June 28, 2024 • 55 mins
Episode Alternative Title: “The Marksman” – Leo Brawn, Episode 6
Episode Description:
Fresh from his brutal encounter with The Hangman, Leo Brawn returns to the field—more determined than ever to save Laurie Stryker, the punk rock singer gripped by a powerful demonic possession. But time is running out, and Laurie’s torment deepens when she receives another unwelcome visitor... someone—or something—that isn't there to help.
Back in Hell, Captain F.J. Mangutt teams up with former action star turned investigator Willie Topaz to probe the suspicious death of an inmate inside the Obsidian Recovery Agency. What they uncover isn’t just a body—it’s the beginning of a chilling new mystery.
And from the scorched borders of the afterlife, a new, enigmatic figure emerges from the shadows: The Marksman. Cloaked in silence and armed with ancient weaponry, this stranger might be ally… or executioner.
Dark secrets rise. New players enter. And the clock is ticking.
🎧 Prepare for demon hunts, hidden agendas, and the arrival of a legend.
Perfect for fans of:
#HorrorPodcast #SupernaturalThriller #DemonHunter #GothicAudioDrama #LeoBrawn #LaurieStryker #ParanormalPodcast #FantasyHorror #ShoestringTV #TheMarksman #CinematicAudio #OccultMystery #HellSaga
Starring:
- Stitch Mainville as Leo Brawn & Cab Driver
- Andy Parkin as Narrator 2
- Melrose Johnson as Captain F.J. Mangutt & June Chesterfield
- Emily Fry as Laurie Stryker
- Mitch Leschinski as Father Marwood
- Tabitha Mixon as Jillian Burkett
- Eric Carlino as Sebastien & Herman Edward Coxlin
- Jim Fronk as Maury Stillman
- Terry Briscoe as Willie Topaz
- Robert Lloyd as Stagehand
Support the show:
Subscribe to our Patreon site at https://www.patreon.com/c/ShoestringTV
For only $5 a month you can subscribe and become an O.R.A. member. This exclusive membership grants you access to behind the scenes clips, concept art, bonus clips, and so much more!
Donate:
https://ko-fi.com/shoestringtv
Follow us on Facebook:
https://www.facebook.com/336725406199301
Join our Discord:
https://discord.com/invite/5xcvXSR9dC
*Headphones recommended.
Created, written, directed and produced by Jason Beard
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_00 (00:01):
In
SPEAKER_02 (00:18):
the present day, in the scorched desert of the
abominable sands, Miles awayfrom the capital city of Dante
and far away in space and timefrom South Florida where Leo
Braun had successfully exorcisedthe demon of Philip Weston only
a month earlier.
The ruins of ancient cities andpalaces now lay entombed at the
bottom of the desert.
(00:39):
Once the home of the walkingdamned with fiery burning sand,
powerful sandstorms andsmoldering ashes raining from
the sky, the abominable sands isnow a barren, lifeless desert
with a cracked, ash-blackenedfloor.
The hush of this desolatewasteland is interrupted as the
deep rumble of a motorcycle isheard approaching.
(00:59):
From a distance, a vintageHarley Davidson knucklehead
races across the flattened land,leaving a trail of dust and sand
in its wake.
Against the worn and weatheredbackdrop of the bleak and barren
desert, the bike is in starkcontrast, adorned in polished
and glistening chrome.
The rider is imposing.
Helmed in a black cowboy hat,silver aviator sunglasses,
(01:22):
garbed in a sleevelessmilitary-style vest, and combat
trousers.
His darkened gray and muscledarms extend outwards as gloved
hands grip the custom highhandlebars.
The mysterious Dark Rider isfitted with boots made of an
unknown reptilian skin, wrappedin spurs.
Instead of a spinning starshipgrowl, the spur is finished with
(01:44):
a razor-sharped curved blade.
Although a veritable no man'sland, the Dark Rider known only
as the Marksman disrupts thedesolation as he decelerates
gliding to a halt, parking hismetal steed near a collapsed
building.
(02:11):
He takes a moment to loosen thestring under his chin, holding
his hat firmly in place.
flicks out a bandana from hispocket, uses it to methodically
wipe the dust from hisheadlight, almost tenderly
wiping the chrome engine guardclean of accumulated debris
before returning his gaze.
Gray smoke is rising into theoppressively bright sky from a
(02:33):
makeshift campfire concealedbehind the remnants of ruins.
The marksman walks through thegrounds of the small hideout,
kicking over a few opened cans,provisions from whomever had
rested here.
He removes his sunglasses toreveal eyes without iris or
pupil.
His face, a complexion of blackand gray, perhaps due to a life
(02:54):
under such harsh conditions.
He grimaces and looks over theimprovised campgrounds.
Kneeling down to investigatefootprints in the sand.
A trail.
He mutters something to himselfin a deep guttural grumble.
From his motorcycle, he pulls aBarrett M82A1.50 caliber sniper
(03:16):
rifle from a hand-welded gunrack mounted to the seat.
He places his solid white eye tothe ocular housing of a scope
attached to the rifle andfollows the trail of the
footsteps.
It isn't long before he spotshis prey.
A smaller stump of a hell-borndemon, running at full tilt in
the opposite direction of thecamp.
(03:40):
The marksman grins.
The demon desperately tries tomake distance from the marksman,
having realized he was spotted.
The roar of the motorcycleengine growls louder as the dark
rider assassin closes thedistance.
The demon abruptly makes a sharpturn, having spotted possible
refuge as more ruins lay ahead.
The marksman comes to a stop anddismounts the bike, leaving it
(04:01):
running.
He climbs atop the remains of alavish rooftop from some palace
that has long since succumbed tothe abominable sands.
Through the scope once again, hefollows his target as the demon
dives behind a stone wall halfburied in the sand.
Hiding behind the stone ruins,the panicked demon stands still
attempting to calm hisbreathing.
(04:24):
On the horizon, the marksmanassumes a trap shooter stance.
One leg steps forward as hebends his other leg at an angle.
He adjusts the elevation andwindage turrets on the scope and
then modifies magnification.
Before looking through thescope, He turns his face to the
stark, hazy sky above.
He throws a handful of dust intothe air and observes wind
(04:47):
conditions, noticing some wingedcreature hovering high in the
sky before being concealed bysmoky clouds.
He returns his attention to theruins where his target is
hiding, almost imperceivablefrom the surroundings due to the
excessive distance.
The demon hiding behind thelarge stone wall is unable to
stay still any longer and beginsto creep towards a corner of
wall, hoping to peek behind it.
(05:08):
As he steps silently towards theedge, he presses down on an
assortment of small twigs,unleashing a slight cracking
sound into the ether.
A section of the stone wallrefuge shatters.
Without warning, the demon'shead is split open with such
force that he's almostcompletely decapitated.
His limp body falls helpless tothe desert sand below.
as the echo of gunfire is heardin the distance.
(05:32):
Moments later, the marksmanpulls his bike up closer to the
unmoving target, clicks theengine off, throws out his
kickstand as he sweeps his legto dismount the bike and walks
towards the dead body.
Kneeling over the lifelessdemon, he pulls out a large
knife and removes the indexfinger from the demon's right
hand.
He places the dismembered fingerin the satchel.
(05:53):
Then taking hold of the demon'sbody, he props him up in a
slightly more dignified positionup against the remains of the
stone wall.
Nearby, a vibration is heard.
The marksman pats the dead demonon the shoulder and walks over
to his bike where an old leatherbriefcase vibrates in a
compartment also mounted on themotorcycle.
The assassin opens the briefcaseand pulls out a small card.
(06:16):
Flipping the card over, themessage printed in bold black
ink on the face of the cardreads, the cave
SPEAKER_00 (06:30):
shoestring tv presents leo braun episode six
hangman part two
SPEAKER_02 (06:52):
It's an overcast day in hell, and the formidable
stature of the ORA headquarterscasts a foreboding shadow across
Good Intentions Boulevard.
The former actor, Willie Topaz,enters the building and notices
Captain F.J.
Mangud is sitting at hercomputer.
Hey Cap, what's up?
Hi Willie.
Monitoring our new recruit.
(07:12):
The homicide detective, right?
Right.
Detective Leobron.
Hmm.
Cool name.
I wonder if it's a stage name.
SPEAKER_00 (07:20):
I played a detective once.
Detective Archie Magnet.
Good gig.
Ernest Bognine co-starred.
We were on the hunt of thenotorious killer with the
calling card.
The Wombat.
It starts in the Amazon.
SPEAKER_02 (07:33):
Hey, Willie, as much as I love listening to your
resume, kinda busy right now.
It's Leo's first assignment andit's already gone sideways.
Then he only arrived like threedays ago?
SPEAKER_01 (07:44):
Seems awfully early to put him in the field.
SPEAKER_02 (07:46):
Yes, a long story and a boring one at that.
Need me to jump in, Cap?
No.
June is with him.
Plus, you're on tour duty.
Dammit, not again! Hey, we needagents, and who better to
influence potential new recruitsthan the one and only action
movie star, Willy Topaz.
You know, flattery will get youeverywhere.
(08:07):
Moments later, with the touralready in progress, Willy
brings the group to the lowerlevel of the Obsidian Recovery
Agency, to the section calledThe Slab.
This is one of the most criticalsections of the ORA.
We call it The
SPEAKER_01 (08:21):
Slab.
This is where we usetransmigration, or reincarnation
technology, which allows for ouragents to transport to the
homeland and free our subjectsfrom illegal demonic
possessions.
SPEAKER_02 (08:32):
From the middle of the group, a hand raises.
SPEAKER_01 (08:34):
Yes,
SPEAKER_00 (08:35):
is there a question?
SPEAKER_02 (08:36):
The group surrounding the tall, pale man
with his hand raised movesaside, revealing...
It's the serial killer, HermanEdward Coxland.
His ghostly, pale blue eyesfixated on Willie.
SPEAKER_00 (08:48):
Yes, Mr.
Topaz, I'll start by saying I'ma big fan of your films,
especially Brock Gatling, Man ofa Thousand Bullets.
The body count in that film,it's truly something to behold.
(09:11):
So your agents lay in thecabinet there and then get
whooshed off back to Earth?
How does it know where to go?
Great question.
Uh, Herman, is it?
Well, Herman, as you canimagine, I use the term
(09:32):
technology loosely here.
This goes beyond just meregadgets and gizmos.
And I'm sure it's no surprisethat here, where we all live,
there are forces
SPEAKER_01 (09:41):
that would enter the realm of the fantastical.
However, a more detailedexplanation would
SPEAKER_00 (09:46):
unfortunately violate our proprietary
guidelines.
So, that...
Is to say you can't say?
Exactly, Herman.
SPEAKER_02 (09:57):
What I can tell you is that the connection between
Agent and the recently deceasedis handled by our top-notch
dispatch team.
Behind that door right there.
Their work is highlyconfidential and therefore
requires a certain level ofsecrecy.
In fact, in all my time
SPEAKER_00 (10:15):
here, I've never even met one of them.
Their hard work ensures that weare transported to the
transmigration subjects safely.
They also have many safeguardsin place to prevent any
unauthorized reincarnations.
Oh, that is interesting.
So, in other words, only ORAagents can gain access and
SPEAKER_02 (10:38):
use the slab?
Precisely.
In fact, there has never been anunauthorized...
Okay, folks, we will have to cutthe tour short.
Please follow me to the exit.
Single file, please, so we don'tlose anyone.
Willie escorts the group to theexit.
In the chaos unbeknownst toWillie, one member of the tour
(11:01):
group has stayed behind.
Herman Edward Coxland stands inthe slab.
He kneels on the floor, staringat the mortuary cabinets.
As the tour group files out,Willie approaches Captain
Mangut.
What's going on, Cap?
An inmate has died.
What?
Who?
Hold that thought.
(11:22):
Willie, come with me.
The captain and Willie approachthe entrance of the slab.
They find Herman kneeling on thefloor, his hands pressed against
the front of one of the closedmortuary drawers.
Mr.
Coxland, the tour is over.
You'll have to leave.
Willie, see him out.
Make sure he can find the exitthis time.
Yes, sir,
SPEAKER_00 (11:41):
Captain.
SPEAKER_02 (11:42):
Let's
SPEAKER_00 (11:42):
go, Mr.
Coxland.
SPEAKER_02 (11:44):
Yes, sir.
Of course.
Willie walks the stairs from thelower level of the ORA to the
first floor towards the exit.
SPEAKER_00 (11:53):
So, so sorry.
In the confusion, I gotseparated from the group.
I figured it would be best tostay
SPEAKER_02 (12:04):
put until someone found me.
Right.
