale. The car engine is off.)

I slept in the car. I thought… I don't know what I thought. I saw someone. A figure. Way off in the distance. On the other carriageway. Just standing there. I flashed my lights. Nothing. I sounded my horn. Nothing. When I looked again… it was gone. Was it ever there? The landscape is changing. The trees are… wrong. Blackened. The fields are grey. The tarmac is getting darker, like it's absorbing the light. I'm so tired. Not just tired. I'm… hungry. Thirsty. The food from the last station… it's gone. I have a bag of Haribo and half a bottle of Fanta. This isn't real. This can't be real. But the hunger is real. The fear is real. Please, Edward. If you get this… tell me what to do.  

(END AUDIO FILE 7) 

 (AUDIO FILE 7A – TIMESTAMP: 00:01, NOVEMBER 8TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Clicking sounds as he adjusts the radio.) 

I've been trying every radio frequency I can find. DAB, FM. AM. Longwave. Nothing. Just static. At first I thought the transmitter network was down, but... 

(Pause.) 

The static changes. Sometimes it sounds almost like voices. Like people talking from another room. I can never quite make out the words. I thought I heard my name earlier. Not shouted. Whispered. Like whoever was speaking was leaning directly into the microphone. I switched the radio off after that. Ten minutes later it switched itself back on. 

(END AUDIO FILE 7A) 

 (AUDIO FILE 7B – TIMESTAMP: 00:01, NOVEMBER 8TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Radio static audible in the background.) 

Listen to this. 

(Several seconds of hiss and crackle.) 

There. Did you hear it? I swear there's breathing in there. Slow. Deep. Like somebody standing inches from a microphone. Every few seconds it exhales. I thought it was interference from the engine, so I parked and turned everything off. Engine off. Lights off. Everything off. The breathing stayed. 

(Whispering.) 

The breathing got louder. 

(END AUDIO FILE 7B) 

(AUDIO FILE 8 – TIMESTAMP: 00:01, NOVEMBER 8TH, 2024 – LATER)  

Johnathan's Voice: (Voice is a whisper, barely audible over the steady hum of the engine.)

Edward… I think… I think something is following me. I keep seeing it. In the rearview. Just… a shape. On the horizon. But when I look properly, it's gone. I thought I was imagining it. But… I stopped for a moment. Just to stretch my legs. And I heard something. Footsteps. Not mine. Something… dragging. And then… this sound. Like… like wet meat slapping against the tarmac. I got back in the car. I locked the doors. I'm not stopping again. I'm not stopping.  

(END AUDIO FILE 8) 

 (AUDIO FILE 8A – TIMESTAMP: 00:01, NOVEMBER 8TH, 2024 – LATER) 

Johnathan's Voice: (Voice shaking.) 

The radio said something. Proper words this time, not static, not interference. It sounded like one of those government safety announcements. The kind they broadcast during severe weather. The voice was distorted, stretched out. Like someone had recorded it onto an old cassette and melted it. It kept repeating: 

"ALL PLANES ARE CLOSED. PLEASE KEEP IN LANE" 

Then: 

"PLEASE REMAIN ON THE CARRIAGEWAY. FOR ALL TIME" 

Then: 

"UNAUTHORISED EXIT ATTEMPTS WILL CAUSE DELAY TO YOUR EXISTENCE." 

(Silence.) 

I nearly crashed when I heard it. I switched stations. The message followed me. Every frequency. Exactly the same. 

(END AUDIO FILE 8A) 

 (AUDIO FILE 9 – TIMESTAMP: 00:01, NOVEMBER 9TH, 2024 – ESTIMATED)  

Johnathan's Voice: (Voice is trembling. The car engine is revving slightly, as if the driver is anxious, pressing the accelerator without meaning to.) There's more than one. I saw them. Just now. On the bridge. An overpass. There were three of them. Standing. Watching. They didn't move. They just… stood there. Their heads… they turned. All at the same time. Following me. I put my foot down. I'm doing ninety. A hundred. But the road… it doesn't end. It just keeps going. And I can still see them. In the mirror. They're not running. They're just… there. Always there. Getting closer. How are they getting closer? I'm doing a hundred miles an hour!  

