October 29, 2022 • 23 mins
A late night screening. A curious artist. A film that feels all too familiar.
Written by Noah Feinberg & Alexander Williams. Featuring the voices of Carter Rockwood, Clancy Brown, Noah Feinberg, Olivia Castanho, Geoffrey Kennedy, Joseph Whipp, Clayton Froning, Mark Hatfield, Joe Hart, Stig Michael Eldred, Raphael Corkhill, Clayton Farris, Laura Schein, Brian Bickerstaff, and Gary Forbes.
–––
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Thirteen Days of Halloween. Devil's Night, a production of I
Heart three D audio, Blumhouse Television and Grimm and Mild
from Aaron Maykey Headphones recommended. Listener discretion advised. This is
a w B r D Devil's Night bullet reminder. The
(00:26):
Sheriff's Department hasn't stated a curfew requiring all citizens to
remain home until further notice. We've received reports of vandalism,
are even murder across the streets of Bradberry tonight. Desperation
has taken root in our little town. And if you're
looking to take refuge from this evening's cruel tricks, Bradberry
(00:47):
Picture House invites you to drop on by, whether you're
in danger, lost, or just incredibly lonely. Our doors are
always open. Mm hm this this is an air duct
and it's a dead end. Psilo. I don't know where
(01:10):
to go, Besilo, Besilo, don't now come in arrow quickly.
(01:32):
I can't see anything. What is this place? H m
hm Now the movie theater because there's this thing playing?
(01:53):
Blow is anyone here? All these empty seats? They must
be closed. Take it into the lobby, maybe the emergency exit. Ah,
why would they lock. It just definitely qualifies as an emergency. Well,
(02:20):
we can't get out, and we can't go back the
way we came in. There has to be something we
can't just be trapped in here as well? Can you
hear me? BESI? Well, where did he go? I can't
(02:41):
believe I'm saying it arrow, but I wish he was here.
His help isn't always the most helpful, but at least
he'd have an idea. I know, boy, there's got to
be something wrong here. What do you think it is? Movie?
(03:05):
Is by making it? Use your mind? Popcorns so hard
to break? Three TV? Is the screen actually made of
human skin? Hopefully we won't find out to claim a
movie coming to hell? There must be someone up in
(03:26):
the projection? Movie? Hello? Hello, Hello, I know someone's out there.
What's the matter? Is the picture blurry? No? What? Well?
Then take your seat. They'll disturb the other guests. I'm
the only one here. Well, lucky, you enjoy the show.
(03:49):
I don't want to watch a movie. I'm just trying
to get out of here. There won't be any refunds.
I don't care. Just let me out. You're free to
go any time. But all the doors are locked. Hello,
there is another way out. Come to the back of
the theater. There's a door hidden in the middle of
(04:12):
the wall. You know, hello, but I don't see another way.
Come on Arrow. Well you sure are getting the backstage
(04:40):
tour tonight? You said there was an exit. This is
just your office. This is the box. This is where
the real magic happens. Do you have any idea of
the work that goes into the exhibition of cinematic I don't,
and you don't care. I just want to leave. Oh
calm down now. There's nothing up here that will hurt you.
You have my word, Max. The screen is not made
(05:02):
of human skin, though it would hardly be a stretch
given all you've seen tonight. Who are you? I'm the projectionist.
And how do you know my name? Your dog is
very faithful? Uh yeah, Carol's a restaurant. Hmm. How come
(05:25):
I've never seen you around? Are you new to Bradbury? No,
I've been here a while. Can't have been that long?
Is theater is only a few years old? I think
it opened right before the Craft. The world doesn't revolve
around motion pictures, Max. There are many ways to tell
a story. M surely you listen to the radio. I
(05:50):
I have to get home. Please unlock the doors, but
the movie is starting. I heard about your fan No
shame in it. Good hard work and folks all over town.
If basen the same your fiction? That's is that me? How?