Since this is an evacuation,need to make sure you've been
escorted safely.
Evacuation?
I certainly understand.
What happened?
Sorry, Mr.
Coughlin.
That is ORA business.
Ah,
SPEAKER_00 (12:23):
yes.
Confidential.
SPEAKER_02 (12:27):
The former actor and the serial killer reached the
exit.
You know, I stood in line for
SPEAKER_00 (12:35):
hours, Willie.
Sorry?
Yes, you were to appear at anautograph
SPEAKER_02 (12:43):
signing.
But you didn't show.
Oh.
Well, I'm sorry about that,Herman.
Unfortunately, we'll have tocontinue.
SPEAKER_00 (12:51):
It was July.
Yes.
July 18th, 1986.
SPEAKER_02 (13:01):
Willie knows that date all too well.
That was the day of his death.
The day he was murdered by aderanged stalker.
He also knows Herman knowsexactly what he is doing.
He decides not to give in andacknowledge the meaning of the
date.
SPEAKER_00 (13:16):
Hmm.
Well, must have
SPEAKER_02 (13:17):
been travel
SPEAKER_00 (13:18):
delays.
Life of an actor, you know.
Yes, very good, Willie.
SPEAKER_02 (13:26):
Travel delays.
Be seeing you, Herman.
Before Herman can reply, Willieshuts the door in his face.
Herman smirks and shuffles away.
The cell block is filled withthe hushed sounds of
incarcerated demonic inmates dueto the presence of the ORA
agents.
(13:47):
Captain Mangut and Willy Topazwalk the cell block until they
arrive at cell 4D.
SPEAKER_00 (13:52):
Quiet!
SPEAKER_02 (13:53):
The cell block falls silent.
The captain unlocks cell 4D andopens the cell door.
A demon is curled in a fetalposition on the cell floor.
SPEAKER_01 (14:02):
Willy, point your light over there.
SPEAKER_02 (14:04):
As the captain turns the dead body over...
Is that blood?
SPEAKER_00 (14:11):
Yes, it is.
Lots of it.
SPEAKER_02 (14:14):
The number 11.
What does that mean?
I don't know, Willy.
Can you question the neighbors?
Need to see if anyone sawanything.
They're gonna say no, so pressthem hard.
(14:35):
Will do.
The captain retrieves aflashlight from her pocket and
shines it on the face of thelifeless demon.
Moving the beam of theflashlight from the number 11
deeply cut into the demon'sabdomen to its neck, a deep gash
across the demon's throatglistens against the light.
In the demon's left palm lay ashard of filed glass.
(14:56):
Captain F.J.
Mangood is in her office.
Sitting at her desk in front ofa computer, She reviews the
security camera footage of cell4D from the night before.
She replays the footage over andover, but there is no power
outage.
No sudden jump cut in thefootage.
No dead space.
No mysterious visitor.
The video plays out as expected.
(15:17):
The inmate was in their cellunmolested all night.
And that morning, Willie knockson her door, returning from
questioning the inmates.
Hi, Cap.
Got bupkis from downstairs.
No one saw nothing.
Thanks, Willie.
Worth a shot.
Nothing on security footageeither.
(15:37):
Should we question the guards?
Damn it.
I'll do it.
I don't want them to give youshit for an internal inquiry.
Oh, message from dispatch.
Okay.
Game time.
Leo and June are back on target.
ORA agents June Chesterfield andLeo Braun bought a ferry docked
at Oak Bluffs near Martha'sVineyard.
(16:00):
From the moment Leo transportedfrom the slab to Boston,
becoming the reincarnation ofthe poor soul who lost his life
to a hit and run, he's been onthe run, embattled, and fending
off hanged men.
Now, two wardrobe changes later,he sits on the deck of a ferry,
taking a moment to reflect andcatch his breath before his
(16:21):
first hunt really begins.
SPEAKER_00 (16:32):
I've only been in hell three days
SPEAKER_02 (16:34):
and I'm already back
SPEAKER_00 (16:34):
home.
SPEAKER_02 (16:36):
Walking past all these people, they have no idea
what awaits them on the otherside.
When I was amongst the living, Ihad only heard of Martha's
Vineyard, you know, movies, butI've never actually been there.
It took dying a mysterious deathand becoming a demon hunter to
finally make the trip.
There's something familiar aboutthis place, the smells and the
(16:58):
sights, but...
I don't feel a part of itanymore.
I don't really know how longI've been gone, but I don't
recognize it.
I feel like a permanent visitor.
Alien.
And a stranger.
SPEAKER_00 (17:20):
Get out of your head, detective.
SPEAKER_02 (17:23):
I'm sorry, what?
SPEAKER_00 (17:24):
Need you focused.
You still got a demon to catch.
SPEAKER_02 (17:28):
I'm just trying to figure out what all this means.
SPEAKER_00 (17:31):
What all what means?
SPEAKER_02 (17:33):
This life.
My death.
SPEAKER_00 (17:35):
Hey, brother.
It means whatever you want itto.
And now you know.
There's something else after youkick the bucket.
SPEAKER_02 (17:43):
Yeah.
Just more questions.
SPEAKER_00 (17:45):
Okay.
You got me there.
Well, listen.
You did some good in your lifeas a cop.
Probably a good husband and afather.
And now, look at you.
You got to free these poor soulsfrom their unwanted visitors.
SPEAKER_02 (17:59):
Yeah, but I don't understand why.
I guess there was this part ofme that believed when my time
had come, when I died, thatsomewhere in that last journey,
life's mysteries were revealed.
That you were given the answersto the universe of the why of it
all.
The purpose.
SPEAKER_00 (18:20):
Solving mysteries.
Always the detective.
Yeah, I guess so.
Maybe the purpose isn't to seekvalidation or meaning.
Maybe it's just the journeyitself.
And now?
And now, you're on a newjourney.
(18:40):
Towards?
Towards...
Lori Stryker.
Age 27.
She is the lead singer of a punkrock band called The Hacks.
SPEAKER_02 (18:49):
Let me ask you something kind of personal.
SPEAKER_00 (18:54):
Fire away.
Do you remember how you died?
He says.
Kind of personal.
UNKNOWN (19:00):
Shit.
SPEAKER_02 (19:01):
June lights up a cigarette, unscrews the cap of
her flask, takes a swig and thenlooks out at the ocean.
Her demeanor changes.
Her mind, occupied.
SPEAKER_00 (19:11):
Take a guess first.
Take a guess?
On how I died.
SPEAKER_02 (19:16):
No offense, June, but lung cancer?
SPEAKER_00 (19:20):
You asshole.
Nope.
Respiratory impairment fromsubmersion-immersion resulting
in
SPEAKER_02 (19:28):
hypoxia.
You drown, damn.
Yep.
My family
SPEAKER_00 (19:35):
had a cruise planned every year.
I didn't make much money beingan elementary school teacher,
third grade.
My husband
SPEAKER_02 (19:44):
owned a bakery.
SPEAKER_00 (19:46):
So this cruise, well, it was everything to us.
We had just finished an all-dayexcursion, the Mayan ruins, and
it just made it back to the shipbefore the rain.
It's...
Sometimes,
SPEAKER_02 (20:02):
there is no
SPEAKER_00 (20:02):
build-up, no dramatic setup.
Tragedy
SPEAKER_02 (20:06):
happens
SPEAKER_00 (20:07):
before you're ready for it.
Maybe...
Maybe you never are.
SPEAKER_02 (20:15):
My son Jacob and I
SPEAKER_00 (20:16):
were on the balcony of
SPEAKER_02 (20:16):
our
SPEAKER_00 (20:17):
suite.
It seemed like...
A normal storm.
But it caused some pretty bigswells.
Big enough for the ship to swayand sway hard enough to send
Jacob over the side.
He crashed into the water below.
We were seven floors up.
(20:37):
My husband called for help, butI couldn't wait.
I had some diving experience.
I dove into that black water.
Even at that height, I thought Ibroke my neck when I hit the
surface, but I found I couldstill swim.
SPEAKER_02 (20:52):
Storm kept the Coast
SPEAKER_00 (20:56):
Guard at bay, at least long enough for my lovely
Jacob to be truly lost.
The storm increased, heavy windand rain, pounding thunder, and
for a split second,
SPEAKER_02 (21:11):
a flash of light.
I don't know whether it was froma ship or lightning, but I saw
my Jacob
SPEAKER_00 (21:19):
sinking deep into that ocean.
I dove, paddling as hard as Icould, deeper and deeper into
the sea below until I woke up inthat awful yellow room with the
plastic
SPEAKER_02 (21:32):
chairs.
Leo remains silent, processingthe story he's just heard.
He looks at June, stoic, as shestares across the bay.
I'm sorry to make you rememberthat.
No, no, no.
I never miss a chance to thinkof my Jacob.
SPEAKER_00 (21:56):
I can understand that.
SPEAKER_02 (21:58):
For me, the meaning, the why, is
SPEAKER_00 (22:02):
to experience as many days, months, and years
that push me further and furtheraway from that awful fucking
night.
SPEAKER_02 (22:13):
Leo's briefcase vibrates as a new transmission
arrives.
He opens the briefcase and findsa card inside.
The card has imprinted on itssurface the time remaining for
Leo to locate Laurie Stryker andfree her from her demonic
spirit.
The time is formatted in hoursand minutes.
It reads 2 hours and 43 minutes.
(22:34):
Is that good?
SPEAKER_00 (22:36):
Oh, plenty of time.
We're about to make landfall.
SPEAKER_02 (22:45):
Lori hears a knock at her apartment door.
After witnessing her belovedcat, Ollie, fall to his death,
she's been a shut-in.
She's ignored all phone callsfrom her fellow bandmates, her
mother, and her manager, MauryStillman.
Lori is afraid to leave herroom, which, at least for the
time being, seems to beunaffected by the hauntings of
the elusive apparition thatforced her hands and kept her
(23:06):
paralyzed in fear the nightbefore.
She can feel it, though.
Its presence.
A thought arrives at the back ofher mind, something that tells
her to let the guest in.
She stands and opens her bedroomdoor.
Lori stops only a few feet fromthe apartment entrance.
The knocking at the doorcontinues, followed by a muffled
(23:28):
voice she can't place.
The forced instructions pressagainst her mind again to open
the door.
She begrudgingly followsthrough, grabs the doorknob,
Hesitating to turn it, but thevoice tells her to twist.
And she does it.
The door swings open and a manof the cloth stands in front of
(23:50):
her.
He is of average build andheight, closely cropped auburn
hair.
He's young, late 20s or 30s ifLaurie had to guess.
He holds the good book in hishands.
He's already speaking, but shehasn't heard a word.
I'm sorry,
SPEAKER_00 (24:06):
who are you?
SPEAKER_02 (24:08):
Hello, Miss Stryker.
I'm Father Marwood.
SPEAKER_00 (24:11):
You're a priest?
SPEAKER_02 (24:13):
Yes.
Reverend of the Chapel of theHoly King of Central Boston.
SPEAKER_00 (24:17):
You seem young to be a priest.
SPEAKER_02 (24:23):
I can understand that.
My mother, rest her soul, wouldhave said I was born to be one.
Okay.
Sorry.
Father...
Marwood.
SPEAKER_00 (24:35):
Okay.
Why are you here?
SPEAKER_02 (24:37):
There is no ghostly thought or menacing voice
forcing her to make a decisionor take action this time.
(24:59):
Against her own better judgment,she invites Father Mawud in.
June Chesterfield and Leo Braunare in a taxi cab as it drives
steadily through SeaportBoulevard.
SPEAKER_01 (25:14):
You two are in luck.
Normally it's bumper to
SPEAKER_00 (25:17):
bumper here, but it should only be about
SPEAKER_02 (25:19):
20 minutes before we reach the bricks.
We'll take all the luck we canget.
And where you from?
The demon hunters look at eachother.
Although unspoken, it's decidedJune should do the talking.
Oh, we're from the south.
The south, huh?
Like cattle ranchers orsomething?
Yes, exactly.
Cattle ranchers.
June looks at Leo and shrugs asthe cab driver turns up the
(25:41):
radio.
Nice cover.
How do we pay?
SPEAKER_00 (25:44):
Don't worry Back in apartment 1203,
SPEAKER_02 (25:51):
Laurie sits on a sofa in the living room.
She gestures to a recliningchair across from her.
The Reverend removes a tiny ballattached to a string from the
chair, gently tosses the cat toyon the carpet and takes a seat.
Laurie stares at the pet toy,remembering her cat, Ollie.
You have pets, Miss Stryker?
I...
SPEAKER_00 (26:12):
I did.
Why?
SPEAKER_02 (26:16):
I am highly allergic.