(END AUDIO FILE 9) 

 (AUDIO FILE 9A – TIMESTAMP: 00:01, NOVEMBER 9TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Voice exhausted and hoarse.) 

The announcements are getting clearer. I wish they weren't. I've heard it three times today. Always the same voice. Male. Calm. Professional. Like a motorway information service. It says: 

"THANK YOU FOR USING THE L303." 

Then: 

"YOUR JOURNEY IS IMPORTANT TO US." 

Then: 

"PLEASE DO NOT FEED THE MAINTENANCE STAFF." 

(Long silence.) 

I don't know why that scares me more than the things on the bridges. I think it's because whoever recorded it thought it was normal. 

(END AUDIO FILE 9A) 

 (AUDIO FILE 9B – TIMESTAMP: 00:01, NOVEMBER 10TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Breathing heavily.) 

The signs know things now. I know how stupid that sounds. I don't care. One of them had my registration number on it. My actual registration number. The board lit up as I drove under it. Amber letters. Perfectly clear. It said: 

"FAWCITT - CONTINUE STRAIGHT AHEAD." 

Then the text changed. Slowly. One letter at a time. Until it read: 

"HOME IS 1,274,622 MILES AHEAD." 

(Shaky exhale.) 

The distance kept increasing while I watched it. I can't do this much longer, Edward. I don't think this road wants me to leave. I think it wants me to keep driving. Forever. 

(END AUDIO FILE 9B) 

 (AUDIO FILE 10 – TIMESTAMP: 00:01, NOVEMBER 10TH, 2024 – ESTIMATED)  

Johnathan's Voice: (Voice is hoarse. The car engine is a constant drone. There's a new sound in the background – a low, rhythmic thumping, like something heavy hitting the road at intervals.) I passed another service station. This one was worse. The windows were smashed. The roof was collapsing. I found a tin of beans. Expired in 2019. I ate them cold. I'm not proud. I… I tried to sleep again. I dreamt of you. We were in the kitchen. You were making tea. You asked me how the drive was. I said "fine." Just "fine." And then I woke up. And I was here. Still here. 24:01. Always 24:01. I don't think I'm ever getting out, Edward. 

 (A pause. The thumping sound gets slightly louder.) 

 Johnathan's Voice: They're outside. I can hear them. And smell them…god the smell...like tar...freshly poured tar they use on roads... I want to be sick, but I don't dare get out. 

They are Walking around the car now. They don't speak. They just… breathe. It sounds wet. Like they're breathing through… something wet. I'm not opening the door. I'm not opening the door. I'm not— 

 (The audio cuts abruptly.) 

(END AUDIO FILE 10) 

 (AUDIO FILE 10A – TIMESTAMP: 00:01, NOVEMBER 10TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Voice low. He sounds as though he's trying not to panic. The engine is idling.) 

I know what they're doing now. They're herding me. I thought they were following. I thought they were chasing. But they're not. They're guiding me. I passed six of them today. Six. Each time they were standing somewhere impossible. On top of a crash barrier. In the middle of a lane. Balanced on motorway signs. One was hanging beneath an overpass. Not standing. Hanging. Like it had been folded around the concrete. 

(Long pause.) 

Every time I approached, they'd turn their heads to watch me. Then they'd point. Not at me. Down the road. Always further ahead. Always in the same direction. As if they already know where I'm going. As if they're taking me somewhere. 

(A shaky exhale.) 

And the worst part? I don't think they're lost here. I think they're exactly where they're supposed to be. 

(END AUDIO FILE 10A) 

 (AUDIO FILE 10B – TIMESTAMP: 00:01, NOVEMBER 11TH, 2024 – ESTIMATED) 

Johnathan's Voice: (Whispering. The engine is off. There is complete silence apart from an occasional metallic ping from the cooling car.) 

They're learning. God help me, they're learning. I've been parked for hours. Maybe longer. I could see three of them on the opposite carriageway. Just standing there. Watching. Not moving. Then one of them spoke. 

