Leo Brawn - Episode 7: Come Hell or Highwater - Leo Brawn

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_02 (00:01):
I joined the CIA soon after the assassination of
Osama bin Laden.
I worked my way through theNational Clandestine Service
undergraduate internshipprogram.
I was 25 by the time I made rankas officer as part of the
Counterterrorism Center underDeputy Director Jared Walsh.

(00:24):
Before I died, after years ofbeing an officer and about five
months before passing, Arrivingin hell, I was stationed in a
rural settlement of Russiacalled Tura.
I was posing as a courier,Polina Sokolov, for the Kindex
Service Express, a local courierservice.

(00:46):
I was making a scheduleddelivery at the Department of
Archives.
Little did the settlement northe employees of the Department
of Archives know that asecretive meeting was taking
place inside.
The Administration Directorateof the Ministry of Defense,
Maxim Fedorov, was believed tobe in possession of classified
documents, with specificcoordinates marking locations of

(01:08):
several hidden weapons depotsspread all over the Samoyed
tundra.
He was selling these secrets tothe highest bidder, which turned
out to be a high-ranking memberof the Mushtab militia of
Bahrain, Eritro Marhoun.
My assignment was to photographthe exchange.
I was partnered with another CIAoperative during this
assignment, also stationed inTora, intelligence analyst

(01:32):
Bradley Taft.

SPEAKER_06 (01:33):
Up a little bit higher and zoom in.
Jillian is hiding in an air ductwithin the building of the
Department of Archives.
She operates a miniature cameraand makes the adjustments.

SPEAKER_04 (01:45):
Perfect.

UNKNOWN (01:46):
Hold.

SPEAKER_06 (01:47):
There are mumbled pleasantries dispensed between
the two parties of thissecretive meeting.
A few minutes later, indicatedby the video feed being
monitored by analyst Taft, thedocuments are exchanged.

SPEAKER_01 (01:58):
We got it.
Get out of there.

SPEAKER_06 (02:00):
Jillian operates a jeep at a high rate of speed
towards the Gostinitsia server,a small bed and breakfast in the
rural town of Tura.
Jillian enters the room quicklyand locks the door behind her.
Intelligence analyst BradleyTaft is already there, waiting.
Have something for me, Paulina?
Jillian reaches into thebackpack and pulls out the
miniature camera.
Here you go.

(02:21):
Bradley turns to a small metalcase placed on a dresser drawer,
his back facing Jillian, as hepresses the camera into a
pre-shaped compartment.
The mini-camera fits snugly intothe case.
Bradley closes the secured caseand types in a code locking it.
Jillian walks to a window andpulls the curtain, taking a peek
outside to ensure all is quiet.
The January winter is icy cold,but calm.

(02:45):
Jillian feels time slow down.
Adrenaline floods her body asshe hears a combat knife being
pulled from its sheath behindher.
She instinctively rips thecurtain from the rod and wraps
it around the combat knife.
Analyst Taff twists the knifeand the blade tears through the
curtain.
She kicks Bradley in theabdomen, and he falls backwards,
ripping the curtain in half.
What the fuck are you doing?

(03:05):
This isn't the part where Idivulge my grand plan, Officer
Burkett.
It's pretty simple, really.
Money talks.
The analyst swings the knife inJillian's direction.
She deflects and attempts toswim.
Taft loses his grasp on theweapon, flinging the knife into
the air.
Sidekick to Jillian's legs,swiping them from underneath
her.
Losing her balance, she fallsbackwards, landing hard against

(03:26):
the room's floor.
Jillian stares at the ceiling asthe knife comes bearing down on
her.
She turns her head, evading alethal blow, but the knife digs
a gash into her right cheekbefore bouncing across the
floor.
What did you do?

(04:06):
Analyst Taft doesn't respond,but gunfire does.
As bullets rain down inside theroom, Bradley dives into a small
bathroom.
Glass from the windows explodesand shatters as gunmen outside
the room fire a barrage ofbullets.
Julie lifts the mattress off thebed and uses it for cover.
A television screen shatters.
Wooden dining room chairssplinter.

(04:27):
The cheap wallpaper lining thewalls is perforated with bullet
holes.
Portions of the mattress eruptinto plumes of fabric as bullets
strike.
The gunfire abruptly stops asthe gunmen reload.
Bradley uses the reprieve as achance to escape.
Jillian grabs the knife andsprings up from the floor,
restraining Bradley.
The sharp blade just inches fromhis jugular.

SPEAKER_02 (04:47):
Is there another signal?
Go

SPEAKER_06 (04:51):
fuck yourself.
Jillian applies strongerpressure, digging the knife
deeper into his neck.

SPEAKER_02 (04:57):
Try again.
Three flips of the switch

SPEAKER_06 (05:00):
means you're

SPEAKER_02 (05:00):
dead.
Do it.

SPEAKER_06 (05:04):
How

SPEAKER_02 (05:06):
many gunmen outside?
Four or five.
I count two.
Well, what are you waiting for?
For them to finish reloading.
Oh, shit!