Oh, I'm sorry if I've saidsomething to upset you.
SPEAKER_00 (26:23):
My cat, he...
He passed away recently.
SPEAKER_02 (26:29):
Oh, I'm sorry to hear that.
I've always been envious ofthose who can befriend our
animal counterparts.
It just wasn't in God's plan forme, I guess.
SPEAKER_00 (26:40):
Father Marwood, if we could just get to the reason
for your visit...
I'm not feeling well and...
SPEAKER_02 (26:47):
Well, that's it, Ms.
Stryker.
Your manager, Mr.
Stillman, was concerned for yourwell-being.
He had stated you were quitedistressed the other day and
that a disagreement between thetwo of you became...
violent.
He also said...
Ugh, let's not pretend he caredabout me.
He's just looking out for...
his investment...
(27:09):
The Hack Sisters are one of hisonly remaining clients.
Now, Miss Stryker, I can't ingood faith speak to the true
nature of his intentions, buthis explanation of your previous
visit gave him great pause, asit did for me as well.
SPEAKER_00 (27:24):
Because I held him against a wall?
SPEAKER_02 (27:27):
No, no.
Mr.
Stillman believes that you mayhave been acting against your
will, that there were otherinfluences at play.
Influences?
Like drugs?
No, that it wasn't you.
That you may be under the spellof unclean spirits.
(27:47):
A sinister giggle rattlesthrough Laurie's head.
She does her best to pretendnothing is happening.
Father Marwood is well into hisspeech and doesn't notice.
Have you heard James chapter 4,verse 7?
Submit yourselves therefore toGod.
Resist the devil, and he willflee from you.
SPEAKER_00 (28:07):
No, can't
SPEAKER_02 (28:09):
say that I have, but you can stop.
You're not saying anything tome.
Miss Stryker, whatever forcesare at work here, it's important
that we- Father Marwood, is thiswhy you're here?
Like some friendly neighborhoodexorcist?
I am not here in any officialcapacity, Miss Stryker.
(28:31):
That would have to come downfrom the Archdiocese, and only
after you've been seen by amedical professional to rule out
any mental illness ordeficiency.
I don't need a doctor, a shrink,and I definitely don't need a
priest.
Miss Stryker, please, if I couldjust...
Father Marwood, I'd like you toleave.
May I, at the very least...
(28:51):
Arrange for a physician to...
Please,
SPEAKER_00 (28:54):
get out!
SPEAKER_02 (28:55):
Father Marwood presses the Bible between his
clenched hands and holds it tohis chest as if to pray.
He shakes his head indisappointment.
I will leave you with this, MissStryker.
Peter, chapter 5, verse 8.
Be sober-minded.
Be watchful.
Your adversary, the devil,prowls around you like a roaring
(29:16):
lion, seeking someone to devour.
Be watchful, Miss Stryker.
Try this one, Father.
Music is my religion.
Jimi Hendrix.
Father Marwood opens the door tothe apartment, feeling defeated.
As he begins to depart, he turnsto Laurie as if to make one last
plea, but instead he shrugs andwalks away, closing the door
(29:39):
behind him.
Laurie exhales as if it tookeverything she had to put on
this performance.
She shrinks back into her sofa,exhausted and frustrated.
And again, the menacingchildlike laughter erupts behind
her eyes.
As Reverend Marwood exits thelobby of the Bricks apartment
building, a yellow taxi cabapproaches.
(30:02):
The priest takes a crosswalk toan adjoining sidewalk.
He sits on a bench, takes outhis smartphone, and begins
texting Maury Stillman.
At the same time, two passengersexit the cab.
They are both holdingbriefcases.
SPEAKER_00 (30:14):
Okay,
SPEAKER_02 (30:15):
pay him.
June, I haven't heard from theNational Bank of Dante yet.
Leo's briefcase vibrates.
The cab driver hears the strangesound, looks in Leo's direction,
but then shrugs it off.
Leo opens the briefcase andfinds a single$100 bill.
Issued 1920.
How old is this money?
SPEAKER_00 (30:35):
It's still legal tender, Bubba.
Just pay the man.
SPEAKER_02 (30:38):
Leo walks to the driver's side of the taxi cab.
Here you go.
Keep the change.
Must be from the deep south.
Old cattle rancher money.
The cab driver removes from theglove compartment a counterfeit
pen, swipes the bill, and seemspleased with the result.
SPEAKER_00 (30:54):
Okay, thank you for using Canary Cabs.
Have a good day.
SPEAKER_02 (30:58):
The taxi cab begins to pull away, but June flags
them down.
She talks to the driver, whodoesn't seem eager to stay.
June approaches Leo and extendsher hand.
SPEAKER_00 (31:07):
All right, Leo.
This is where we part ways.
For now.
Hold on, you're not
SPEAKER_02 (31:13):
coming with me?
SPEAKER_00 (31:14):
I'd love to stay, but I gotta get back to my
body's place of death, or it'sadios muchachos.
SPEAKER_02 (31:20):
Right.
Talk about being on borrowedtime.
SPEAKER_00 (31:23):
When are we not?
Don't sweat this, Leo.
Headquarters monitors thesethings very closely.
Especially when we got a newagent that's in the field.
They'll never leave your dickswinging in the wind.
Okay.
Good luck.
June
SPEAKER_02 (31:44):
enters the taxi and they drive off.
Leo turns towards the entranceof the Bricks apartment
building.
He scans the height of thebuilding, counting each floor.
Returning to the entrance, henotices, to his right, a section
of pavement that has been tapedoff with caution tape.
A small red stain is located atthe taped section center.
Is that blood, he thinks?
(32:04):
As Leo continues to examine hissurroundings, He notices that
someone is sitting on a bench onthe sidewalk across from the
apartment building.
The figure is obstructed byparked cars, but it appears to
be a man.
Leo's attention returns to theentrance as the automatic doors
of the lobby swing slowlyoutwards.
Leo enters the building, thensteps towards the lobby.
(32:28):
From his vantage point on thebench across the street,
unbeknownst to Leo, ReverendMarwood has been observing the
whole scene.
Leo walks through the abandonedlobby of the Briggs apartment
building.
It's quiet.
There is no one sitting at thereception desk to welcome him.
For an apartment building ofthis size, it is eerily empty.
SPEAKER_00 (32:52):
Hello?
Well, it won't be a challenge instaying anonymous at least.
SPEAKER_02 (32:57):
Leo notices an elevator door across from the
reception desk.
He presses the button and soonhears the mild rumble of the
elevator as it reaches the lobbyfloor.
It opens automatically and Leoenters the elevator car.
His briefcase vibrates.
Leo opens it as the elevatordoors close.
The card inside gives Leo theprecise location of Lorry
(33:19):
Striker, 12th floor, apartment1203.
What the hell?
Come on! I don't have time forthis shit.
(33:50):
Come on! Leo presses the buttonsand switches on the car
operating panel, togglingthrough the emergency stop
switch, the alarm button, andpressing the floor buttons
again, all in a desperateattempt to activate anything.
The elevator remainsunresponsive as he stands
hovering above the sixth floor,alone, in the dark.
Leo engages the emergencyintercom.
(34:12):
Hello, this is Leonard Barnman.
I'm stuck in an elevator.
The power's out.
Hello?
Am I reaching anyone?
Nothing.
The elevator car begins torumble.
There is a chilling hum thatseeps into the elevator car.
And then...
Leo hears it.
The sound of a cat.
(34:35):
What the hell?
Is someone there?
The growling cat becomes moreaggressive, filling the elevator
car with threatening sounds of avery angry feline.
Leo begins to hear somethingcrawling on top of the elevator
car.
What the fuck is going on?
Leo takes a swipe at theceiling, hitting it with force.
There's another sound thataccompanies the growling.
(34:56):
A mischievous laugh.
Before Leo can process the eeriecacophony saturating the
elevator car, the power returns.
The malicious noises stop andthe car begins the ascent once
again.
The elevator reaches the 12thfloor, unimpeded.
The door opens and Leo exits thecar.
(35:18):
He's in a narrow hallway.
A sign mounted to the wall infront of the elevator entrance
indicates which directionapartment 1203 resides.
Leo takes a right from theelevator and walks towards the
apartment.
The lights flicker out and he'sleft in darkness.
Leo stops moving and grips thehandle of his briefcase tightly.
In the distance at the end ofthe hallway, the sound of a
(35:38):
growling cat emerges again.
Emergency lighting is activated,and a red emergency exit located
at the end of the hallway givesoff an almost supernatural glow,
filling the confined hallway ina blood-red hue.
On the carpeted floor of thehallway, near the emergency
exit, the silhouette of amangled cat appears.
(35:59):
A strange feline growlsferociously as it spasms and
twists.
Think you've expired all ninelives.
As if taking offense, the catleaps on all fours, stands
rigid, ears pull back, and hismatted fur stands on end.
He hisses and growls, and thegrotesque feline sprints
lightning quick towards thedemon hunter.
Ah, shit.
(36:20):
Leo braces himself, preparing toscuffle with a half-dead phantom
cat.
The ghostly feline leaps intothe air, lunging with claws
drawn towards Leo's face.
Leo swings his briefcaseupwards, but before connecting a
fateful blow, the cat impossiblychanges trajectory, dodging the
briefcase, landing on his feet,but on the ceiling, it scurries
away, hissing and protesting asit angrily races upside down on
(36:44):
the hallway's ceiling until it'sout of view.
The power returns, and theblood-red hallway is replaced
with the fluorescent lightingagain.
Leo regains his composure andrealizes he's standing directly
in front of Laurie Stryker'sapartment.
Wasting no time, he knocks onthe door.
There's no answer.
Uh, Laurie Stryker?
Leo attempts to knock again, butthe door opens on its own and
(37:07):
swings inward, revealing in fullview the living room.
Damn it, here we go.
Laurie Stryker?
Leo steps into the apartment andimmediately notices it's
freezing.
Steam rises upwards with eachbreath he takes.
Miss Stryker?
Laurie, Stryker.
I, uh...
I've been sent here to help.
Leo's briefcase vibrates.
(37:29):
He places the briefcase flat onthe apartment floor and kneels
down to open it.
But before he can, somethingbumps into his shoulder.
Holy shit.
Laurie Stryker is hovering abovethe floor, floating slowly and
steadily from the living room tothe hallway towards the bedroom.
Her eyes have rolled back intoher head, and her face is turned
upwards towards the ceiling.
Her mouth is agape, and sheemits a droning moan.
(37:52):
Lori, can you hear me?
I'm here to help you.
Leo tries to grab her and pullher away from the invisible
force that's carrying her acrossthe apartment, but the hold is
too great.
He begins getting dragged acrossthe apartment floor.
Releasing his grip, he returnsto the briefcase.
By this time, Laurie has reachedthe end of the hallway and
(38:13):
slowly turns to make a floatingcrawl back towards Leo.
Her face is quivering as ifshe's having a seizure.
The floor of the apartment seemsto shudder beneath him.
Opening the briefcase, Leo findsa small card inside.
He retrieves the card and flipsit over to read the message.
But before Leo can act, Laurie'seyeless gaze turns straight
(38:34):
ahead towards him.
The leisurely but frighteningfloating turns on a dime and
Laurie Stryker is thrust towardsLeo.
The possessed woman tackles Leo,pinning him to the floor.
Her eyes spin forward and herpupils are noticeable again.
Behind them, something darkstirs.
Leo sees it.
Laurie is seething.
A firm building at the cornersof her mouth, grabbing wildly at
(38:56):
him.
He tries to reach for the smallcard which he dropped during the
attack.
Laurie's possessed body forcesher to restrain Leo's hand.
He stretches to reach for thecard and is able to barely
secure it between his middle andforefingers.
He turns the face of the card sohe can read a strange limerick
imprinted on the card whileLaurie is screaming and
thrashing.
SPEAKER_00 (39:14):
Oh, you've gotta be shitting me.
Alright, here goes.
I'm speaking to the demon thathas possessed Laurie Stryker.
Marvin merely maximizes hismagnificent masculinity.
SPEAKER_02 (39:28):
After reciting the ridiculous limerick, nothing
happens.
A less than reliable reputationof the HCC chips appears to
remain intact.
Ah, piece of shit.
Leo tosses the card.
And as Leo is about to take moredrastic measures, the thrashing
and screaming cease.
Laurie is removed from Leo andfloats upward again.
Her body begins to shake.
(39:49):
The apartment rattles.
Without warning, there is asonic explosion.
The glass doors of the balconyshatter.
Laurie collapses to the floor.
Holy shit, it actually worked.
Leo kneels next to Laurie,feeling for a pulse.
Her eyes are open, and she'slooking dazed, but conscious.