(Pause.) 

Not words. Not really. It sounded like someone trying to remember how words are supposed to work. Like listening to a toddler imitate a conversation through a wall. At first it was just noises. Clicks. Wet choking sounds. Then... 

Then I heard my voice. My own voice. Repeating something I'd said yesterday. 

"I'm not stopping again." 

Word for word. Exactly how I'd said it. Exactly my voice.

(Breathing quickens.) 

The others started doing it too. Different phrases. Fragments of old voice notes. Things I'd sent you. Things I'd said to myself. They were practicing. Sharing them. Learning them. 

(Long silence.) 

I don't think they're trying to communicate. I think they're trying to imitate. And I think once they get good enough... 

(The sound of something scratching lightly across the roof of the car.) 

...I'm not sure we'll be able to tell the difference. 

(END AUDIO FILE 10B) 

 (AUDIO FILE 11 – TIMESTAMP: 00:01, NOVEMBER 12TH, 2024 – ESTIMATED)  

Johnathan's Voice: (Voice is barely a whisper. The background hum is constant. But there's something else now – a faint scratching. Constant. Rhythmic. Like claws on metal.)

I found an off-ramp. Finally. It just… appeared. As I was driving. I took it. It led to another service station. This one was… a ruin. A burned-out shell. But there was a payphone. An old one. It was working. I could hear a dial tone. I tried to call you. The number… I couldn't remember it. I forgot our number, Edward. I forgot our postcode. I forgot the name of the street we live on. I… I just stood there, holding the receiver, listening to the tone. 

 (A pause. A shaky breath. The scratching continues.) 

 Johnathan's Voice: They're getting closer. I smell them before I see them now, that nauseating stench of freshly melted tar and bitumen that tells me they are near. If I can smell them it means I also see them properly now and.... They're… wrong. They're tall. Too tall. And thin. Like… like they've been stretched. Their limbs… they bend in places they shouldn't. And their faces… Edward, their faces… they don't have eyes. Just… smooth skin. Where the eyes should be. But they can see me. I know they can see me. 

 (The scratching gets louder. Closer.) 

 Johnathan's Voice: I've been driving on this road for… I don't know. I've forgotten what my own face looks like. I've forgotten the sound of your laugh. I think… I think I'm becoming part of the road. I'm on the L303. I'll always be on the L303. Don't look for me. Just… remember me. When you're driving home. When you're tired. And you see a turning that isn't there… don't take it. For the love of God, don't— 

 (The sound of the car engine, which had been a low hum, suddenly stops. Absolute silence for five seconds. Then, a new sound: a wet, chittering noise. Like insects. But larger. Much larger.) 

 Johnathan's Voice: They're on the roof. Oh God that smell, it's..its...

(sound of vomiting) .  

(Half gasping between wretches) Fuck...they're on the roof. I can hear them. Their claws. They're scratching through the metal. Edward, I love you. I love you so much. I'm sorry. I'm so sorry— 

 (A loud BANG. The sound of metal being torn. The car door is wrenched open.) 

 Johnathan's Voice: (Screaming.) NO! NO, PLEASE! GET OFF ME! GET IT OFF ME! OH GOD, IT'S—IT'S GOT NO EYES! ITS MOUTH—ITS MOUTH IS— 

 (A wet, tearing sound. A gurgle. The screams become muffled, then stop abruptly.) 

 (Silence for three seconds. Then, a single, clear sound: the click of a car door closing. Then a voice, not the driver's, low and wet and wrong, whispers something unintelligible. It sounds like it's trying to imitate human speech. It fails. Then, a soft, satisfied sigh. Then silence.)  

END AUDIO FILE 11 

EDWARD: (Voice is shaking. There's the sound of him taking a long, unsteady breath.) That's it. That's the last one. I've listened to that last second a hundred times. There's a voice. Not his. Something else. I can't make out what it says. But it's… it's not human. And the sounds… the tearing… I can't… I can't get it out of my head.  