SPEAKER_06 (05:16):
Jillian bursts through the door using Riley
Taft as a shield.
The two gunmen open fire,riddling the analyst with bullet
holes.
Jillian releases Taft,sidestepping as his body
collapses, flinging the knifetowards the closest gunman.
The knife rapidly spins throughthe air until the blade sinks
into the gunman's forehead.
He shudders and then collapsesto the floor.
The second gunman near theentrance of the stairway is

(05:36):
momentarily shaken.
He fumbles his reload Regainscomposure as his muscle memory
kicks in, slaps the magazine inplace, racks the weapon, aims,
and fires.
Jillian has taken advantage ofthis and leaps forward, avoiding
being struck as the doorway isriddled with bullets.
Jillian somersaults across thehallway and grabs the machine
gun off the floor.
She squeezes the trigger andsweeps the load, shattering the

(05:57):
second gunman's knees.
He plummets to the floor,screaming in agony.
Jillian bursts through the exitof the stairway, the metal case
in hand, racing down the stairs.
The right side of her face isbleeding profusely and
throbbing, but she ignores thepain, focusing instead on making
it to the extraction point inone piece.

SPEAKER_02 (06:14):
We had a boat chartered at a dock off the
Tunguska River.
I was about a half mile away.
I made it to the first floorfrom the stairway, hopped a
fence and began making my waydown an alleyway.
I started slowly, quietly atfirst, but...
Panic and desperation got thebetter of me.
By the time I made it halfwaydown the alley, I was sprinting.

(06:37):
Just before I was about to roundthe corner, the shot rang out.
I never got a look at thesniper.
Didn't even really hear the shotor feel it hit me.
I saw a flash of white.
I stumbled, and then...
Next I see you, sitting in thatugly room.
I'm...

SPEAKER_06 (06:56):
I'm sorry, Jillian, that is...
That's an awful way to go.

SPEAKER_02 (07:00):
Your boss said the memories would come when I least
expect it.
He's...
not my

SPEAKER_06 (07:06):
boss.

SPEAKER_02 (07:07):
I'm just glad to remember it.
It's shocking enough that deathwasn't the end, that there was
something else.
For a split second I thought,maybe there is hope.
And then you realize, you're oneof the bad ones.
I served my country and yet, Iwound up here.
You...

SPEAKER_06 (07:26):
Deserved better.
I don't say that lightly.

SPEAKER_02 (07:30):
So which sin led me here?
Shit.
I'm going to be late to the autoshop.

SPEAKER_06 (07:38):
I should get going too.
Going to meet with Leo at thepond before work.
Meet at the high water later?
An actual date?
I guess it is, yes.
Although the high water isn'treally the most romantic
setting.
We're lacking fine dining here,but I heard there is a French

(07:59):
cuisine restaurant opening nextmonth.
But yes, it's a date.

(08:40):
On the outskirts of Dante, Leohas arrived at the fish pond
where he plans to meet withSebastian, who has some
information to share on hisdeath details report.
As he awaits for his caseworker,Maximilian, the eternally
tortured and vulnerable man,resurfaces.

SPEAKER_04 (09:00):
Leo! What a pleasant surprise.

SPEAKER_06 (09:05):
No boat this time?
Oh, sorry, Max.
I was meeting someone here.
I don't have any chocolate onme.
Beggars can't be choosers.
I must say, Leo, although Idon't know you that well, you
seem anxious.
I'm supposed to meet mycaseworker here.
He has some sensitiveinformation he wanted to share
with me.

(09:26):
I suppose I'm just ready forthis chapter to be over and to
get some answers.
Has anyone stopped by?
No, no one today, but I haveheard voices.
Ha ha ha.
Ha ha ha ha ha.

(10:00):
But seriously, if I see or hearanything, you'll be the first to
know.
Thanks, Max.
Hey, if you could do me anotherfavor.
If Sebastian stops by, let himknow I waited, but I have to get
back to the ORA.
Ah, Sebastian.
Yes, I remember him.
Good lad.
A bit uptight, but a good lad.
Exactly.

(10:21):
Uptight, but misses his ownmeeting?
Paranoia?
No, actually, I don't think so.
If he shows up, I'll let himknow you were here.
Better hurry.
Looks like a storm is coming.
Later that night, in thefurthest reaches of hell, miles
away from the city of Dante,high beams from a black sedan

(10:43):
carve narrow swaths ofluminescence through the thick
blanket of night.
The sedan follows a dirt pathtowards the mouth of an enormous
cave.
Two men standing below theopening are revealed through the
bright beams of the headlightsas the car pulls closer.
The marksman and the pig standside by side, awaiting arrival
of a third.
The sedan parks within feet ofthe cave.

(11:07):
Satan's henchman, the pig,approaches the car as the
marksman never breaks hisghostly gaze from the passenger
who sits inside.
The pig knocks on the driver'swindow, and the window lowers.
Stay in the car.
The pig walks to the back of thesedan, opens the rear door, and
waits for the passenger to exit.
A fashionable pair of Italianleather loafers slink out of the

(11:27):
car, followed by a waft ofcigarette smoke.
Satan himself has arrived.
Okay, Piggy, I got your message.
Why am I here?
Please, follow me.
Satan and the pig approach themarksman, who still stands at
the mouth of the cave, his longcoat waving in a strengthening
breeze.
This is...
We can dispense with theintroductions.