SPEAKER_00 (40:11):
Who...
who are you?
SPEAKER_02 (40:14):
I'm a friend.
I'm here to help.
Leo gently guides Laurie to hersofa.
She seems to improve by themoment, having successfully been
freed from the demon.
I don't know how to ask youthis, but are you yourself?
SPEAKER_00 (40:29):
Yes.
Yes, I don't feel it anymore.
Who are you?
Did Father Marwood send you?
SPEAKER_02 (40:39):
No, nothing like that.
I'm
SPEAKER_00 (40:42):
from a place that helps people like you.
Beyond that, I don't think I cansay anything else.
What the hell is that?
I have
SPEAKER_02 (40:52):
to go.
I'm glad you're okay.
Laurie sits in silence,overwhelmed by all that has
transpired.
Leo walks to the apartment doorto leave, but before he exits...
SPEAKER_00 (41:06):
Thank you.
Whoever you are, thank you.
SPEAKER_02 (41:11):
My pleasure, Miss Stryker.
SPEAKER_00 (41:16):
Congrats, Bubba.
You did it.
SPEAKER_02 (41:18):
Captain F.J.
Mangut and June applaud Leo on asuccessful first case.
The captain presents Leo withhis first official ORA coffee
mug.
On behalf of myself, thehomeland, and the city of Dante,
I present to you, ObsidianRecovery Agent Leo Braun, your
first welcome to the ORA coffeemug.
Congrats, Leo.
Well done.
SPEAKER_00 (41:38):
Speech! Speech!
SPEAKER_02 (41:40):
June quickly grabs Leo's mug and pours from her
flask.
Thank you.
Um...
Oh, Jesus, what is
SPEAKER_00 (41:49):
that?
Chesterfield Hooch.
Family recipe.
That'll put hair on your chest.
Well, thank you both.
Cap the demon?
Locked up.
Thanks to you.
SPEAKER_02 (42:00):
How does...
How did we locate it?
We'll get there, Leo.
Much more training to come.
You've had a trying first dayand deserve some time to
decompress.
SPEAKER_00 (42:11):
Drink up, you sumbitch.
Enough questions.
SPEAKER_02 (42:14):
Oh, Leo.
A message came in for you.
From your caseworker, Sebastian.
Wanted to see you as soon as youcame back.
Thanks, Cap.
Did he leave an address?
It's at the bottom of themessage.
SPEAKER_00 (42:25):
So, Leo Braun Demon Hunter.
Want to head to the high watersaloon and get wasted?
SPEAKER_02 (42:32):
I have a feeling you'd drink me under the table.
But honestly, June, I'm fuckingexhausted.
SPEAKER_00 (42:41):
Fucking first-timers.
SPEAKER_02 (42:43):
Lori Stryker arrives at her manager's office.
As she approaches the officeentrance, she finds Maury
frantically packing up.
SPEAKER_00 (42:50):
Hey, Maury.
Is this a bad time?
SPEAKER_02 (42:53):
Her manager is startled and drops a cardboard
box.
The contents of the box pouronto the floor.
SPEAKER_00 (42:59):
Oh, uh, Laurie, uh, I wasn't expecting you.
SPEAKER_02 (43:02):
Laurie walks over to her manager, who is nervously
picking up items on the floor,and begins to help him.
SPEAKER_00 (43:07):
I
SPEAKER_02 (43:08):
just...
I wanted to apologize.
Again, for the other day, and...
I wanted to thank you.
SPEAKER_00 (43:16):
Thank me?
Thank me for what?
Oh, Father Marwood.
Was he able to help?
Well, no, it wasn't him.
It was the other guy.
Other guy?
Sorry, Laurie.
Maybe the Reverend called in afavor, but I had only spoken to
Father Marwood about oursituation.
(43:36):
Oh, okay.
So what's happening here?
Oh, just doing some organizing.
My secretary was saying I wasbecoming a
SPEAKER_02 (43:46):
bit of a hoarder.
Laurie notices the office isalmost completely bare.
SPEAKER_00 (43:51):
Looks more like a clean sweep.
Right, right, right, right.
Oh, hey, tomorrow night, I haveyou booked at the grand opening
of a new nightclub, theMoondial.
No boomers, no Bratz birthdays,a real gig.
Can you, I mean, well, can Icount on you to be there?
We'll be there.
I could use the money.
I'm going to have to find a newplace to live.
(44:13):
This could be just the type ofpayday I need, that we need.
No, no, that doesn't go there.
Oh, hey, excuse me for a second,Lori.
SPEAKER_02 (44:26):
Lori begins yelling at what appears to be
professional movers who areplacing furniture in a large
moving truck.
Lori turns her attention to theoffice.
No posters on the wall.
The computers and officesupplies are gone.
She opens the box that Lori leftbehind.
Inside are past-due bills,foreclosure notices.
(44:48):
She thinks, he's not justorganizing, he plans to skip
town.
This payday, tonight.
She wonders, is this his ticketout of here?
Leo makes a second visit to anapartment building.
This time, the Byron ClawApartments in downtown Dante,
(45:09):
where Sebastian, his caseworker,lives.
Having received a message thatSebastian wanted to speak with
him, Leo locates the first floorapartment and wraps on the door.
Leo hears some muffled commotionfrom within, and then Sebastian
opens the door nervously.
Oh, uh, Leo, you got my message.
Yeah, Captain Mangut said youwanted to discuss something with
(45:32):
me.
I assumed it was about my file.
Uh, yes, I do, but not here.
I know how this is going tosound, but...
You weren't followed, were you?
Leo looks around and sees onlyempty streets.
Followed?
No, I mean, I don't think so.
Why?
Okay, well, look, it may benothing, but meet me tomorrow at
(45:57):
the old fish pond.
It's out of the city and faraway from prying eyes.
Do you know it?
I actually do.
I met Max there.
Max?
Can you be trusted?
Trusted?
I don't think so.
What's this all about?
Hi,
SPEAKER_01 (46:13):
Leo.
SPEAKER_02 (46:14):
Jillian?
SPEAKER_01 (46:16):
Oh.
Oh.
UNKNOWN (46:17):
Hi.
SPEAKER_01 (46:18):
What Sebastian is trying to explain is that he
uncovered some discrepancieswith your report, but he
believes it wasn't meant to befound.
We think he may have beenfollowed leaving the
administration buildingyesterday.
He wants to share with you whathe's found in a safe place.
So, tomorrow at the pond soundgood?
SPEAKER_02 (46:39):
Sounds like a plan.
Perfect.
SPEAKER_01 (46:41):
Good night.
SPEAKER_02 (46:43):
Good night, Jillian.
So, Leo...
Tomorrow, at the pond.
And, um, as for thisdevelopment...
You mean you and Jillian?
Yes, as for that...
It's no one's business, least ofall mine.
I guess I should say I'm happyfor you, for what it's worth.
(47:05):
Yes, well, she is reallyamazing.
I could listen to her talk abouther life back home for hours.
Better than any spy novel I everread.
SPEAKER_01 (47:16):
Say goodnight, Sebastian.
SPEAKER_02 (47:19):
Uh, right.
Goodnight, Leo.
Goodnight, Sebastian.
SPEAKER_00 (47:26):
Yes, I am for what you want.
In
SPEAKER_02 (47:34):
Boston near Central Square, the Hack Sisters are
playing to a lively, sold-outcrowd for the grand opening of
the Moondog Club.
The band is performing one oftheir most popular songs, a
heavy rock ballad entitled TheHowl Hour.
(48:01):
As the band reaches the secondchorus, Lori observes that the
lighting in the club has startedto dim, and the music is
becoming difficult to hear.
She taps on her earpiece,indicating potential technical
issues, but her bandmates andthose backstage seem unaware.
The screeching guitars anddriving beater drowned out,
(48:26):
replaced with the sound of a catgrowling and hissing.
Laurie observes the audience,who also seem completely
ignorant of any technical issue,as they become engulfed in a
shadow.
An aisle becomes a glowing,blood-red light.
And soon, to Laurie's horror,amongst the growls and hisses,
(48:47):
Ollie's back from the dead,mutilated body emerges.
An aisle suddenly becomes aglowing, blood-red light.
Laurie makes eye contact withthe mangled feline who only
stares back a sinister red shinebehind his lifeless eyes.
The mutilated back from the deadbody of her beloved cat Ollie is
(49:22):
backlit by that red glow.
(49:42):
Light and sound return to normalin an instant.
She's still on stage, performingto a rollicking crowd.
The audience cheers, believingher outburst to be part of the
performance.
Her bandmates look confused, butplay along.
(50:07):
After the show, Lori isbackstage, searching for her
manager.
She locates some stagehandspacking up equipment.
SPEAKER_00 (50:14):
Have either of you seen Maury Stillman?
I think he was in the green roomtalking to the owner.
Thanks.
SPEAKER_02 (50:22):
Lori makes her way to the green room.
Before she arrives, she noticesthe owner of the club's door is
cracked open.
She peeks in and sees Cashexchanging hands between Maury
and the owner.
Maury shakes the owner's handand then promptly walks towards
the door.
Laurie ducks behind a doorway,out of view.
Maury turns down a hall,carrying a large duffel bag,
(50:43):
unaware that Laurie is spying onhim.
Laurie pursues him as he makeshis way towards the club exit.
He stops, turns to the men'sroom, considers leaving, but
ultimately decides to relievehimself first.
He opens the bathroom door withthe duffel bag in tow and
enters, slamming the door behindhim.
For a brief moment, Ollie thedead cat crosses through the
(51:03):
hallway.
Laurie grimaces at him.
Laurie begins to fear there isno way out and decides escape
could be her best option.
Leave all this behind and startfresh, somewhere else, far away
from the Bricks apartment, fromher sleazy manager and her dead
cat.
(51:24):
Lori moves towards the bathroomdoor, then stops, takes hold of
the doorknob and slowly turnsit.
The door cracks and she can seethat Maury is still indisposed.
The duffel bag is on thebathroom sink.
While her manager is indisposed,she grabs the duffel bag and
makes a break for the club exit.
(51:45):
Maury is alerted to the theftand swiftly zips up.
SPEAKER_00 (51:49):
Come back here, you crazy bitch!
SPEAKER_02 (51:54):
Laurie flees, darting through a back alley,
popping a chain-link fence andthen quickly sprinting down the
street, the heavy duffel bag isjostling against her.
SPEAKER_00 (52:03):
Laurie!
UNKNOWN (52:04):
Stop!
SPEAKER_02 (52:05):
She turns towards Maury, assuming he's right
behind her, but instead she seesan incoming pickup truck, firing
down on her.
The headlights are blinding.
SPEAKER_00 (52:15):
No!
SPEAKER_02 (52:19):
Father Marwood is resting in his bed, in his
rectory at the Chapel of theHoly King.
He sits up and walks to the doorand locks it.
Then he returns to his bed,kneeling before it.
Although it looks as if he's inprayer, he's actually removing a
smartphone from under hismattress.
He turns the phone on andnavigates to a photo app,
scrolling through pictures untilthe priest arrives at familiar
(52:41):
images.
The Bricks apartment building.
He swipes right and anotherimage displays.
Leo Braun and June Chesterfieldexiting the taxi cab.
Swipes again.
And this time, video footagetaken from the ground floor.
The video shows glass shatteringfrom the 12th floor apartment
(53:02):
building.
Father Marwood swipes again.
And this time, the picture is aclose-up of Leo Braun as he
exits the bricks apartmentbuilding.
Who are you?
In the early morning, Sebastianopens the front door of his
(53:23):
apartment.
Jillian grabs his hand.
They embrace and lean in for atender kiss.
He throws a binder over hisshoulder, tells her goodbye, and
steps away, beginning his trekto the office.
As he makes his way down thecity streets of Dante, he
occasionally looks over hisshoulder.
To his relief, no one is there.
(53:43):
Specifically, that the henchman,the pig, is nowhere in sight.
Sebastian enters the onboardingstation of the Dante branch
without incident.
He greets a few of his fellowcoworkers and then approaches
the onboarding room to begin hisfirst case of the day.
There is a wall-mounted fileholder next to the door.
(54:04):
He reads over the file and thenenters the eggshell-colored
room, places his binder down onthe plastic desk, and sits.
The latest arrival sits acrossfrom him, disorientated and
frightened.
Uh, where am I?
I assure you, we will get tothat.
I will try to answer anyquestions you may have.
(54:26):
Any memory loss ordisorientation will soon
subside.
If you can do me a favor, stateyour name, please.
SPEAKER_00 (54:33):
My name?
It's Lori.
Lori Stryker.
SPEAKER_01 (54:48):
Leo Braun is a production of Shoestring TV.