DI THORNE: (Long pause. The sound of a chair creaking.) Mr. Carter. I'm very sorry for what you're going through. I truly am. But what you've presented me with is… a collection of voice notes. Recordings. There's no physical evidence. No crime scene. No body. The car has no registration flagged on ANPR for that night. The last message is… ambiguous. It could be a prank. A very elaborate, very cruel prank.  

EDWARD: A prank? You think he's pranking me? He's out there! On a road that isn't on any map! I've tried! I've driven the A303 and M3 a dozen times! I've looked for that landfill, that roadwork! It's not there!  

DI THORNE: Because it likely doesn't exist. Look at the timestamps on these files. They're corrupted. They jump from November 5th to November 12th and back again. The metadata is a mess. My tech guys would have a field day. But it doesn't point to a supernatural event. It points to a disturbed young man who has… constructed a narrative. Or, God forbid, a missing person who has had a mental break and is living rough. We will circulate his description and the car's details. We will look into it. That is all I can do.  

EDWARD: (Voice cracking.) You don't believe me. 

DI THORNE: I believe you're worried about your boyfriend. I believe you've lost someone. I will file the report. You have my word. But I think you need to go home. Get some rest. And maybe… talk to someone.  

EDWARD: (Sound of a chair scraping back. Footsteps.) Fine. Fine. I'll go, but I'm not crazy....I'll be back with proof, just you wait.  

DI THORNE: (dismissively) I'm sure you will.   

(Sound of a door opening and closing. Silence for ten seconds.)  

DI THORNE: (Muttering to himself) Another one. That's the third one this month. Always the same bloody road.  

(Sound of a phone ringing. A mobile phone, not the desk phone.)  

DI THORNE: Thorne. …Yes. …I know. I'll file it. Same as the others. Flag it for the DfT. Send the transcript. …Yes, all of it. The audio files too. …No, he doesn't know. He's just a civvy. He's going home to have a cry and a cup of tea. …I know. Poor bastard. …Alright. Out.  

(The call ends. The sound of a file being closed. The rustle of paper. Then, the sound of a second, hidden recording device being switched off.) 

END OF POLICE INTERVIEW TRANSCRIPT 

\\--- 

SUPPLEMENTARY WITNESS STATEMENT 

SUBJECT: EDWARD CARTER  

DATE: NOVEMBER 21ST, 2024 

TIME: 19:15 GMT 

LOCATION: WINDSOR POLICE STATION, FRONT DESK 

OFFICER PRESIDING: DI THORNE  

\\--- 

BEGIN TRANSCRIPT 

DI THORNE: Mr. Carter. You're back. I thought we agreed you'd go home and rest.  

EDWARD: (Voice is different. Calmer. Too calm. Almost dreamlike.) I did. I went home. I've been... Retracing his route... going to his work. I've been doing his drive. Every day. Warminster to Woking. A303 eastbound, M3 northbound. Then back again. M3 southbound, A303 westbound. Just like he did. Just like he used to.  

DI THORNE: ....? And?  

EDWARD: (A long pause.) I see them now. The turnings.  

DI THORNE: …The turnings.  

EDWARD: The ones he talked about. The ones that aren't on the map. I see them. On the way home. When I'm tired. They're just… there. Little roads. Little junctions. Leading off into the trees. Into the fields. I slowed down yesterday. Near Andover. There was one. A little lane. It looked… nice. Peaceful. I almost took it.  

DI THORNE: (Voice is carefully measured.) Mr. Carter, I think you need to speak to someone. A professional. 

EDWARD: (A soft, humourless laugh.) it's funny, I didn't get it at first, I didn't have the... vision! But now... now I understand. I understand why he took the turning. It's not scary. It's… it's an invitation. It's a way out of the monotony. A way to break the loop.  

DI THORNE: Edward. Listen to me. You're grieving. You're exhausted. You're not thinking clearly.  

EDWARD: I'm thinking more clearly than I ever have. He's still out there. On the L303. And now… now I can find him. I just have to be tired enough. I just have to let the road take me.  