(11:49):
You are a mercenary and a killerfor hire.
The one known as the marksman.
The marksman simply tips hishat.

SPEAKER_05 (11:58):
Hmm,

SPEAKER_06 (11:58):
a man of few words, I see.
My work

SPEAKER_04 (12:01):
speaks for itself.
Sorry.
Those ping-pong balls you calleyes make it hard to know where
you're looking.
Trust me.
I see everything.
Okay.
Well, you two are about as muchfun as a potluck at a funeral
parlor.
Piggy, why am I here?
You asked me to trace the sourceof the silver ring.

(12:23):
We were sent it to DetectiveBraun.
The signal points to somewhereinside the cave.
Well, I haven't done muchsplunking lately, Piggy.
What would you expect me to dowith this information?
Think about it, sir.
Outside of a few places thatonly you and I know about, a

(12:45):
transmission like that couldonly have come from the O.R.A.
Okay.
Sir, someone inside not only hasHe has the capability, but the
knowledge and foresight, to sendthe precise consecrated artifact
needed to defeat the demonshort, however much of a fraud

(13:09):
he turned out to be.
It's funny you use that word.
This cave.
The Malibouge.
Used to be called just that.
Fraud.
The eighth circle of hell.
I don't think that.
is a coincidence either, sir.
Someone is sending a message.
When I interrogated George atthe ORA, he said an ancient evil

(13:32):
had awakened.
Like I was supposed to know whatthat meant.
What the fuck here is an ancientor evil?
Anyway, good work, piggy.
Now, that leaves you.
Why are you here?
This is a twixt you and him.
I am at sea on this one.

(13:53):
You're right.
Let your work do the talkingfrom here on out.
Piggy, care to translate?
We need eyes in the cave, sir.
With his skill set, I figuredhe'd be the right man for the
job.
At a price, of course.
You've always been handsomelycompensated in the past.
Although how you spend it out inthe desert, I'll never know.

(14:16):
Banishment comes with its ownprice.
Wouldn't you say so?
There is a condition to considerat this point, sir.
Condition?
I'll say it plain.
Remove my banishment.
Let me roam freely again.
And I'll do this thing thatneeds doing.

SPEAKER_06 (14:42):
Hmm.
I half expected a tumbleweed toroll by.

SPEAKER_04 (14:45):
Do we have a deal?
Done.
But take note, Sicarius.
Things have changed since thelast time you set foot in Dante.
Despite your outdated attire,this is no longer the Wild West.
So Piggy, this begs thequestion, why aren't you running
Cave Recon?

(15:06):
This is right up your alley.
We have another problem that weneed to attend to.
Well, it's good to know wedidn't drive all the way out
here for nothing.
Back in Dante, an onboardingspecialist has obtained some...
information.
And the hits just keep oncoming.

(15:26):
Okay, I have an idea.
Pig, you scope out the cave.
Uncover anything that seems...
awry.
To my friend of the chaps...
You go to Dante.
Keep your cue balls on thisonboarding specialist.
Observe and report.
For now.
This will give you a chance toenjoy your newly bought freedom

(15:51):
and get the lay of the

SPEAKER_06 (15:53):
land.
Understood.
The marksman tips his hat again.
The information you need is inhere.

SPEAKER_04 (16:01):
Now, if that concludes our business...
I have the grand opening of ahouse of ill repute to attend.
Show my face, amongst otherthings.

SPEAKER_06 (16:13):
Satan strides back to the black sedan, strolling
through a clouded wave of smokefrom a freshly lit cigarette.
The driver is already standingat the rear and opens the
passenger door.
Once the car is barely visible,drowned out by dust and the
darkness, the pig turns to themarksman and asks for some
assurance.
This is surveillance for thetime being.

SPEAKER_04 (16:35):
You got that straight.
Pull in your horn, swine.
Even if your face weren't asugly as a mud fence, this
meeting is over, and I'm done

SPEAKER_06 (16:48):
looking at it.
The marksman steps away, sits onhis motorcycle, and rides off
into the darkness.
The pig turns to face the caveand enters.
Father Marwood is tidying up hisrectory at the Chapel of the
Holy King of Central Boston whenthere is a knock at the door.

(17:09):
He opens to find Bishop Barlowstanding rigid.
His expression is one ofdisappointment.
Your Excellency.
Father Marwood, would you comewith me, please?
I just brewed some tea.
May I offer you some or somecoffee?
Father Marwood, come with menow.
May I inquire as to why?
Archbishop Macaluso requestsyour presence.

(17:32):
The Archbishop is here.
Yes.
Follow me.
Father Marwood enters anexpansive office within the
church as Bishop Barlowannounces their arrival.
Archbishop Macaluso is sittingbehind a desk.
As Father Marwood approaches thedesk, the Archbishop opens a
drawer and produces FatherMarwood's cell phone.
Father Marwood, do you recognizethis device?