You can find us at Patreon.comslash Shoestring TV, where you
can listen to each episode forfree or subscribe for only$5 a
month.
With the subscription, you'llbecome a member of the Obsidian
Recovery Agency, which grantsyou early access to each
episode, bonus clips, artwork,and so much more.
(55:08):
You can also find us on ApplePodcasts, Spotify, iHeartRadio,
and just about anywhere youlisten to podcasts.
Leo Braun was written andproduced by me, Jason Beard, and
starring Stitch Mainville as LeoBraun and Cab Driver, Andy
Parkin as Narrator 2, MelroseJohnson as Captain F.J.
Mengate and June Chesterfield,Emily Fry as Laurie Stryker,
(55:29):
Mitch Leschinski as FatherMarwood, Tabitha Mixon as
Jillian Burkett, Eric Carlino asSebastian and Herman Edward
Coxlin, Jim Franck as MauryStillman, Terry Briscoe as
Willie Topaz, and Robert Lloydas Stay stay tuned for Leo Braun
episode 7 come hell or highwater thanks again for listening
In
SPEAKER_02 (00:18):
the present day, in the scorched desert of the
abominable sands, Miles awayfrom the capital city of Dante
and far away in space and timefrom South Florida where Leo
Braun had successfully exorcisedthe demon of Philip Weston only
a month earlier.
The ruins of ancient cities andpalaces now lay entombed at the
bottom of the desert.
(00:39):
Once the home of the walkingdamned with fiery burning sand,
powerful sandstorms andsmoldering ashes raining from
the sky, the abominable sands isnow a barren, lifeless desert
with a cracked, ash-blackenedfloor.
The hush of this desolatewasteland is interrupted as the
deep rumble of a motorcycle isheard approaching.
(00:59):
From a distance, a vintageHarley Davidson knucklehead
races across the flattened land,leaving a trail of dust and sand
in its wake.
Against the worn and weatheredbackdrop of the bleak and barren
desert, the bike is in starkcontrast, adorned in polished
and glistening chrome.
The rider is imposing.
Helmed in a black cowboy hat,silver aviator sunglasses,
(01:22):
garbed in a sleevelessmilitary-style vest, and combat
trousers.
His darkened gray and muscledarms extend outwards as gloved
hands grip the custom highhandlebars.
The mysterious Dark Rider isfitted with boots made of an
unknown reptilian skin, wrappedin spurs.
Instead of a spinning starshipgrowl, the spur is finished with
(01:44):
a razor-sharped curved blade.
Although a veritable no man'sland, the Dark Rider known only
as the Marksman disrupts thedesolation as he decelerates
gliding to a halt, parking hismetal steed near a collapsed
building.
(02:11):
He takes a moment to loosen thestring under his chin, holding
his hat firmly in place.
flicks out a bandana from hispocket, uses it to methodically
wipe the dust from hisheadlight, almost tenderly
wiping the chrome engine guardclean of accumulated debris
before returning his gaze.
Gray smoke is rising into theoppressively bright sky from a
(02:33):
makeshift campfire concealedbehind the remnants of ruins.
The marksman walks through thegrounds of the small hideout,
kicking over a few opened cans,provisions from whomever had
rested here.
He removes his sunglasses toreveal eyes without iris or
pupil.
His face, a complexion of blackand gray, perhaps due to a life
(02:54):
under such harsh conditions.
He grimaces and looks over theimprovised campgrounds.
Kneeling down to investigatefootprints in the sand.
A trail.
He mutters something to himselfin a deep guttural grumble.
From his motorcycle, he pulls aBarrett M82A1.50 caliber sniper
(03:16):
rifle from a hand-welded gunrack mounted to the seat.
He places his solid white eye tothe ocular housing of a scope
attached to the rifle andfollows the trail of the
footsteps.
It isn't long before he spotshis prey.
A smaller stump of a hell-borndemon, running at full tilt in
the opposite direction of thecamp.
(03:40):
The marksman grins.
The demon desperately tries tomake distance from the marksman,
having realized he was spotted.
The roar of the motorcycleengine growls louder as the dark
rider assassin closes thedistance.
The demon abruptly makes a sharpturn, having spotted possible
refuge as more ruins lay ahead.
The marksman comes to a stop anddismounts the bike, leaving it
(04:01):
running.
He climbs atop the remains of alavish rooftop from some palace
that has long since succumbed tothe abominable sands.
Through the scope once again, hefollows his target as the demon
dives behind a stone wall halfburied in the sand.
Hiding behind the stone ruins,the panicked demon stands still
attempting to calm hisbreathing.
(04:24):
On the horizon, the marksmanassumes a trap shooter stance.
One leg steps forward as hebends his other leg at an angle.
He adjusts the elevation andwindage turrets on the scope and
then modifies magnification.
Before looking through thescope, He turns his face to the
stark, hazy sky above.
He throws a handful of dust intothe air and observes wind
(04:47):
conditions, noticing some wingedcreature hovering high in the
sky before being concealed bysmoky clouds.
He returns his attention to theruins where his target is
hiding, almost imperceivablefrom the surroundings due to the
excessive distance.
The demon hiding behind thelarge stone wall is unable to
stay still any longer and beginsto creep towards a corner of
wall, hoping to peek behind it.
(05:08):
As he steps silently towards theedge, he presses down on an
assortment of small twigs,unleashing a slight cracking
sound into the ether.
A section of the stone wallrefuge shatters.
Without warning, the demon'shead is split open with such
force that he's almostcompletely decapitated.
His limp body falls helpless tothe desert sand below.
as the echo of gunfire is heardin the distance.
(05:32):
Moments later, the marksmanpulls his bike up closer to the
unmoving target, clicks theengine off, throws out his
kickstand as he sweeps his legto dismount the bike and walks
towards the dead body.
Kneeling over the lifelessdemon, he pulls out a large
knife and removes the indexfinger from the demon's right
hand.
He places the dismembered fingerin the satchel.
(05:53):
Then taking hold of the demon'sbody, he props him up in a
slightly more dignified positionup against the remains of the
stone wall.
Nearby, a vibration is heard.
The marksman pats the dead demonon the shoulder and walks over
to his bike where an old leatherbriefcase vibrates in a
compartment also mounted on themotorcycle.
The assassin opens the briefcaseand pulls out a small card.
(06:16):
Flipping the card over, themessage printed in bold black
ink on the face of the cardreads, the cave
SPEAKER_00 (06:30):
shoestring tv presents leo braun episode six
hangman part two
SPEAKER_02 (06:52):
It's an overcast day in hell, and the formidable
stature of the ORA headquarterscasts a foreboding shadow across
Good Intentions Boulevard.
The former actor, Willie Topaz,enters the building and notices
Captain F.J.
Mangud is sitting at hercomputer.
Hey Cap, what's up?
Hi Willie.
Monitoring our new recruit.
(07:12):
The homicide detective, right?
Right.
Detective Leobron.
Hmm.
Cool name.
I wonder if it's a stage name.
SPEAKER_00 (07:20):
I played a detective once.
Detective Archie Magnet.
Good gig.
Ernest Bognine co-starred.
We were on the hunt of thenotorious killer with the
calling card.
The Wombat.
It starts in the Amazon.
SPEAKER_02 (07:33):
Hey, Willie, as much as I love listening to your
resume, kinda busy right now.
It's Leo's first assignment andit's already gone sideways.
Then he only arrived like threedays ago?
SPEAKER_01 (07:44):
Seems awfully early to put him in the field.
SPEAKER_02 (07:46):
Yes, a long story and a boring one at that.
Need me to jump in, Cap?
No.
June is with him.
Plus, you're on tour duty.
Dammit, not again! Hey, we needagents, and who better to
influence potential new recruitsthan the one and only action
movie star, Willy Topaz.
You know, flattery will get youeverywhere.
(08:07):
Moments later, with the touralready in progress, Willy
brings the group to the lowerlevel of the Obsidian Recovery
Agency, to the section calledThe Slab.
This is one of the most criticalsections of the ORA.
We call it The
SPEAKER_01 (08:21):
Slab.
This is where we usetransmigration, or reincarnation
technology, which allows for ouragents to transport to the
homeland and free our subjectsfrom illegal demonic
possessions.
SPEAKER_02 (08:32):
From the middle of the group, a hand raises.
SPEAKER_01 (08:34):
Yes,
SPEAKER_00 (08:35):
is there a question?
SPEAKER_02 (08:36):
The group surrounding the tall, pale man
with his hand raised movesaside, revealing...
It's the serial killer, HermanEdward Coxland.
His ghostly, pale blue eyesfixated on Willie.
SPEAKER_00 (08:48):
Yes, Mr.
Topaz, I'll start by saying I'ma big fan of your films,
especially Brock Gatling, Man ofa Thousand Bullets.
The body count in that film,it's truly something to behold.
(09:11):
So your agents lay in thecabinet there and then get
whooshed off back to Earth?
How does it know where to go?
Great question.
Uh, Herman, is it?
Well, Herman, as you canimagine, I use the term
(09:32):
technology loosely here.
This goes beyond just meregadgets and gizmos.
And I'm sure it's no surprisethat here, where we all live,
there are forces
SPEAKER_01 (09:41):
that would enter the realm of the fantastical.
However, a more detailedexplanation would
SPEAKER_00 (09:46):
unfortunately violate our proprietary
guidelines.
So, that...
Is to say you can't say?
Exactly, Herman.
SPEAKER_02 (09:57):
What I can tell you is that the connection between
Agent and the recently deceasedis handled by our top-notch
dispatch team.
Behind that door right there.
Their work is highlyconfidential and therefore
requires a certain level ofsecrecy.
In fact, in all my time
SPEAKER_00 (10:15):
here, I've never even met one of them.
Their hard work ensures that weare transported to the
transmigration subjects safely.
They also have many safeguardsin place to prevent any
unauthorized reincarnations.
Oh, that is interesting.
So, in other words, only ORAagents can gain access and
SPEAKER_02 (10:38):
use the slab?
Precisely.
In fact, there has never been anunauthorized...
Okay, folks, we will have to cutthe tour short.
Please follow me to the exit.
Single file, please, so we don'tlose anyone.
Willie escorts the group to theexit.
In the chaos unbeknownst toWillie, one member of the tour
(11:01):
group has stayed behind.
Herman Edward Coxland stands inthe slab.
He kneels on the floor, staringat the mortuary cabinets.
As the tour group files out,Willie approaches Captain
Mangut.
What's going on, Cap?
An inmate has died.
What?
Who?
Hold that thought.
(11:22):
Willie, come with me.
The captain and Willie approachthe entrance of the slab.
They find Herman kneeling on thefloor, his hands pressed against
the front of one of the closedmortuary drawers.
Mr.
Coxland, the tour is over.
You'll have to leave.
Willie, see him out.
Make sure he can find the exitthis time.
Yes, sir,
SPEAKER_00 (11:41):
Captain.
SPEAKER_02 (11:42):
Let's
SPEAKER_00 (11:42):
go, Mr.
Coxland.
SPEAKER_02 (11:44):
Yes, sir.
Of course.
Willie walks the stairs from thelower level of the ORA to the
first floor towards the exit.
SPEAKER_00 (11:53):
So, so sorry.
In the confusion, I gotseparated from the group.
I figured it would be best tostay
SPEAKER_02 (12:04):
put until someone found me.
Right.
Since this is an evacuation,need to make sure you've been
escorted safely.
Evacuation?
I certainly understand.
What happened?
Sorry, Mr.
Coughlin.
That is ORA business.
Ah,
SPEAKER_00 (12:23):
yes.
Confidential.
SPEAKER_02 (12:27):
The former actor and the serial killer reached the
exit.
You know, I stood in line for
SPEAKER_00 (12:35):
hours, Willie.
Sorry?
Yes, you were to appear at anautograph
SPEAKER_02 (12:43):
signing.
But you didn't show.
Oh.
Well, I'm sorry about that,Herman.
Unfortunately, we'll have tocontinue.
SPEAKER_00 (12:51):
It was July.
Yes.
July 18th, 1986.
SPEAKER_02 (13:01):
Willie knows that date all too well.
That was the day of his death.
The day he was murdered by aderanged stalker.
He also knows Herman knowsexactly what he is doing.
He decides not to give in andacknowledge the meaning of the
date.
SPEAKER_00 (13:16):
Hmm.
Well, must have
SPEAKER_02 (13:17):
been travel
SPEAKER_00 (13:18):
delays.
Life of an actor, you know.
Yes, very good, Willie.
SPEAKER_02 (13:26):
Travel delays.
Be seeing you, Herman.
Before Herman can reply, Willieshuts the door in his face.