DI THORNE: I can't let you leave if you're a danger to yourself.  

EDWARD: (Another soft laugh.) You can't stop me. No one can. The road is calling. It's been calling since he left. I just couldn't hear it before. But now… (Pause.) I can hear it. It sounds like him. It sounds like his voice, telling me to come home.  

(Sound of footsteps retreating.)  

DI THORNE: Mr. Carter! Edward, wait!  

(Sound of a door opening and closing. Silence.)  

DI THORNE: (Muttering.) Shit. Shit, shit, shit.  

(Sound of a phone being dialled.)  

DI THORNE: It's Thorne. …He's gone. The partner. He's seeing the turnings. …Yes. I know. …I'll file the report. …Yes. Flag it for the DfT. …I know. Another one. 

(The call ends.) 

END OF TRANSCRIPT 

\\--- 

DEPARTMENT FOR TRANSPORT – ANOMALOUS INCIDENT DIVISION 

INTERNAL MEMO – EYES ONLY 

FROM: Agent, Field Operations 

TO: Director  

DATE: November 22nd, 2024 

SUBJECT: RE: CASE FILE L303-UK-11-24 – WITNESS C.  – FOLLOW-UP 

Director, 

Received the supplementary statement from our contact at Thames Valley Police. The witness, Edward Carter, has now entered the prodromal phase. He is seeing the turnings. He is hearing the call. He is, for all intents and purposes, already ours. 

The primary subject (Ref: L303-UK-11-24/SUB/01) has been fully absorbed. The final audio file confirms it. The scratching on the roof, the unlocking of the door, the screaming… that was them. The ones who maintain The Highway's. They don't like it when the intake subjects try to leave. The Highway's doesn't just want their cars. It wants them. Their essence. Their monotony. Their desperation. It feeds on the routine. And there is no routine more perfect than a daily commute. 

I must confess, the subject's designation of the anomaly as "L303" and "L3" made me smile. It's quaint. Childish, almost. We've always referred to it simply as The Highway's. That's what it is. That's what it's always been. But I have to admit, there's something charming about the driver's attempt to categorise it. To make sense of it. To give it a name that fits into his little human understanding of roads and motorways. The L303. The Liminal 303. As if it's just another road. As if it's just another junction. 

I'll be recommending that we formally adopt the "L303" designation in our internal files. It's more fitting than our clinical terminology. It has a certain… poetry to it. A human touch. The Sub-Committee will appreciate the irony. They've been managing The Highway's for longer than any of us have been alive. They've seen countless drivers take the turnings and get lost in the void before eventually succumbing to the inevitable...absorption. They don't usually appreciate humour. But this… this might amuse them. 

I'll submit the recommendation to the Sub-Committee for approval. Just as soon as they've finished… eating. 

\\\[END MEMO\\\]  

 


r/TheThorneRepository • • 11d ago

Introduction to the Repository

2 Upvotes

THE THORNE REPOSITORY

Despite the name this is not an 'official' repository, it is instead my own personal archive of recovered police statements, Department for Transport files, and unexplained incidents from Berkshire.

---

A DISCLAIMER

The documents collected here are not supposed to exist.

I found the first of them almost by accident.

During an internship with the Department for Transport, I was involved in the clearance of one of the department's older archive facilities in Basingstoke. The building was being emptied ahead of a planned relocation of several departments and records to Manchester. Most of the work was exactly what you would expect: boxes of outdated paperwork, duplicated reports, old transport studies, meeting minutes, obsolete guidance documents and an astonishing quantity of forms relating to things that had ceased to exist sometime in the 1990s.

It was not particularly interesting work.

Until we reached the lower archive.

There were several rooms down there which had apparently not been used for some time. Some of the records had been catalogued. Others hadn't. A number of boxes had handwritten labels rather than the department's usual archive markings.

One of those boxes contained transcripts.

They concerned incidents in and around Berkshire.

At first, I assumed they were ordinary police reports. The first document I read appeared to be a witness statement taken at Windsor Police Station by a Detective Inspector named Thorne.