(17:54):
Yes, Your Grace.
That is mine.
You betray yourself, FatherMarwood.
This is property of theArchdiocese, and while we don't
strictly prohibit the use ofsmartphones, we do expect all
data and content to be reportedand disclosed.
I had no intention ofsuppressing the- No?
The phone was found underneathyour mattress.

(18:17):
I'm surprised that you didn't goto such lengths to also change
the passcode.
Your Grace, I was only biding mytime, trying to process what I
had witnessed so I couldidentify the best way to report
the revelatory nature of thefindings.
Revelatory?
Yes, Your Grace.

(18:38):
The content contained within thephone.
The images.
It's irrefutable proof.
Proof, Father Marwood?
It's proof

SPEAKER_05 (18:49):
of the Almighty, of God's good work.

SPEAKER_06 (18:52):
Father Marwood, this would seem to indicate that you
didn't until this very momenthave this belief.
You needed proof?
Father, this is what we refer toas faith.
Have you watched the footage,Your Grace?
Father Marwood, how dare you?
What I watched was nothing morethan some video trickery.

(19:14):
I saw no proof.
The purpose of this meeting isto bring to light your actions
as of late.
To demonstrate that you haven'tbeen, in fact, biding your time.
You have, in actuality, beenspreading rumors to just about
anyone within the church whowill listen.
I have several reports frommembers of the clergy of conduct
unbecoming, actions that are atthe very least inappropriate,

(19:37):
but to a more severe degree,actions in opposition to the
Archdiocese and the Vatican.
These revelatory findings arenot proof.
They are heresy.
No! Father Marwood, it has beendecided that you, with an
immediate effect, have beenexcommunicated.
No!

SPEAKER_04 (19:57):
Bishop Barlow.

SPEAKER_06 (19:59):
It's not heresy.
It's not fake.
It's real.
God is real.
Don't you see what this means?
Everything you've been teaching,everything we believe has been
proven.
I will show the world.

(20:19):
Leo makes his way to the firstfloor of the ORA after
completing his latest demonhunt.
He steps into the Devil's Den,which is the common area of the
station house where most demonhunters congregate, brew coffee,
have assigned desks withantiquated computers, perform
administrative duties, and awaittheir next assignment.
Captain Mangut has her ownoffice, but often prefers

(20:41):
managing from the Devil's Den.
This evening is no different.
She's discussing some matter ofapparent importance with Willie
Topaz when Leo approaches.

SPEAKER_03 (20:50):
Leo, welcome back.

SPEAKER_06 (20:52):
Sorry, Cap, I didn't want to interrupt.

SPEAKER_03 (20:55):
Oh, not at all, not at all.
That was...
well, I had no idea someonecould drool from that part of
the body.

SPEAKER_06 (21:03):
It was a...
How the hell are you, Leo?
Willie! The two demon huntersshake hands, having not been in
each other's presence since theculmination of the Philip Weston
case.
I don't remember if I said it,Willie, but thank you.
Those were some stellar drivingskills.
Oh, that was nothing.

(21:23):
If we ever have a need to drivethrough a ring of fire, I'm your
guy.
I always prefer to do my ownstunts.

SPEAKER_03 (21:30):
Leo, that was some solid hunting.
And after six straight cases,you've earned the right for some
R&R.
Take some time off.
That goes for you too, Willie.

SPEAKER_04 (21:40):
Thanks, Cap.

SPEAKER_06 (21:41):
I'll take it.
What do you say, Willie?
I'm pretty sure I owe you adrink for saving my ass.
I'm pretty sure you do too.
Been to the high water saloonyet?
Is it really called that?
The big man loves his puns.

SPEAKER_03 (21:57):
Okay, you two.
Get out of here.
If I see June, I'll send heryour way.
Yes, sir.
Oh, Cap, any messages for me?
Nope,

SPEAKER_06 (22:07):
nothing.
Okay, Leo, let's bounce.
Did you change your clothes?
Oh, Leo, how do I

SPEAKER_04 (22:15):
explain it to the uninitiated?
It's one thing if Leo Braundecides to go to a bar, have a
drink.
But it's another thing entirelywhen you're

SPEAKER_06 (22:25):
Willie Topaz.
Black boots with spurs step ontothe paved streets of Dante at
night.
A well-tended motorcycle humsclose by.
The marksman takes in the sightsand sounds of this new place.
He can't measure in time when hewas here last.
He manages an almostimperceptible smile.

(22:47):
Having lived in the desolationof the abominable sands for
countless years, he becameaccustomed to speaking to
himself, and on occasion,conversing with the dead.
There is a myth that with hislifeless eyes he still sees the
dead, and he's seen plenty.

SPEAKER_04 (23:02):
Barry, this is just some dream birth, or a viper has
charmed the balmy.
Either way, I'll ride.

SPEAKER_06 (23:13):
The marksman pulls out a handkerchief, wipes the
headlight and chrome handlebars,then climbs on his bike and
speeds down an empty street.