(06:14):
Who are you? I told you I'm the projectionist? Okay,
before that? What did people call you before? I was
the projectionist? I've always been a projectionist. My father was
a projectionist. His father before him was a projectionist. His
father before him was He actually worked in textiles, but
(06:35):
he was the black sheep. Were you talking about? Your grandfather?
Couldn't have been a projectionist. Don't even movies back there?
Where did you hear that? My dad told me a
bit of advice, son, don't listen too much to what
other people tell you. Everyone's got an agenda. It's the
ones who say they don't that you can't trust. Well,
(06:56):
what's your agenda? Don't got one? Hand me that real? Well,
go on, it won't bite. But to your point, yes,
I suppose we didn't always call ourselves projectionists. There were
a host of gadgets that came before this wonderful machine,
phantoscopes and phasmatropes, zoopraxoscopes and zoo tropes, chromotropes, kinetoscopes, kinnessy graphs,
(07:22):
pracsino scopes. Before them were the instruments of phantasmagoria, the
magic lantern, the cameras obscure. And before it all there
was the art of silhouette, the puppetry of handshadows against
a fire lit cavern wall. And for all of them,
in every era there was an operator, someone who could
(07:44):
take a moment frozen in time and bring it back
to life. The projectionist. How did you have that film
from the orchard of me and the farmer? I see
everything that happens in Bradberry, all of its stories. Kid,
What are you doing way out on the highway? No harm?
(08:06):
And they havn't a decent meal? Who warm yourself up
a bit? Maybe you could come on, get out of
the element, get your breath. How how did you get this?
You said? The dog is your best friend? Huh, Yes,
he still is a best friend. Who can't talk back.
(08:29):
It's got my design. Perhaps he's protective too. That's a
good traitment a friend. But Arrow is not the only
one protecting you, is he? Just tell me what you
want here, come turn the crank. Will it make me
(08:50):
a projectionist with you? As if just anyone could take
on this mantle? Now what did you do? As I say,
I unlocked the doors? M m, there's nothing to be
afraid of. I just want you to have a hand
in telling this story. Why because it's yours? Llow ll hold?
(09:17):
Where the all? How did you get this? Birthday? Birthdays yard?
I was so little at time? Flies, boy, you better
get to wrap in here. One time lost his job. Children,
(09:42):
Get down school, Matt? Are you paying attention? I haven't
been so long. M Does that make you sad? Of course?
I mean at first I thought I'd get really lonely
not seeing everyone. But and I'd like kickball with you guys,
(10:03):
mad pot the point, kickball with the but I all
move mad off bird. Oh. But it was only after
I left school that I realized I've always really been lonely,
and I don't mind so much anymore. No, why is
(10:26):
that I don't know most people, at least the ones
I've known, are cruel. I only want to play tricks
and hurt you. For me, loneliness is like the numb,
frozen feeling when snow gets inside your mitten. It's frost bite.
(10:47):
But being around people, trusting them and having them rite
you down, it's like having your handcut right off, the
searing pain of human connection. Hence the dog. What do
you want from me? Don't stop? This is the good part. No,
(11:08):
I'm done. One more, one more scene, and I promise
that is it. All your questions will be answered. Fine,
do not be afraid. You have nothing to fear from me.
(11:29):
What are you a friend? For a man who sees everything?
I thought i'd seen everything, but this vesslele as you
call him? That? An old one? He ala seems to
show up when you are in trouble. Well, what do
we have here? Another hitchhiker? You're not my cooker? What
(11:51):
do you suppose that's because he's saving you from danger?
You needed me and so I came to help, Or
because he is the danger back the woman wants us?
You're not world? Who is he really? Who? You pray? Pray?
What is he really? You're familiar the thing that follows?
(12:14):
Why is he so interested in you? Let me walk
home with you? That is all I ask? And why
does he need you to trust him? I think you
are the reason I exist either way, it must be
nice having someone who's always there. Then again, I wonder
(12:35):
where he is now. You didn't answer anything. All you
did was ask questions, why are you keeping me here?