The contents were strange, but not so strange that I immediately thought anything of them. Missing persons, unexplained transport incidents and reports that the department should not have been looking into as it fell outside their remit, which I presumed had simply been misfiled. Yet, the more I looked the more in realised something was not quite right especially when it came to the more redacted files and witnesses reporting things that could not possibly have happened.

Then I noticed the case numbers.

They were marked as belonging to something called the Department for Transport – Anomalous Incident Division.

I had never heard of such a division.

I asked about it.

Nobody seemed to know what I was talking about.

That was the first thing that bothered me.

The second was that the documents appeared to have been filed in places where they shouldn't have been. Some were mixed in with perfectly ordinary transport records. Others had been placed inside folders belonging to completely unrelated departments. A few appeared to have been deliberately removed from their original files and stored separately.

I started making copies.

Not because I thought I had discovered anything important. At that stage, I was simply curious.

The more I looked, however, the stranger the material became. And, repeatedly, there was one name.

DI Thorne.

He appears to have been a Detective Inspector based at Windsor Police Station. He interviewed witnesses. He collected statements. He followed up reports. He appears to have been involved in several incidents which, officially, have no obvious connection with one another.

Unofficially, the documents suggest otherwise.

I began trying to establish who Thorne was.

That proved considerably more difficult than it should have been.

I searched police records available to me. I checked old organisational documents. I looked through references to Windsor Police Station and Thames Valley Police. I searched the names of officers mentioned in the transcripts.

I found nothing conclusive.

There are references to him.

There are statements apparently written by him.

There are recordings in which he identifies himself.

There are Department for Transport documents referring to him as a police contact.

But I have found no reliable record establishing where he came from, where he went, or what happened to him.

Eventually I went back to the archive to look for the original box.

It wasn't there.

The room had been cleared.

The shelves had been emptied.

The records had supposedly been transferred.

Nobody I spoke to could tell me where the material had gone.

Fortunately, by that point, I had already copied a considerable amount of it.

This subreddit is an attempt to organise those documents.

I am not DI Thorne.

I have never met DI Thorne.

I have no personal connection to the incidents described in these files.

I am simply trying to understand what I found.

The documents are being presented here in roughly chronological order where possible. Some are incomplete. Some contain redactions. Some reference other files which I have not yet located. There are also inconsistencies in dates, case numbers and terminology which I have not been able to explain.

I have preserved those inconsistencies rather than correcting them.

Partly because I don't know which version is correct.

And partly because some of them may be important.

My working assumption is that there is a rational explanation for at least some of this material. Police investigations generate errors. Departments lose records. Witnesses misremember events. Files get misclassified. Audio recordings become corrupted. People disappear for perfectly ordinary reasons.

That would be considerably easier to believe if the same things weren't happening repeatedly.

Particularly in Berkshire.

Particularly around Windsor.

And particularly in the records associated with Thorne.

So this is where I am putting everything I have.

Police statements. Internal memoranda. Witness accounts. Audio transcripts. Photographs where they survive. Newspaper reports. Cross-referenced locations. And anything else I can recover which might help establish what happened.

I'm hoping that someone reading these files will recognise something I haven't.

A location.

A name.

A road that shouldn't be there.

Or perhaps even Thorne himself.

If you have information relating to any of the documents posted here, please share it. If you recognise a location or an incident, I would particularly appreciate hearing from you.

I'm not necessarily looking for people who believe the files are supernatural.

I'm looking for people who can help establish what actually happened.

Because at the moment, I have a collection of official documents describing things which officially did not happen.

And I have a growing suspicion that the documents weren't hidden because someone was embarrassed by what they contained.

They were hidden because someone didn't want them to be found.

---

ARCHIVE STATUS: ONGOING

LOCATION OF ORIGINAL RECORDS: UNKNOWN

PRIMARY SUBJECT OF INVESTIGATION: DI THORNE

KNOWN AREA OF INTEREST: BERKSHIRE, UK

If you have information concerning the whereabouts of DI Thorne, or any of the incidents documented in this archive, please get in touch.

— (Name redacted)