(23:40):
Inside the high water saloon, aheavily bearded man picks away
at a banjo on a dimly lit stage.
It's not exactly a dive bar, butcigarette smoke hovers above the
patrons, visible when the lighthits it just right.
Bar stools are positioned in ahalf circle at the front of a
smoothly polished darkened cedarbar.
The stools are mostly empty,save for a few customers who

(24:02):
hover over the bar nursing theirpints.
The barkeep wears a stainedt-shirt and suspenders.
A thick, lit stogie stayspermanently affixed between his
teeth.
He stands in front of a widearray of backlit bottles of
brands Leo has never heard ofbefore.

SPEAKER_04 (24:18):
Hi, folks.
You, sir.
You new in town?
Felix is my name.

SPEAKER_06 (24:24):
Hey, Felix.
Leo.
It's nice to meet you.
Yeah, I've been here a fewmonths.
And where are you assigned, Leo?
An ORA recovery agent of theDante branch.
Uh...

SPEAKER_04 (24:35):
The patrons

SPEAKER_06 (24:40):
of the bar within earshot of the barkeep laugh.
The barkeep chews on his cigarand looks dismayed.

SPEAKER_04 (24:47):
Leo removes

SPEAKER_06 (24:57):
a palm-sized steno pad from his back pocket.
He flips to a page withhandwritten questions, pulls a
small pencil stored within themetal spiral, and checks off the
question.
Does money exist in hell?
You actually have a list.
We should all have a list.
Felix, can we start off with acouple of beers?

(25:18):
Cancel that.
Felix, can we have two glassesof the Topaz Surprise, please?
Table four.

SPEAKER_04 (25:25):
Coming right up, Willie.

SPEAKER_06 (25:26):
Wait, you have a drink

SPEAKER_04 (25:28):
named after you?

SPEAKER_06 (25:29):
Willie engages in a victorious dance and sidles over
to table four.
Of course you do.
Leo joins him at the table.
Just as they are seated, Jillianenters the high water.
Ooh, who is that?
Oh, that's Jillian.
Sebastian's, uh, Sebastian isher caseworker, too.
Mind if I ask her to join us?

(25:51):
Allow me.
Full of swagger, Willie sauntersover to Jillian, who is still
surveying the scene.
Miss Jillian, you don't know me,but my friend with the permanent
scowl over there and myselfwould be honored if you would
join us.
Jillian looks over at the tableWillie is gesturing to and spots
Leo, who gives an awkward wave.

SPEAKER_01 (26:09):
Sure.

SPEAKER_06 (26:10):
Willie happily escorts Jillian over to table
four.
Hey Jillian, nice to see you.

SPEAKER_02 (26:15):
Hi, Leo.
Did you and Sebastian connect?

SPEAKER_06 (26:18):
No, actually, he never showed.

SPEAKER_02 (26:20):
Well, you should get your chance.
He's supposed to meet me hereafter work.

SPEAKER_04 (26:24):
Three Topaz surprises.
Might still need to work on thename.
Can I interest anyone in somefood?
We have a few specials.

SPEAKER_06 (26:36):
You don't happen

SPEAKER_04 (26:37):
to have a Reuben sandwich, do you?
No, but I could look into it.
Here are some menus if anythingelse looks appetizing.

SPEAKER_06 (26:46):
After dropping off the menus, the barkeep heads
back to the bar.
Jillian stares at the glass atthe Topaz Surprise.
Garnished on top is a half sliceof pineapple, a sliver of bacon,
and three green olives.
Topping it all off is a cocktailumbrella with two maraschino
cherries attached.
The color of the beverage iseven more problematic.

(27:08):
A horrifying melange resemblingprune juice mixed with
guacamole.

SPEAKER_02 (27:12):
Um, so, Willie, what's in this wonderful
concoction you've created?

SPEAKER_04 (27:19):
One ounce vodka, one ounce rum, one ounce gin, one
ounce tequila, half an ounce ofcognac, two ounces sweet and
sour

SPEAKER_06 (27:28):
mix,

SPEAKER_04 (27:28):
ten

SPEAKER_06 (27:29):
ounces of orange soda, and Willie Topaz's special
sauce.

SPEAKER_02 (27:32):
I'll pass.
I'll

SPEAKER_06 (27:34):
pass.
It's just a splash of hot sauce.
Cheers! Well?
You like?

SPEAKER_02 (27:54):
Oh, yeah.
Really good.

SPEAKER_06 (27:57):
There you go, Jillian.
I'll go get us another round.
Willie races over to the bar inexcitement.
Leo leans over to Jillian.
Quick, hand me your glass.

SPEAKER_02 (28:05):
Nice thinking.

SPEAKER_06 (28:07):
Jillian gives Leo her glass, and he pulls both
drinks out into a plant neartheir table.
Let's just hope the plantsurvives.

SPEAKER_02 (28:15):
It will.
It's plastic.

SPEAKER_06 (28:20):
Did you know there's no money here?

SPEAKER_02 (28:22):
Where?
In the bar?
Were you planning to rob it?

SPEAKER_06 (28:26):
No.
No, I mean like anywhere inhell.
There's no economy.

SPEAKER_02 (28:30):
Isn't this transformation just a couple
years old?
Give it time.
Soon we'll all be paying taxes.

SPEAKER_06 (28:38):
No, I definitely need a drink.
Back at the bar, Willie isordering a new round of drinks.
Hey, Felix, this beat is dope.