Herman smirks and shuffles away.
The cell block is filled withthe hushed sounds of
incarcerated demonic inmates dueto the presence of the ORA
agents.
(13:47):
Captain Mangut and Willy Topazwalk the cell block until they
arrive at cell 4D.
SPEAKER_00 (13:52):
Quiet!
SPEAKER_02 (13:53):
The cell block falls silent.
The captain unlocks cell 4D andopens the cell door.
A demon is curled in a fetalposition on the cell floor.
SPEAKER_01 (14:02):
Willy, point your light over there.
SPEAKER_02 (14:04):
As the captain turns the dead body over...
Is that blood?
SPEAKER_00 (14:11):
Yes, it is.
Lots of it.
SPEAKER_02 (14:14):
The number 11.
What does that mean?
I don't know, Willy.
Can you question the neighbors?
Need to see if anyone sawanything.
They're gonna say no, so pressthem hard.
(14:35):
Will do.
The captain retrieves aflashlight from her pocket and
shines it on the face of thelifeless demon.
Moving the beam of theflashlight from the number 11
deeply cut into the demon'sabdomen to its neck, a deep gash
across the demon's throatglistens against the light.
In the demon's left palm lay ashard of filed glass.
(14:56):
Captain F.J.
Mangood is in her office.
Sitting at her desk in front ofa computer, She reviews the
security camera footage of cell4D from the night before.
She replays the footage over andover, but there is no power
outage.
No sudden jump cut in thefootage.
No dead space.
No mysterious visitor.
The video plays out as expected.
(15:17):
The inmate was in their cellunmolested all night.
And that morning, Willie knockson her door, returning from
questioning the inmates.
Hi, Cap.
Got bupkis from downstairs.
No one saw nothing.
Thanks, Willie.
Worth a shot.
Nothing on security footageeither.
(15:37):
Should we question the guards?
Damn it.
I'll do it.
I don't want them to give youshit for an internal inquiry.
Oh, message from dispatch.
Okay.
Game time.
Leo and June are back on target.
ORA agents June Chesterfield andLeo Braun bought a ferry docked
at Oak Bluffs near Martha'sVineyard.
(16:00):
From the moment Leo transportedfrom the slab to Boston,
becoming the reincarnation ofthe poor soul who lost his life
to a hit and run, he's been onthe run, embattled, and fending
off hanged men.
Now, two wardrobe changes later,he sits on the deck of a ferry,
taking a moment to reflect andcatch his breath before his
(16:21):
first hunt really begins.
SPEAKER_00 (16:32):
I've only been in hell three days
SPEAKER_02 (16:34):
and I'm already back
SPEAKER_00 (16:34):
home.
SPEAKER_02 (16:36):
Walking past all these people, they have no idea
what awaits them on the otherside.
When I was amongst the living, Ihad only heard of Martha's
Vineyard, you know, movies, butI've never actually been there.
It took dying a mysterious deathand becoming a demon hunter to
finally make the trip.
There's something familiar aboutthis place, the smells and the
(16:58):
sights, but...
I don't feel a part of itanymore.
I don't really know how longI've been gone, but I don't
recognize it.
I feel like a permanent visitor.
Alien.
And a stranger.
SPEAKER_00 (17:20):
Get out of your head, detective.
SPEAKER_02 (17:23):
I'm sorry, what?
SPEAKER_00 (17:24):
Need you focused.
You still got a demon to catch.
SPEAKER_02 (17:28):
I'm just trying to figure out what all this means.
SPEAKER_00 (17:31):
What all what means?
SPEAKER_02 (17:33):
This life.
My death.
SPEAKER_00 (17:35):
Hey, brother.
It means whatever you want itto.
And now you know.
There's something else after youkick the bucket.
SPEAKER_02 (17:43):
Yeah.
Just more questions.
SPEAKER_00 (17:45):
Okay.
You got me there.
Well, listen.
You did some good in your lifeas a cop.
Probably a good husband and afather.
And now, look at you.
You got to free these poor soulsfrom their unwanted visitors.
SPEAKER_02 (17:59):
Yeah, but I don't understand why.
I guess there was this part ofme that believed when my time
had come, when I died, thatsomewhere in that last journey,
life's mysteries were revealed.
That you were given the answersto the universe of the why of it
all.
The purpose.
SPEAKER_00 (18:20):
Solving mysteries.
Always the detective.
Yeah, I guess so.
Maybe the purpose isn't to seekvalidation or meaning.
Maybe it's just the journeyitself.
And now?
And now, you're on a newjourney.
(18:40):
Towards?
Towards...
Lori Stryker.
Age 27.
She is the lead singer of a punkrock band called The Hacks.
SPEAKER_02 (18:49):
Let me ask you something kind of personal.
SPEAKER_00 (18:54):
Fire away.
Do you remember how you died?
He says.
Kind of personal.
UNKNOWN (19:00):
Shit.
SPEAKER_02 (19:01):
June lights up a cigarette, unscrews the cap of
her flask, takes a swig and thenlooks out at the ocean.
Her demeanor changes.
Her mind, occupied.
SPEAKER_00 (19:11):
Take a guess first.
Take a guess?
On how I died.
SPEAKER_02 (19:16):
No offense, June, but lung cancer?
SPEAKER_00 (19:20):
You asshole.
Nope.
Respiratory impairment fromsubmersion-immersion resulting
in
SPEAKER_02 (19:28):
hypoxia.
You drown, damn.
Yep.
My family
SPEAKER_00 (19:35):
had a cruise planned every year.
I didn't make much money beingan elementary school teacher,
third grade.
My husband
SPEAKER_02 (19:44):
owned a bakery.
SPEAKER_00 (19:46):
So this cruise, well, it was everything to us.
We had just finished an all-dayexcursion, the Mayan ruins, and
it just made it back to the shipbefore the rain.
It's...
Sometimes,
SPEAKER_02 (20:02):
there is no
SPEAKER_00 (20:02):
build-up, no dramatic setup.
Tragedy
SPEAKER_02 (20:06):
happens
SPEAKER_00 (20:07):
before you're ready for it.
Maybe...
Maybe you never are.
SPEAKER_02 (20:15):
My son Jacob and I
SPEAKER_00 (20:16):
were on the balcony of
SPEAKER_02 (20:16):
our
SPEAKER_00 (20:17):
suite.
It seemed like...
A normal storm.
But it caused some pretty bigswells.
Big enough for the ship to swayand sway hard enough to send
Jacob over the side.
He crashed into the water below.
We were seven floors up.
(20:37):
My husband called for help, butI couldn't wait.
I had some diving experience.
I dove into that black water.
Even at that height, I thought Ibroke my neck when I hit the
surface, but I found I couldstill swim.
SPEAKER_02 (20:52):
Storm kept the Coast
SPEAKER_00 (20:56):
Guard at bay, at least long enough for my lovely
Jacob to be truly lost.
The storm increased, heavy windand rain, pounding thunder, and
for a split second,
SPEAKER_02 (21:11):
a flash of light.
I don't know whether it was froma ship or lightning, but I saw
my Jacob
SPEAKER_00 (21:19):
sinking deep into that ocean.
I dove, paddling as hard as Icould, deeper and deeper into
the sea below until I woke up inthat awful yellow room with the
plastic
SPEAKER_02 (21:32):
chairs.
Leo remains silent, processingthe story he's just heard.
He looks at June, stoic, as shestares across the bay.
I'm sorry to make you rememberthat.
No, no, no.
I never miss a chance to thinkof my Jacob.
SPEAKER_00 (21:56):
I can understand that.
SPEAKER_02 (21:58):
For me, the meaning, the why, is
SPEAKER_00 (22:02):
to experience as many days, months, and years
that push me further and furtheraway from that awful fucking
night.
SPEAKER_02 (22:13):
Leo's briefcase vibrates as a new transmission
arrives.
He opens the briefcase and findsa card inside.
The card has imprinted on itssurface the time remaining for
Leo to locate Laurie Stryker andfree her from her demonic
spirit.
The time is formatted in hoursand minutes.
It reads 2 hours and 43 minutes.
(22:34):
Is that good?
SPEAKER_00 (22:36):
Oh, plenty of time.
We're about to make landfall.
SPEAKER_02 (22:45):
Lori hears a knock at her apartment door.
After witnessing her belovedcat, Ollie, fall to his death,
she's been a shut-in.
She's ignored all phone callsfrom her fellow bandmates, her
mother, and her manager, MauryStillman.
Lori is afraid to leave herroom, which, at least for the
time being, seems to beunaffected by the hauntings of
the elusive apparition thatforced her hands and kept her
(23:06):
paralyzed in fear the nightbefore.
She can feel it, though.
Its presence.
A thought arrives at the back ofher mind, something that tells
her to let the guest in.
She stands and opens her bedroomdoor.
Lori stops only a few feet fromthe apartment entrance.
The knocking at the doorcontinues, followed by a muffled
(23:28):
voice she can't place.
The forced instructions pressagainst her mind again to open
the door.
She begrudgingly followsthrough, grabs the doorknob,
Hesitating to turn it, but thevoice tells her to twist.
And she does it.
The door swings open and a manof the cloth stands in front of
(23:50):
her.
He is of average build andheight, closely cropped auburn
hair.
He's young, late 20s or 30s ifLaurie had to guess.
He holds the good book in hishands.
He's already speaking, but shehasn't heard a word.
I'm sorry,
SPEAKER_00 (24:06):
who are you?
SPEAKER_02 (24:08):
Hello, Miss Stryker.
I'm Father Marwood.
SPEAKER_00 (24:11):
You're a priest?
SPEAKER_02 (24:13):
Yes.
Reverend of the Chapel of theHoly King of Central Boston.
SPEAKER_00 (24:17):
You seem young to be a priest.
SPEAKER_02 (24:23):
I can understand that.
My mother, rest her soul, wouldhave said I was born to be one.
Okay.
Sorry.
Father...
Marwood.
SPEAKER_00 (24:35):
Okay.
Why are you here?
SPEAKER_02 (24:37):
There is no ghostly thought or menacing voice
forcing her to make a decisionor take action this time.
(24:59):
Against her own better judgment,she invites Father Mawud in.
June Chesterfield and Leo Braunare in a taxi cab as it drives
steadily through SeaportBoulevard.
SPEAKER_01 (25:14):
You two are in luck.
Normally it's bumper to
SPEAKER_00 (25:17):
bumper here, but it should only be about
SPEAKER_02 (25:19):
20 minutes before we reach the bricks.
We'll take all the luck we canget.
And where you from?
The demon hunters look at eachother.
Although unspoken, it's decidedJune should do the talking.
Oh, we're from the south.
The south, huh?
Like cattle ranchers orsomething?
Yes, exactly.
Cattle ranchers.
June looks at Leo and shrugs asthe cab driver turns up the
(25:41):
radio.
Nice cover.
How do we pay?
SPEAKER_00 (25:44):
Don't worry Back in apartment 1203,
SPEAKER_02 (25:51):
Laurie sits on a sofa in the living room.
She gestures to a recliningchair across from her.
The Reverend removes a tiny ballattached to a string from the
chair, gently tosses the cat toyon the carpet and takes a seat.
Laurie stares at the pet toy,remembering her cat, Ollie.
You have pets, Miss Stryker?
I...
SPEAKER_00 (26:12):
I did.
Why?
SPEAKER_02 (26:16):
I am highly allergic.
Oh, I'm sorry if I've saidsomething to upset you.
SPEAKER_00 (26:23):
My cat, he...
He passed away recently.
SPEAKER_02 (26:29):
Oh, I'm sorry to hear that.
I've always been envious ofthose who can befriend our
animal counterparts.
It just wasn't in God's plan forme, I guess.
SPEAKER_00 (26:40):
Father Marwood, if we could just get to the reason
for your visit...
I'm not feeling well and...
SPEAKER_02 (26:47):
Well, that's it, Ms.
Stryker.
Your manager, Mr.
Stillman, was concerned for yourwell-being.
He had stated you were quitedistressed the other day and
that a disagreement between thetwo of you became...
violent.
He also said...
Ugh, let's not pretend he caredabout me.
He's just looking out for...
his investment...
(27:09):
The Hack Sisters are one of hisonly remaining clients.
Now, Miss Stryker, I can't ingood faith speak to the true
nature of his intentions, buthis explanation of your previous
visit gave him great pause, asit did for me as well.
SPEAKER_00 (27:24):
Because I held him against a wall?
SPEAKER_02 (27:27):
No, no.
Mr.
Stillman believes that you mayhave been acting against your
will, that there were otherinfluences at play.
Influences?
Like drugs?
No, that it wasn't you.