You didn't really think you're the only one in this
town who's lonely? Did you? Don't you have friends? I
spend my days observing other some them afar so close
(12:56):
that I know every detail, every glorious or dirty secret,
But nobody knows me. I've had friends, but they're always
fleeting like her. Let me out, I'll be lea, you're back,
(13:22):
you're not, and then you won't get away with this.
But what do these let me go? I don't. Did
you trap someone nut in the screen? How I'm the projections?
(13:43):
It's really hard and will happened? They always burn. I've
tried this before tonight, prisoning others humans inside my screen,
and it works well until midnight, when the sorcery of
(14:06):
sam Haine vanishes into the dawn. On any normal day,
the weak constitution of human flesh and bone are unfit
to weather my playpen. Only I could find someone of
in human constitution. Where am I? Well? I guess that's
(14:35):
the end of the clip shop. What is this place.
I do not know what happened. I do not know
how I lost you. Oh? But he's never too far away?
Is he? Max? Who is that with you? It's the
projection is highs allow? What is this? Let me out
(15:03):
of here at one. If there's anything to be gleaned
from tonight's events is that your Bezel is in his element,
battling the mortal world, but against something like me. Release me, Priest.
Perhaps he's not so scary after all? What is going
on here? I I don't know how to explain it,
(15:23):
But you're in a movie? What what? Oh? Nothing for
you to worry about? Bez? Can I call you? Bez?
I don't know what you are, and I know you'd
never tell me the truth. But we know you're not human,
And if my theory is correct, that very inhumanity may
(15:44):
possess the fortitude to withstand my prison of the damned
beyond midnight? Or dare I say forever, no way, no way,
You're gonna trap Beslo here as your friend forever. Max,
Listen to me. You need to get out of here immediately.
This is not safe for you. What about you? What
(16:06):
if he's wrong? You're not able to withstand it at midnight,
you'd be incinerated. Incinerated. Oh, he'll be fine, better than fine.
He'll have a new companion, and so finally will I. Oh,
I won't leave him here, Max, this is not about me.
(16:29):
You need to go. Let us talk. Of course, Max,
I'd never ask you to just leave as alone here.
I'm no common highwayman, after all, I'm a businessman. Let's
see six hundred seven D eight hundred nine D. That's
that's for me and your family. You could keep the
(16:53):
bank from taking your house hack With this much dough,
you could just buy the bank. Max. It's okay, I
will be fine, but you have to get out of
here right now. Do not listen to any of your
mouth are all incinerate you, and do do not scare me.
Do your worst, you pathetic little Let's pause right there.
(17:17):
Please excuse the outburst. The switch to talkies hasn't been easy.
You're crazy. Have you thought to consider why you don't
have any friends. I might have a few ideas, Oh,
I imagine you do. We're not so different, you and I.
I know what it feels like the way you begin
to lose feeling go numb. I too have felt the
(17:38):
frost bite of loneliness. Max, Well, if you like that,
let go of my arm. I'm gonna love this seering
pain of human connection. Help me out of this? How
do I free? Bez? All out? Max? It's going to
get cooling you in? What are you worried about your
(17:59):
precious projectors? This projector is more valuable than you can imagine.
But it's not just that you don't know what you're
doing well. Times are tough all around. Now now, no no, no, no, no, no,
no no no. I can't be here. What have you done? Boy?
(18:23):
What have you done? Hello? Stranger? Stay back, stay back?
Where's your pause button? Now? Now listen. I'll make you
a deal. Have another stack of bills on you? You
know I'm the only one who can get you out
(18:45):
of here. We will see about that, Max, this would
be a good time to leave. I am not sure
you will want to see this. Yeah, mh Bresilo is
(19:12):
not in the screen anymore. The screen Arrow through the screen.
There's gotta be an exit back there. H oh grows
it is human skin. Oh arrow, don't eat it, good boy,
(19:34):
I guess come on, m hm m hmm. I can't
see anything back here. Where out arrow? Are you still there?
A little? Is that following my voice? This way? You're free.
(19:58):
I wasn't sure, but I thought maybe if I grouped
the projector hurry, there's a trash shoot back here A little? Yes, Max? Well,
I guess I was expecting a thank you for rescuing me. Max.