SPEAKER_04 (28:45):
Who's the house

SPEAKER_06 (28:46):
band?

SPEAKER_04 (28:47):
It's actually mine.
We're called Possum Bobby.
Check this out.

SPEAKER_06 (28:52):
Felix calls over his backup bartender, walks to the
side of the stage, grabs a bassguitar and joins the band on
stage.

(29:27):
Willie notices the number ofcustomers has doubled since he
and Leo had arrived.
A few patrons dance in front ofthe stage enjoying the music.
The new bartender hands Williehis drinks and the former actor
begins walking back to thetable.
As he crosses the entrance,there is a sudden outburst of
cheers and applause from insidethe saloon.
Willie, believing it to be someof his fans, sets his drinks on

(29:48):
the table and walks towards thecrowd.
The crowd marches past himtowards someone else still
standing in the entrance.
It's Billy Beauchief.
Deflated, Willie sits at thetable with Leo and Jillian.

SPEAKER_02 (30:10):
You know, Willie, you were wrong earlier.
I did recognize you.
Brock Gatling, a knight of abillion bullets, was one of my
favorites growing up as a kid.

SPEAKER_04 (30:20):
Fun fact, we actually used close to a million
blank rounds while shooting thatmovie.
Set a world record.

SPEAKER_02 (30:27):
The finale at the end, where Brian Dennehy is
about to ignite the bomb.

SPEAKER_04 (30:31):
Oh, let's not spoil it.
I have a feeling our friend herehasn't seen it.

SPEAKER_02 (30:36):
Leo, you've never seen a Brock Gatling movie?

SPEAKER_06 (30:40):
I'm embarrassed to admit it, but I didn't know who
Willie was when we first met.
What did you watch?
Football?
Baseball?
Okay, besides sports.
Dragnet?
Magnum P.I.?
All cop shows.
Don't get me wrong.
Tom

SPEAKER_04 (30:56):
Selleck was the man.
Now you, m'lady.
Leo was a cop.
I'm an actor.
Was an actor.
Once an

SPEAKER_06 (31:03):
actor, always an actor.
But Miss Jillian, you'resomething of a mystery.

SPEAKER_02 (31:08):
I was in the CIA.
Counterterrorism.

SPEAKER_04 (31:11):
No shit! Better than any spy novel.

SPEAKER_06 (31:14):
Now it makes sense.
What?
Sebastian, when he said talkingto you is better than any spy
novel.
Wait, Sebastian and you?
Thanks, Leo.
I guess I won't get a call fromthe CIA anytime soon.
You and the onboardingspecialist.

(31:35):
Not much surprises me, butthat...
Let's drop it.
Okay, next topic.
Leo, what other questions do youhave on your list?

SPEAKER_02 (31:44):
What?
List?

SPEAKER_06 (31:46):
Sure, Leo.
Leo reveals the steno pad andplops it on the table.
He flips to the page of thelist.
Willy snatches it.
Hey!

SPEAKER_04 (31:55):
Question number one.
Where is Hitler?

SPEAKER_06 (32:02):
What?
Why?
Well, think about it.
I mean, didn't we all justassume he'd go to hell if it
existed?
Which we now know it does.
So where are all the really badpeople?
I can help you with that one,Detective Ron.
Miles away from here, the Cityof Dis.
City of this?
City of Dis, with a D.

(32:24):
A city built within an enormouscircular wall.
Each floor, a ring.
It's basically a penal colony.
As you can expect, the place isso vast, it takes up almost all
of Netherhell.
All of the worst of the worst,the really horrible ones, go
there.
Then how in the hell doessomeone like Herman, the serial

(32:45):
killer, not wind up there?
I mean, did he need a couplemore victims to reach city of
diss status?
I don't pretend to know all therules, but you're not kidding.
That motherfucker creeps me thefuck out.

SPEAKER_02 (32:57):
He did seem to be reveling in all this.

SPEAKER_06 (33:01):
Willie hands the list back to Leo.
Another one checked off thelist.

SPEAKER_02 (33:12):
I want to hear another one.
Wait, hold that thought.

SPEAKER_06 (33:19):
Jillian steps away from the table and goes up to
the bar.
What a woman.
Mr.
Sebastian, here's to you.
Willie raises his glass anddowns another toe pie surprise.
Hey, you two haven't touchedyour drinks.
I'm basing myself.
Jillian returns with moreappealing looking drinks.

SPEAKER_02 (33:38):
For you, Detective Braun, I get the sense you're a
dark spirits type of guy.
Probably bourbon, but sincewe're not in the United States
anymore, I hope you'll settlefor whiskey straight.

SPEAKER_06 (33:50):
Thank you, Jillian.
Wait, did you profile me orsomething?
Very clever, Agent Burkett.

SPEAKER_02 (33:56):
Officer Burkett.
And yes,

SPEAKER_06 (34:00):
I

SPEAKER_02 (34:00):
did.

SPEAKER_06 (34:01):
What are you drinking, Officer Burkett?

SPEAKER_02 (34:03):
Vodka Gimlet.
Tasty.
Okay, Leo, next question offyour list.