That you may be under the spellof unclean spirits.
(27:47):
A sinister giggle rattlesthrough Laurie's head.
She does her best to pretendnothing is happening.
Father Marwood is well into hisspeech and doesn't notice.
Have you heard James chapter 4,verse 7?
Submit yourselves therefore toGod.
Resist the devil, and he willflee from you.
SPEAKER_00 (28:07):
No, can't
SPEAKER_02 (28:09):
say that I have, but you can stop.
You're not saying anything tome.
Miss Stryker, whatever forcesare at work here, it's important
that we- Father Marwood, is thiswhy you're here?
Like some friendly neighborhoodexorcist?
I am not here in any officialcapacity, Miss Stryker.
(28:31):
That would have to come downfrom the Archdiocese, and only
after you've been seen by amedical professional to rule out
any mental illness ordeficiency.
I don't need a doctor, a shrink,and I definitely don't need a
priest.
Miss Stryker, please, if I couldjust...
Father Marwood, I'd like you toleave.
May I, at the very least...
(28:51):
Arrange for a physician to...
Please,
SPEAKER_00 (28:54):
get out!
SPEAKER_02 (28:55):
Father Marwood presses the Bible between his
clenched hands and holds it tohis chest as if to pray.
He shakes his head indisappointment.
I will leave you with this, MissStryker.
Peter, chapter 5, verse 8.
Be sober-minded.
Be watchful.
Your adversary, the devil,prowls around you like a roaring
(29:16):
lion, seeking someone to devour.
Be watchful, Miss Stryker.
Try this one, Father.
Music is my religion.
Jimi Hendrix.
Father Marwood opens the door tothe apartment, feeling defeated.
As he begins to depart, he turnsto Laurie as if to make one last
plea, but instead he shrugs andwalks away, closing the door
(29:39):
behind him.
Laurie exhales as if it tookeverything she had to put on
this performance.
She shrinks back into her sofa,exhausted and frustrated.
And again, the menacingchildlike laughter erupts behind
her eyes.
As Reverend Marwood exits thelobby of the Bricks apartment
building, a yellow taxi cabapproaches.
(30:02):
The priest takes a crosswalk toan adjoining sidewalk.
He sits on a bench, takes outhis smartphone, and begins
texting Maury Stillman.
At the same time, two passengersexit the cab.
They are both holdingbriefcases.
SPEAKER_00 (30:14):
Okay,
SPEAKER_02 (30:15):
pay him.
June, I haven't heard from theNational Bank of Dante yet.
Leo's briefcase vibrates.
The cab driver hears the strangesound, looks in Leo's direction,
but then shrugs it off.
Leo opens the briefcase andfinds a single$100 bill.
Issued 1920.
How old is this money?
SPEAKER_00 (30:35):
It's still legal tender, Bubba.
Just pay the man.
SPEAKER_02 (30:38):
Leo walks to the driver's side of the taxi cab.
Here you go.
Keep the change.
Must be from the deep south.
Old cattle rancher money.
The cab driver removes from theglove compartment a counterfeit
pen, swipes the bill, and seemspleased with the result.
SPEAKER_00 (30:54):
Okay, thank you for using Canary Cabs.
Have a good day.
SPEAKER_02 (30:58):
The taxi cab begins to pull away, but June flags
them down.
She talks to the driver, whodoesn't seem eager to stay.
June approaches Leo and extendsher hand.
SPEAKER_00 (31:07):
All right, Leo.
This is where we part ways.
For now.
Hold on, you're not
SPEAKER_02 (31:13):
coming with me?
SPEAKER_00 (31:14):
I'd love to stay, but I gotta get back to my
body's place of death, or it'sadios muchachos.
SPEAKER_02 (31:20):
Right.
Talk about being on borrowedtime.
SPEAKER_00 (31:23):
When are we not?
Don't sweat this, Leo.
Headquarters monitors thesethings very closely.
Especially when we got a newagent that's in the field.
They'll never leave your dickswinging in the wind.
Okay.
Good luck.
June
SPEAKER_02 (31:44):
enters the taxi and they drive off.
Leo turns towards the entranceof the Bricks apartment
building.
He scans the height of thebuilding, counting each floor.
Returning to the entrance, henotices, to his right, a section
of pavement that has been tapedoff with caution tape.
A small red stain is located atthe taped section center.
Is that blood, he thinks?
(32:04):
As Leo continues to examine hissurroundings, He notices that
someone is sitting on a bench onthe sidewalk across from the
apartment building.
The figure is obstructed byparked cars, but it appears to
be a man.
Leo's attention returns to theentrance as the automatic doors
of the lobby swing slowlyoutwards.
Leo enters the building, thensteps towards the lobby.
(32:28):
From his vantage point on thebench across the street,
unbeknownst to Leo, ReverendMarwood has been observing the
whole scene.
Leo walks through the abandonedlobby of the Briggs apartment
building.
It's quiet.
There is no one sitting at thereception desk to welcome him.
For an apartment building ofthis size, it is eerily empty.
SPEAKER_00 (32:52):
Hello?
Well, it won't be a challenge instaying anonymous at least.
SPEAKER_02 (32:57):
Leo notices an elevator door across from the
reception desk.
He presses the button and soonhears the mild rumble of the
elevator as it reaches the lobbyfloor.
It opens automatically and Leoenters the elevator car.
His briefcase vibrates.
Leo opens it as the elevatordoors close.
The card inside gives Leo theprecise location of Lorry
(33:19):
Striker, 12th floor, apartment1203.
What the hell?
Come on! I don't have time forthis shit.
(33:50):
Come on! Leo presses the buttonsand switches on the car
operating panel, togglingthrough the emergency stop
switch, the alarm button, andpressing the floor buttons
again, all in a desperateattempt to activate anything.
The elevator remainsunresponsive as he stands
hovering above the sixth floor,alone, in the dark.
Leo engages the emergencyintercom.
(34:12):
Hello, this is Leonard Barnman.
I'm stuck in an elevator.
The power's out.
Hello?
Am I reaching anyone?
Nothing.
The elevator car begins torumble.
There is a chilling hum thatseeps into the elevator car.
And then...
Leo hears it.
The sound of a cat.
(34:35):
What the hell?
Is someone there?
The growling cat becomes moreaggressive, filling the elevator
car with threatening sounds of avery angry feline.
Leo begins to hear somethingcrawling on top of the elevator
car.
What the fuck is going on?
Leo takes a swipe at theceiling, hitting it with force.
There's another sound thataccompanies the growling.
(34:56):
A mischievous laugh.
Before Leo can process the eeriecacophony saturating the
elevator car, the power returns.
The malicious noises stop andthe car begins the ascent once
again.
The elevator reaches the 12thfloor, unimpeded.
The door opens and Leo exits thecar.
(35:18):
He's in a narrow hallway.
A sign mounted to the wall infront of the elevator entrance
indicates which directionapartment 1203 resides.
Leo takes a right from theelevator and walks towards the
apartment.
The lights flicker out and he'sleft in darkness.
Leo stops moving and grips thehandle of his briefcase tightly.
In the distance at the end ofthe hallway, the sound of a
(35:38):
growling cat emerges again.
Emergency lighting is activated,and a red emergency exit located
at the end of the hallway givesoff an almost supernatural glow,
filling the confined hallway ina blood-red hue.
On the carpeted floor of thehallway, near the emergency
exit, the silhouette of amangled cat appears.
(35:59):
A strange feline growlsferociously as it spasms and
twists.
Think you've expired all ninelives.
As if taking offense, the catleaps on all fours, stands
rigid, ears pull back, and hismatted fur stands on end.
He hisses and growls, and thegrotesque feline sprints
lightning quick towards thedemon hunter.
Ah, shit.
(36:20):
Leo braces himself, preparing toscuffle with a half-dead phantom
cat.
The ghostly feline leaps intothe air, lunging with claws
drawn towards Leo's face.
Leo swings his briefcaseupwards, but before connecting a
fateful blow, the cat impossiblychanges trajectory, dodging the
briefcase, landing on his feet,but on the ceiling, it scurries
away, hissing and protesting asit angrily races upside down on
(36:44):
the hallway's ceiling until it'sout of view.
The power returns, and theblood-red hallway is replaced
with the fluorescent lightingagain.
Leo regains his composure andrealizes he's standing directly
in front of Laurie Stryker'sapartment.
Wasting no time, he knocks onthe door.
There's no answer.
Uh, Laurie Stryker?
Leo attempts to knock again, butthe door opens on its own and
(37:07):
swings inward, revealing in fullview the living room.
Damn it, here we go.
Laurie Stryker?
Leo steps into the apartment andimmediately notices it's
freezing.
Steam rises upwards with eachbreath he takes.
Miss Stryker?
Laurie, Stryker.
I, uh...
I've been sent here to help.
Leo's briefcase vibrates.
(37:29):
He places the briefcase flat onthe apartment floor and kneels
down to open it.
But before he can, somethingbumps into his shoulder.
Holy shit.
Laurie Stryker is hovering abovethe floor, floating slowly and
steadily from the living room tothe hallway towards the bedroom.
Her eyes have rolled back intoher head, and her face is turned
upwards towards the ceiling.
Her mouth is agape, and sheemits a droning moan.
(37:52):
Lori, can you hear me?
I'm here to help you.
Leo tries to grab her and pullher away from the invisible
force that's carrying her acrossthe apartment, but the hold is
too great.
He begins getting dragged acrossthe apartment floor.
Releasing his grip, he returnsto the briefcase.
By this time, Laurie has reachedthe end of the hallway and
(38:13):
slowly turns to make a floatingcrawl back towards Leo.
Her face is quivering as ifshe's having a seizure.
The floor of the apartment seemsto shudder beneath him.
Opening the briefcase, Leo findsa small card inside.
He retrieves the card and flipsit over to read the message.
But before Leo can act, Laurie'seyeless gaze turns straight
(38:34):
ahead towards him.
The leisurely but frighteningfloating turns on a dime and
Laurie Stryker is thrust towardsLeo.
The possessed woman tackles Leo,pinning him to the floor.
Her eyes spin forward and herpupils are noticeable again.
Behind them, something darkstirs.
Leo sees it.
Laurie is seething.
A firm building at the cornersof her mouth, grabbing wildly at
(38:56):
him.
He tries to reach for the smallcard which he dropped during the
attack.
Laurie's possessed body forcesher to restrain Leo's hand.
He stretches to reach for thecard and is able to barely
secure it between his middle andforefingers.
He turns the face of the card sohe can read a strange limerick
imprinted on the card whileLaurie is screaming and
thrashing.
SPEAKER_00 (39:14):
Oh, you've gotta be shitting me.
Alright, here goes.
I'm speaking to the demon thathas possessed Laurie Stryker.
Marvin merely maximizes hismagnificent masculinity.
SPEAKER_02 (39:28):
After reciting the ridiculous limerick, nothing
happens.
A less than reliable reputationof the HCC chips appears to
remain intact.
Ah, piece of shit.
Leo tosses the card.
And as Leo is about to take moredrastic measures, the thrashing
and screaming cease.
Laurie is removed from Leo andfloats upward again.
Her body begins to shake.
(39:49):
The apartment rattles.
Without warning, there is asonic explosion.
The glass doors of the balconyshatter.
Laurie collapses to the floor.
Holy shit, it actually worked.
Leo kneels next to Laurie,feeling for a pulse.
Her eyes are open, and she'slooking dazed, but conscious.
SPEAKER_00 (40:11):
Who...
who are you?
SPEAKER_02 (40:14):
I'm a friend.
I'm here to help.
Leo gently guides Laurie to hersofa.
She seems to improve by themoment, having successfully been
freed from the demon.
I don't know how to ask youthis, but are you yourself?
SPEAKER_00 (40:29):
Yes.
Yes, I don't feel it anymore.
Who are you?
Did Father Marwood send you?
SPEAKER_02 (40:39):
No, nothing like that.
I'm
SPEAKER_00 (40:42):
from a place that helps people like you.
Beyond that, I don't think I cansay anything else.
What the hell is that?
I have
SPEAKER_02 (40:52):
to go.
I'm glad you're okay.
Laurie sits in silence,overwhelmed by all that has
transpired.
Leo walks to the apartment doorto leave, but before he exits...
SPEAKER_00 (41:06):
Thank you.
Whoever you are, thank you.
SPEAKER_02 (41:11):
My pleasure, Miss Stryker.
SPEAKER_00 (41:16):
Congrats, Bubba.
You did it.
SPEAKER_02 (41:18):
Captain F.J.
Mangut and June applaud Leo on asuccessful first case.
The captain presents Leo withhis first official ORA coffee
mug.