I appreciate you saving me from an eternity enslaved as
(20:18):
the climate of a deranged projectionist trumped in a movie
screen meat a flesh. Oh thank you, Max. Now please
get in the shoote. This will drop you behind the building.
What about you? Aren't you coming? No, I need to
(20:41):
finish the movie. But how you Carol? Don't worry. Bisilo
will be okay. Yeah, he'll be okay. Come on, buddy,
(21:01):
I like your best one. It's just us anyway. Thirteen
(21:27):
Days of Halloween Devil's Night, starring Carter Rockwood and Clancy Brown.
Episode eleven. The movie Theater written by Noah Finberg and
Alexander Williams, editing and sound designed by Zoe Shay, featuring
the voices of Noah Finberg, Olivia Castineau, Jeffrey Kennedy, Joseph Whipp,
Joe Hart, Stig, Michael Eldred Clayton, Frowning, Clayton Ferris, Laura Shine,
(21:53):
Raphael Corkill, Brian Bickerstaff, Mark Hatfield, and Gary Forbes. Directed
by Alexander Williams. Script supervision by Nicolas Takoski. Casting by
Sunday Bowling c s A and Meg Mormon c s A.
Production coordinator Wayna Calderon. Production assistants Zoe Shay and Amber Ferris.
(22:14):
Animal recording by Ben James, closing theme by Rose Azerti
Loyalty Freak Music dot Com. Recorded at d G Entertainment
in Los Angeles, California. Engineered by Gary Forbes and Jody Avant.
Additional recording by Wally's Hideout in San Francisco, California. Engineered
(22:34):
by Chris mcgru Executive producers Aaron Mankey, Noah Finberg, Chris Dicky,
Matt Frederick and Alexander Williams. Supervising producers Trevor Young and
Josh Stain. Producers Jesse Funk and rima il Kali. Thirteen
Days of Halloween was created by Matt Frederick and Alexander
Williams and is a production of iHeart three D Audio,
(22:57):
Blumhouse Television and Grim and Mild from Aaron Mankey. Learn
more about the show at Grimm and Mild dot com.
Slash thirteen days and find more podcasts from I heart
Radio by visiting the i heart Radio app, Apple Podcasts,
or wherever you listen to your favorite shows. H
Thirteen Days of Halloween. Devil's Night, a production of I
Heart three D audio, Blumhouse Television and Grimm and Mild
from Aaron Maykey Headphones recommended. Listener discretion advised. This is
a w B r D Devil's Night bullet reminder. The
(00:26):
Sheriff's Department hasn't stated a curfew requiring all citizens to
remain home until further notice. We've received reports of vandalism,
are even murder across the streets of Bradberry tonight. Desperation
has taken root in our little town. And if you're
looking to take refuge from this evening's cruel tricks, Bradberry
(00:47):
Picture House invites you to drop on by, whether you're
in danger, lost, or just incredibly lonely. Our doors are
always open. Mm hm this this is an air duct
and it's a dead end. Psilo. I don't know where
(01:10):
to go, Besilo, Besilo, don't now come in arrow quickly.
(01:32):
I can't see anything. What is this place? H m
hm Now the movie theater because there's this thing playing?
(01:53):
Blow is anyone here? All these empty seats? They must
be closed. Take it into the lobby, maybe the emergency exit. Ah,
why would they lock. It just definitely qualifies as an emergency. Well,
(02:20):
we can't get out, and we can't go back the
way we came in. There has to be something we
can't just be trapped in here as well? Can you
hear me? BESI? Well, where did he go? I can't
(02:41):
believe I'm saying it arrow, but I wish he was here.
His help isn't always the most helpful, but at least
he'd have an idea. I know, boy, there's got to
be something wrong here. What do you think it is? Movie?
(03:05):
Is by making it? Use your mind? Popcorns so hard
to break? Three TV? Is the screen actually made of
human skin? Hopefully we won't find out to claim a
movie coming to hell? There must be someone up in
(03:26):
the projection? Movie? Hello? Hello, Hello, I know someone's out there.