SPEAKER_06 (34:08):
Okay, now, don't laugh.

SPEAKER_02 (34:10):
No promises.

SPEAKER_06 (34:11):
Do Reuben sandwiches even exist in hell?
What is it with you and thissandwich?
It's delicious.
Interrupting the laughter,orientation specialist Billy
Bushief approaches their table.
He's wearing oversizedsunglasses, a fur coat, an

(34:33):
orange graphic tee, and blackboots, a stark contrast to the
mild-mannered attire he wore onorientation day.
He takes a sip of a neon greencocktail.
Billy catches a glimpse of thetopaz surprise.

SPEAKER_05 (34:57):
Now,

SPEAKER_06 (34:58):
what in the absolute freckle fuck is

SPEAKER_05 (34:59):
that?
After

SPEAKER_06 (35:04):
scaling a variety of molten rock for the better part
of an hour, the pig has finallyreached a resurgence in the
cave.
He drops onto the flattened cavefloor.
The sando's feet landing seemsto echo for miles in the wide
open cavern.
Shit.
Splunky wasn't far off.
He pulls a small flashlight fromhis overcoat breast pocket and

(35:25):
aims the beam forward.
Dust particles dance and spin inthe beam as it spreads out into
the darkness of the undergroundcavity ahead.
The pig places the butt of theflashlight in his gnarled mouth
while he fishes out a Rugersnub-nosed revolver from a waist
holster.
He takes a deep breath andstarts his descent deeper into
the cave.
Back at the high water saloon,Leo, Willie, Jillian, and Billy,

(35:49):
the chief, all take shots.

SPEAKER_04 (35:51):
Okay.

SPEAKER_06 (35:52):
Okay.
I, uh, I...
Want another?

SPEAKER_04 (35:59):
Come on, Leo.

SPEAKER_02 (36:00):
One more.
Willie, you're a machine.
I'm going to check on Sebastian.
Is there a phone around here?
In the back there.
Walk past the giant bullhead,turn right, and before you walk
into the little girl's room,you'll see it.
Thanks, Billy.

SPEAKER_06 (36:16):
Jillian steps away, narrowly avoiding another round
of shots.
Okay, but last one.

UNKNOWN (36:24):
Ah!

SPEAKER_04 (36:25):
That's it.
I'm done.

SPEAKER_05 (36:27):
So, Mr.
Braun, did you ever get theinformation

SPEAKER_06 (36:31):
you so desperately needed?
I seem to recall you had someomissions in your file.
No, but Sebastian, mycaseworker, apparently he has
some information to share.
Jillian is going to find outwhere he is.
They were supposed to meet here.
Miss Birkin.
And Sebastian, oh my stars! Leo.

(36:54):
Remind me to never tell you asecret.
As Jillian returns, BillyBushief has moved on to another
patron's table to hold court.
Jillian, any luck reaching him?

SPEAKER_02 (37:03):
I called the office and they said he left about 30
minutes ago.

SPEAKER_06 (37:07):
Let's go.
I

SPEAKER_04 (37:08):
got a ride.
I'll take you.

SPEAKER_06 (37:24):
Sebastian is riding his bike down Sybaris Avenue.
He's calm, tired, and in goodspirits.
He's also unaware that he'sbeing followed.
A half mile behind him on hismotorcycle, the marksman
follows.

(37:45):
A young woman in her earlytwenties, dressed in a black
sweatshirt, sweatpants and whitetennis shoes walks briskly down
Leviathan Boulevard.
She carries with her a backpack.
It's a winding path that leadstowards the outskirts of Dante
and towards the ornamental fishpond where Leo's friend
Maximilian is located.

(38:09):
Back in the cave, the pig delvesever deeper into the cavernous
expanse.
His gun is drawn, aimed towardsthe emptiness ahead, until he
detects a draft that coilsaround his neck.
In the far distance, he detectsthe faintest sound, like static
on the radio.

(38:32):
Willie is behind the wheel of a1966 Ford Mustang, cherry red.
Jillian is in the passengerseat.
Leo rides in the back.
They cross the intersection ofAsmodeus Street and Avenue X.
Their destination is the BarrenClaw Apartments.

(38:52):
On the outskirts of Dante, theyoung woman in the black sweats
and white shoes reaches thegrassy flats of the ornamental
fish pond.
She appears to be scoping out aspecific spot.
Sebastian walks out of asupermarket carrying a bouquet
of flowers.

(39:12):
The marksman perched amongst theshadows in the balcony of a
building nearby tracks Sebastianthrough the scope on his rifle,
as the onboarding specialistunchains his bicycle and rides
off.
The pig is no longer trekkingthrough nothingness.
He's reached a corridor withcrudely constructed walls lined

(39:32):
with paracords.
A random assortment of lightbulbs are strewn amongst the
walls of the narrow corridor.
They dim intermittently.
He puts the flashlight away andgrasps the handle of the
revolver with both hands.
The young woman in the blacksweats pulls a can of red spray

(39:54):
paint from her backpack.
She shakes the can whileexamining a bench.
At the same moment, Maximilianresurfaces from his eternal
drowning.
After regaining his equilibrium,he remembers the promise he gave
to Leo.
Immediately, he notices a figurein the distance.