On behalf of myself, thehomeland, and the city of Dante,
I present to you, ObsidianRecovery Agent Leo Braun, your
first welcome to the ORA coffeemug.
Congrats, Leo.
Well done.
SPEAKER_00 (41:38):
Speech! Speech!
SPEAKER_02 (41:40):
June quickly grabs Leo's mug and pours from her
flask.
Thank you.
Um...
Oh, Jesus, what is
SPEAKER_00 (41:49):
that?
Chesterfield Hooch.
Family recipe.
That'll put hair on your chest.
Well, thank you both.
Cap the demon?
Locked up.
Thanks to you.
SPEAKER_02 (42:00):
How does...
How did we locate it?
We'll get there, Leo.
Much more training to come.
You've had a trying first dayand deserve some time to
decompress.
SPEAKER_00 (42:11):
Drink up, you sumbitch.
Enough questions.
SPEAKER_02 (42:14):
Oh, Leo.
A message came in for you.
From your caseworker, Sebastian.
Wanted to see you as soon as youcame back.
Thanks, Cap.
Did he leave an address?
It's at the bottom of themessage.
SPEAKER_00 (42:25):
So, Leo Braun Demon Hunter.
Want to head to the high watersaloon and get wasted?
SPEAKER_02 (42:32):
I have a feeling you'd drink me under the table.
But honestly, June, I'm fuckingexhausted.
SPEAKER_00 (42:41):
Fucking first-timers.
SPEAKER_02 (42:43):
Lori Stryker arrives at her manager's office.
As she approaches the officeentrance, she finds Maury
frantically packing up.
SPEAKER_00 (42:50):
Hey, Maury.
Is this a bad time?
SPEAKER_02 (42:53):
Her manager is startled and drops a cardboard
box.
The contents of the box pouronto the floor.
SPEAKER_00 (42:59):
Oh, uh, Laurie, uh, I wasn't expecting you.
SPEAKER_02 (43:02):
Laurie walks over to her manager, who is nervously
picking up items on the floor,and begins to help him.
SPEAKER_00 (43:07):
I
SPEAKER_02 (43:08):
just...
I wanted to apologize.
Again, for the other day, and...
I wanted to thank you.
SPEAKER_00 (43:16):
Thank me?
Thank me for what?
Oh, Father Marwood.
Was he able to help?
Well, no, it wasn't him.
It was the other guy.
Other guy?
Sorry, Laurie.
Maybe the Reverend called in afavor, but I had only spoken to
Father Marwood about oursituation.
(43:36):
Oh, okay.
So what's happening here?
Oh, just doing some organizing.
My secretary was saying I wasbecoming a
SPEAKER_02 (43:46):
bit of a hoarder.
Laurie notices the office isalmost completely bare.
SPEAKER_00 (43:51):
Looks more like a clean sweep.
Right, right, right, right.
Oh, hey, tomorrow night, I haveyou booked at the grand opening
of a new nightclub, theMoondial.
No boomers, no Bratz birthdays,a real gig.
Can you, I mean, well, can Icount on you to be there?
We'll be there.
I could use the money.
I'm going to have to find a newplace to live.
(44:13):
This could be just the type ofpayday I need, that we need.
No, no, that doesn't go there.
Oh, hey, excuse me for a second,Lori.
SPEAKER_02 (44:26):
Lori begins yelling at what appears to be
professional movers who areplacing furniture in a large
moving truck.
Lori turns her attention to theoffice.
No posters on the wall.
The computers and officesupplies are gone.
She opens the box that Lori leftbehind.
Inside are past-due bills,foreclosure notices.
(44:48):
She thinks, he's not justorganizing, he plans to skip
town.
This payday, tonight.
She wonders, is this his ticketout of here?
Leo makes a second visit to anapartment building.
This time, the Byron ClawApartments in downtown Dante,
(45:09):
where Sebastian, his caseworker,lives.
Having received a message thatSebastian wanted to speak with
him, Leo locates the first floorapartment and wraps on the door.
Leo hears some muffled commotionfrom within, and then Sebastian
opens the door nervously.
Oh, uh, Leo, you got my message.
Yeah, Captain Mangut said youwanted to discuss something with
(45:32):
me.
I assumed it was about my file.
Uh, yes, I do, but not here.
I know how this is going tosound, but...
You weren't followed, were you?
Leo looks around and sees onlyempty streets.
Followed?
No, I mean, I don't think so.
Why?
Okay, well, look, it may benothing, but meet me tomorrow at
(45:57):
the old fish pond.
It's out of the city and faraway from prying eyes.
Do you know it?
I actually do.
I met Max there.
Max?
Can you be trusted?
Trusted?
I don't think so.
What's this all about?
Hi,
SPEAKER_01 (46:13):
Leo.
SPEAKER_02 (46:14):
Jillian?
SPEAKER_01 (46:16):
Oh.
Oh.
UNKNOWN (46:17):
Hi.
SPEAKER_01 (46:18):
What Sebastian is trying to explain is that he
uncovered some discrepancieswith your report, but he
believes it wasn't meant to befound.
We think he may have beenfollowed leaving the
administration buildingyesterday.
He wants to share with you whathe's found in a safe place.
So, tomorrow at the pond soundgood?
SPEAKER_02 (46:39):
Sounds like a plan.
Perfect.
SPEAKER_01 (46:41):
Good night.
SPEAKER_02 (46:43):
Good night, Jillian.
So, Leo...
Tomorrow, at the pond.
And, um, as for thisdevelopment...
You mean you and Jillian?
Yes, as for that...
It's no one's business, least ofall mine.
I guess I should say I'm happyfor you, for what it's worth.
(47:05):
Yes, well, she is reallyamazing.
I could listen to her talk abouther life back home for hours.
Better than any spy novel I everread.
SPEAKER_01 (47:16):
Say goodnight, Sebastian.
SPEAKER_02 (47:19):
Uh, right.
Goodnight, Leo.
Goodnight, Sebastian.
SPEAKER_00 (47:26):
Yes, I am for what you want.
In
SPEAKER_02 (47:34):
Boston near Central Square, the Hack Sisters are
playing to a lively, sold-outcrowd for the grand opening of
the Moondog Club.
The band is performing one oftheir most popular songs, a
heavy rock ballad entitled TheHowl Hour.
(48:01):
As the band reaches the secondchorus, Lori observes that the
lighting in the club has startedto dim, and the music is
becoming difficult to hear.
She taps on her earpiece,indicating potential technical
issues, but her bandmates andthose backstage seem unaware.
The screeching guitars anddriving beater drowned out,
(48:26):
replaced with the sound of a catgrowling and hissing.
Laurie observes the audience,who also seem completely
ignorant of any technical issue,as they become engulfed in a
shadow.
An aisle becomes a glowing,blood-red light.
And soon, to Laurie's horror,amongst the growls and hisses,
(48:47):
Ollie's back from the dead,mutilated body emerges.
An aisle suddenly becomes aglowing, blood-red light.
Laurie makes eye contact withthe mangled feline who only
stares back a sinister red shinebehind his lifeless eyes.
The mutilated back from the deadbody of her beloved cat Ollie is
(49:22):
backlit by that red glow.
(49:42):
Light and sound return to normalin an instant.
She's still on stage, performingto a rollicking crowd.
The audience cheers, believingher outburst to be part of the
performance.
Her bandmates look confused, butplay along.
(50:07):
After the show, Lori isbackstage, searching for her
manager.
She locates some stagehandspacking up equipment.
SPEAKER_00 (50:14):
Have either of you seen Maury Stillman?
I think he was in the green roomtalking to the owner.
Thanks.
SPEAKER_02 (50:22):
Lori makes her way to the green room.
Before she arrives, she noticesthe owner of the club's door is
cracked open.
She peeks in and sees Cashexchanging hands between Maury
and the owner.
Maury shakes the owner's handand then promptly walks towards
the door.
Laurie ducks behind a doorway,out of view.
Maury turns down a hall,carrying a large duffel bag,
(50:43):
unaware that Laurie is spying onhim.
Laurie pursues him as he makeshis way towards the club exit.
He stops, turns to the men'sroom, considers leaving, but
ultimately decides to relievehimself first.
He opens the bathroom door withthe duffel bag in tow and
enters, slamming the door behindhim.
For a brief moment, Ollie thedead cat crosses through the
(51:03):
hallway.
Laurie grimaces at him.
Laurie begins to fear there isno way out and decides escape
could be her best option.
Leave all this behind and startfresh, somewhere else, far away
from the Bricks apartment, fromher sleazy manager and her dead
cat.
(51:24):
Lori moves towards the bathroomdoor, then stops, takes hold of
the doorknob and slowly turnsit.
The door cracks and she can seethat Maury is still indisposed.
The duffel bag is on thebathroom sink.
While her manager is indisposed,she grabs the duffel bag and
makes a break for the club exit.
(51:45):
Maury is alerted to the theftand swiftly zips up.
SPEAKER_00 (51:49):
Come back here, you crazy bitch!
SPEAKER_02 (51:54):
Laurie flees, darting through a back alley,
popping a chain-link fence andthen quickly sprinting down the
street, the heavy duffel bag isjostling against her.
SPEAKER_00 (52:03):
Laurie!
UNKNOWN (52:04):
Stop!
SPEAKER_02 (52:05):
She turns towards Maury, assuming he's right
behind her, but instead she seesan incoming pickup truck, firing
down on her.
The headlights are blinding.
SPEAKER_00 (52:15):
No!
SPEAKER_02 (52:19):
Father Marwood is resting in his bed, in his
rectory at the Chapel of theHoly King.
He sits up and walks to the doorand locks it.
Then he returns to his bed,kneeling before it.
Although it looks as if he's inprayer, he's actually removing a
smartphone from under hismattress.
He turns the phone on andnavigates to a photo app,
scrolling through pictures untilthe priest arrives at familiar
(52:41):
images.
The Bricks apartment building.
He swipes right and anotherimage displays.
Leo Braun and June Chesterfieldexiting the taxi cab.
Swipes again.
And this time, video footagetaken from the ground floor.
The video shows glass shatteringfrom the 12th floor apartment
(53:02):
building.
Father Marwood swipes again.
And this time, the picture is aclose-up of Leo Braun as he
exits the bricks apartmentbuilding.
Who are you?
In the early morning, Sebastianopens the front door of his
(53:23):
apartment.
Jillian grabs his hand.
They embrace and lean in for atender kiss.
He throws a binder over hisshoulder, tells her goodbye, and
steps away, beginning his trekto the office.
As he makes his way down thecity streets of Dante, he
occasionally looks over hisshoulder.
To his relief, no one is there.
(53:43):
Specifically, that the henchman,the pig, is nowhere in sight.
Sebastian enters the onboardingstation of the Dante branch
without incident.
He greets a few of his fellowcoworkers and then approaches
the onboarding room to begin hisfirst case of the day.
There is a wall-mounted fileholder next to the door.
(54:04):
He reads over the file and thenenters the eggshell-colored
room, places his binder down onthe plastic desk, and sits.
The latest arrival sits acrossfrom him, disorientated and
frightened.
Uh, where am I?
I assure you, we will get tothat.
I will try to answer anyquestions you may have.
(54:26):
Any memory loss ordisorientation will soon
subside.
If you can do me a favor, stateyour name, please.
SPEAKER_00 (54:33):
My name?
It's Lori.
Lori Stryker.
SPEAKER_01 (54:48):
Leo Braun is a production of Shoestring TV.
You can find us at Patreon.comslash Shoestring TV, where you
can listen to each episode forfree or subscribe for only$5 a
month.
With the subscription, you'llbecome a member of the Obsidian
Recovery Agency, which grantsyou early access to each
episode, bonus clips, artwork,and so much more.
(55:08):
You can also find us on ApplePodcasts, Spotify, iHeartRadio,
and just about anywhere youlisten to podcasts.
Leo Braun was written andproduced by me, Jason Beard, and
starring Stitch Mainville as LeoBraun and Cab Driver, Andy
Parkin as Narrator 2, MelroseJohnson as Captain F.J.
Mengate and June Chesterfield,Emily Fry as Laurie Stryker,
(55:29):
Mitch Leschinski as FatherMarwood, Tabitha Mixon as
Jillian Burkett, Eric Carlino asSebastian and Herman Edward
Coxlin, Jim Franck as MauryStillman, Terry Briscoe as
Willie Topaz, and Robert Lloydas Stay stay tuned for Leo Braun
episode 7 come hell or highwater thanks again for listening
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Special Summer Offer: Exclusively on Apple Podcasts, try our Dateline Premium subscription completely free for one month! With Dateline Premium, you get every episode ad-free plus exclusive bonus content.
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!