What's the matter? Is the picture blurry? No? What? Well?
Then take your seat. They'll disturb the other guests. I'm
the only one here. Well, lucky, you enjoy the show.
(03:49):
I don't want to watch a movie. I'm just trying
to get out of here. There won't be any refunds.
I don't care. Just let me out. You're free to
go any time. But all the doors are locked. Hello,
there is another way out. Come to the back of
the theater. There's a door hidden in the middle of
(04:12):
the wall. You know, hello, but I don't see another way.
Come on Arrow. Well you sure are getting the backstage
(04:40):
tour tonight? You said there was an exit. This is
just your office. This is the box. This is where
the real magic happens. Do you have any idea of
the work that goes into the exhibition of cinematic I don't,
and you don't care. I just want to leave. Oh
calm down now. There's nothing up here that will hurt you.
You have my word, Max. The screen is not made
(05:02):
of human skin, though it would hardly be a stretch
given all you've seen tonight. Who are you? I'm the projectionist.
And how do you know my name? Your dog is
very faithful? Uh yeah, Carol's a restaurant. Hmm. How come
(05:25):
I've never seen you around? Are you new to Bradbury? No,
I've been here a while. Can't have been that long?
Is theater is only a few years old? I think
it opened right before the Craft. The world doesn't revolve
around motion pictures, Max. There are many ways to tell
a story. M surely you listen to the radio. I
(05:50):
I have to get home. Please unlock the doors, but
the movie is starting. I heard about your fan No
shame in it. Good hard work and folks all over town.
If basen the same your fiction? That's is that me? How?
(06:14):
Who are you? I told you I'm the projectionist? Okay,
before that? What did people call you before? I was
the projectionist? I've always been a projectionist. My father was
a projectionist. His father before him was a projectionist. His
father before him was He actually worked in textiles, but
(06:35):
he was the black sheep. Were you talking about? Your grandfather?
Couldn't have been a projectionist. Don't even movies back there?
Where did you hear that? My dad told me a
bit of advice, son, don't listen too much to what
other people tell you. Everyone's got an agenda. It's the
ones who say they don't that you can't trust. Well,
(06:56):
what's your agenda? Don't got one? Hand me that real? Well,
go on, it won't bite. But to your point, yes,
I suppose we didn't always call ourselves projectionists. There were
a host of gadgets that came before this wonderful machine,
phantoscopes and phasmatropes, zoopraxoscopes and zoo tropes, chromotropes, kinetoscopes, kinnessy graphs,
(07:22):
pracsino scopes. Before them were the instruments of phantasmagoria, the
magic lantern, the cameras obscure. And before it all there
was the art of silhouette, the puppetry of handshadows against
a fire lit cavern wall. And for all of them,
in every era there was an operator, someone who could
(07:44):
take a moment frozen in time and bring it back
to life. The projectionist. How did you have that film
from the orchard of me and the farmer? I see
everything that happens in Bradberry, all of its stories. Kid,
What are you doing way out on the highway? No harm?
(08:06):
And they havn't a decent meal? Who warm yourself up
a bit? Maybe you could come on, get out of
the element, get your breath. How how did you get this?
You said? The dog is your best friend? Huh, Yes,
he still is a best friend. Who can't talk back.
(08:29):
It's got my design. Perhaps he's protective too. That's a
good traitment a friend. But Arrow is not the only
one protecting you, is he? Just tell me what you
want here, come turn the crank. Will it make me
(08:50):
a projectionist with you? As if just anyone could take
on this mantle? Now what did you do? As I say,
I unlocked the doors? M m, there's nothing to be
afraid of. I just want you to have a hand
in telling this story. Why because it's yours? Llow ll hold?
(09:17):
Where the all? How did you get this? Birthday? Birthdays yard?
I was so little at time? Flies, boy, you better
get to wrap in here. One time lost his job. Children,
(09:42):
Get down school, Matt? Are you paying attention? I haven't
been so long. M Does that make you sad? Of course?
I mean at first I thought I'd get really lonely
not seeing everyone. But and I'd like kickball with you guys,
(10:03):
mad pot the point, kickball with the but I all
move mad off bird. Oh. But it was only after
I left school that I realized I've always really been lonely,
and I don't mind so much anymore. No, why is
(10:26):
that I don't know most people, at least the ones
I've known, are cruel. I only want to play tricks
and hurt you. For me, loneliness is like the numb,
frozen feeling when snow gets inside your mitten. It's frost bite.
(10:47):
But being around people, trusting them and having them rite
you down, it's like having your handcut right off, the
searing pain of human connection. Hence the dog. What do
you want from me? Don't stop? This is the good part. No,
(11:08):
I'm done. One more, one more scene, and I promise
that is it. All your questions will be answered. Fine,
do not be afraid. You have nothing to fear from me.
(11:29):
What are you a friend? For a man who sees everything?
I thought i'd seen everything, but this vesslele as you
call him? That? An old one? He ala seems to
show up when you are in trouble. Well, what do
we have here? Another hitchhiker? You're not my cooker? What
(11:51):
do you suppose that's because he's saving you from danger?
You needed me and so I came to help, Or
because he is the danger back the woman wants us?
You're not world? Who is he really? Who? You pray? Pray?
What is he really? You're familiar the thing that follows?
(12:14):
Why is he so interested in you? Let me walk
home with you? That is all I ask? And why
does he need you to trust him? I think you
are the reason I exist either way, it must be
nice having someone who's always there. Then again, I wonder
(12:35):
where he is now. You didn't answer anything. All you
did was ask questions, why are you keeping me here?
You didn't really think you're the only one in this
town who's lonely? Did you? Don't you have friends? I
spend my days observing other some them afar so close
(12:56):
that I know every detail, every glorious or dirty secret,
But nobody knows me. I've had friends, but they're always
fleeting like her. Let me out, I'll be lea, you're back,
(13:22):
you're not, and then you won't get away with this.
But what do these let me go? I don't. Did
you trap someone nut in the screen? How I'm the projections?
(13:43):
It's really hard and will happened? They always burn. I've
tried this before tonight, prisoning others humans inside my screen,
and it works well until midnight, when the sorcery of
(14:06):
sam Haine vanishes into the dawn. On any normal day,
the weak constitution of human flesh and bone are unfit
to weather my playpen. Only I could find someone of
in human constitution. Where am I? Well? I guess that's
(14:35):
the end of the clip shop. What is this place.
I do not know what happened. I do not know
how I lost you. Oh? But he's never too far away?
Is he? Max? Who is that with you? It's the
projection is highs allow? What is this? Let me out
(15:03):
of here at one. If there's anything to be gleaned
from tonight's events is that your Bezel is in his element,
battling the mortal world, but against something like me. Release me, Priest.
Perhaps he's not so scary after all? What is going
on here? I I don't know how to explain it,
(15:23):
But you're in a movie? What what? Oh? Nothing for
you to worry about? Bez? Can I call you? Bez?
I don't know what you are, and I know you'd
never tell me the truth. But we know you're not human,
And if my theory is correct, that very inhumanity may
(15:44):
possess the fortitude to withstand my prison of the damned
beyond midnight? Or dare I say forever, no way, no way,
You're gonna trap Beslo here as your friend forever. Max,
Listen to me. You need to get out of here immediately.
This is not safe for you. What about you? What
(16:06):
if he's wrong? You're not able to withstand it at midnight,
you'd be incinerated. Incinerated. Oh, he'll be fine, better than fine.
He'll have a new companion, and so finally will I. Oh,
I won't leave him here, Max, this is not about me.
(16:29):
You need to go. Let us talk. Of course, Max,
I'd never ask you to just leave as alone here.
I'm no common highwayman, after all, I'm a businessman. Let's
see six hundred seven D eight hundred nine D. That's
that's for me and your family. You could keep the
(16:53):
bank from taking your house hack With this much dough,
you could just buy the bank. Max. It's okay, I
will be fine, but you have to get out of
here right now. Do not listen to any of your
mouth are all incinerate you, and do do not scare me.
Do your worst, you pathetic little Let's pause right there.
(17:17):
Please excuse the outburst. The switch to talkies hasn't been easy.
You're crazy. Have you thought to consider why you don't
have any friends. I might have a few ideas, Oh,
I imagine you do. We're not so different, you and I.
I know what it feels like the way you begin
to lose feeling go numb. I too have felt the
(17:38):
frost bite of loneliness. Max, Well, if you like that,
let go of my arm. I'm gonna love this seering
pain of human connection. Help me out of this? How
do I free? Bez? All out? Max? It's going to
get cooling you in? What are you worried about your
(17:59):
precious projectors? This projector is more valuable than you can imagine.
But it's not just that you don't know what you're
doing well. Times are tough all around. Now now, no no, no, no, no, no,
no no no. I can't be here. What have you done? Boy?
(18:23):
What have you done? Hello? Stranger? Stay back, stay back?
Where's your pause button? Now? Now listen. I'll make you
a deal. Have another stack of bills on you? You
know I'm the only one who can get you out
(18:45):
of here. We will see about that, Max, this would
be a good time to leave. I am not sure
you will want to see this. Yeah, mh Bresilo is
(19:12):
not in the screen anymore. The screen Arrow through the screen.
There's gotta be an exit back there. H oh grows
it is human skin. Oh arrow, don't eat it, good boy,
(19:34):
I guess come on, m hm m hmm. I can't
see anything back here. Where out arrow? Are you still there?
A little? Is that following my voice? This way? You're free.
(19:58):
I wasn't sure, but I thought maybe if I grouped
the projector hurry, there's a trash shoot back here A little? Yes, Max? Well,
I guess I was expecting a thank you for rescuing me. Max.
I appreciate you saving me from an eternity enslaved as
(20:18):
the climate of a deranged projectionist trumped in a movie
screen meat a flesh. Oh thank you, Max. Now please
get in the shoote. This will drop you behind the building.
What about you? Aren't you coming? No, I need to
(20:41):
finish the movie. But how you Carol? Don't worry. Bisilo
will be okay. Yeah, he'll be okay. Come on, buddy,
(21:01):
I like your best one. It's just us anyway. Thirteen
(21:27):
Days of Halloween Devil's Night, starring Carter Rockwood and Clancy Brown.
Episode eleven. The movie Theater written by Noah Finberg and
Alexander Williams, editing and sound designed by Zoe Shay, featuring
the voices of Noah Finberg, Olivia Castineau, Jeffrey Kennedy, Joseph Whipp,
Joe Hart, Stig, Michael Eldred Clayton, Frowning, Clayton Ferris, Laura Shine,
(21:53):
Raphael Corkill, Brian Bickerstaff, Mark Hatfield, and Gary Forbes. Directed
by Alexander Williams. Script supervision by Nicolas Takoski. Casting by
Sunday Bowling c s A and Meg Mormon c s A.
Production coordinator Wayna Calderon. Production assistants Zoe Shay and Amber Ferris.
(22:14):
Animal recording by Ben James, closing theme by Rose Azerti
Loyalty Freak Music dot Com. Recorded at d G Entertainment
in Los Angeles, California. Engineered by Gary Forbes and Jody Avant.
Additional recording by Wally's Hideout in San Francisco, California. Engineered
(22:34):
by Chris mcgru Executive producers Aaron Mankey, Noah Finberg, Chris Dicky,
Matt Frederick and Alexander Williams. Supervising producers Trevor Young and
Josh Stain. Producers Jesse Funk and rima il Kali. Thirteen
Days of Halloween was created by Matt Frederick and Alexander
Williams and is a production of iHeart three D Audio,
(22:57):
Blumhouse Television and Grim and Mild from Aaron Mankey. Learn
more about the show at Grimm and Mild dot com.
Slash thirteen days and find more podcasts from I heart
Radio by visiting the i heart Radio app, Apple Podcasts,
or wherever you listen to your favorite shows. H
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