(40:15):
Sebastian enters his apartmentat the barren claw.
He sets his work things on adesk, freshens up in the
bathroom, and grabs a cleanshirt off a hanger in his
closet.
As he buttons up the shirtstanding in his bedroom, he
hears a knock at the front door.
Willie, Jillian, and Leo arestuck at a train track as a
train roars by.

(40:39):
Maximilian strains his neckabove the water surface to see
what appears to be a young womanin the distance.
He notices another figure, onlya short distance away from the
woman.
It looks to be a man cloaked ina black hoodie, and he's staring
at the woman.
The pig arrives at a door at theend of the corridor.
He stealthily eases next to thedoor, placing an ear against it,

(41:02):
examining it.
He notices rudimentary, almostmedieval carvings that frame the
door.
The jagged carvings are in theshape of circles, and in the
middle of each misshapen circleis the number 11.
The pig begins to twist thedoorknob.

(41:22):
Enter Sebastian's apartment tofind it ransacked.
Drawers pulled out of thedresser.
Clothes thrown on the floor.
A table lamp and a shatteredlight bulb lay on the carpet.
There's blood on the sink.
The marksman stands in a field afew yards away.
He can hear a woman crying fromSebastian's apartment.
He sees a 1966 Ford Mustang leftrunning in front of the

(41:45):
apartment.
The driver is still inside.
What the hell?
Excuse

SPEAKER_03 (42:17):
me! Miss!

UNKNOWN (42:22):
so

SPEAKER_06 (42:24):
The pig sneaks beyond the door.
He enters a room filled withwires and unfamiliar equipment.
The radio static noise is muchlouder now.
As he steps further into theroom, he clears the corner to
see with clarity the intentionof the room.
It resembles the briefing roomof the ORA.
Narrow slots from the ceiling tothe floor.
Unassigned briefcases sit at thebase of each column.

(42:47):
A man leans over the slots.
He has a mohawk.
Cartoonish tattoos occupy theexposed areas of his scalp.
He's adorned Who are you?

SPEAKER_01 (43:01):
You're not supposed to be here.

SPEAKER_04 (43:02):
The two of us are out of place.
But only one of us is walkingout of here.
Beware the Eleventh Circle.
What?

(43:26):
What

SPEAKER_06 (43:27):
is that?
Miss?

SPEAKER_04 (43:51):
Please, over here!

SPEAKER_06 (43:53):
She stops spraying the bench and admires her
artwork, unaware that the man inthe hoodie is now standing right
behind her.
At the Baron Clair apartment,Leo attempts to console Jillian.

SPEAKER_02 (44:05):
We have to find him, Leo.
He said he was being followed.

SPEAKER_06 (44:09):
He mentioned that?
By who?

SPEAKER_02 (44:12):
That freak they call the Pig.

SPEAKER_06 (44:15):
Did you say the Pig?
The pig is on the floor beingdragged away from the room with
the briefcase slots.
He's held at the feet by twoothers.
He loses consciousness as he'spulled further into shadow.
Captain Mangut sits in theDevil's Den at her desk.
She's typing up a report whensomeone enters.

SPEAKER_03 (44:36):
Captain Mangut, reporting for duty.
Miss Stryker, welcome to theORA.

SPEAKER_05 (44:44):
Miss!

SPEAKER_06 (44:45):
Maximilian yells louder, but he's too far away to
make any difference.
The man standing inches awayfrom the young woman removes his
hood.
It's Herman, the serial killer.
Oh, naughty little girl.
You're defacing

SPEAKER_05 (44:59):
public property.

SPEAKER_03 (45:01):
What?
Defacing?
What is that?
Oh, that's right.
You've probably never heard ofthat before.
That's what I love about thisplace.
You

SPEAKER_06 (45:19):
want to know why?
Sure,

SPEAKER_02 (45:24):
pale-eyes, why?

SPEAKER_06 (45:25):
Like a beast after its prey, Herman grabs the woman
by the throat and lifts her offthe ground.
She loses the spray can, whichbounces off the bench.
The woman wants to scream, butthe grip around her throat is
too tight.
Because here, I

SPEAKER_04 (45:39):
can do

SPEAKER_06 (45:39):
whatever I want.
What?
Maximilian can't make outexactly what is happening, but
he knows it

SPEAKER_03 (45:48):
isn't good.
The water

SPEAKER_06 (45:50):
surrounding him starts to swirl and churn, which
can only mean one thing.
Herman reveals a long, sharpknife and raises the knife above
his head.
The young woman is screaming.

SPEAKER_04 (46:05):
No, just this once, please!

SPEAKER_06 (46:08):
Maximilian is pulled underwater.
He thrashes and fights againstthe current which forces him to
the bottom of the deep.
He gurgles, screams, cries, butultimately drowns.
A few seconds later, Max'sthrust lock explodes to the
surface.
The man in the hoodie and theyoung woman are gone.

(46:32):
On the bench, the seat iscovered in red spray paint.
A red circle bleeding at theedges decorates the middle of
the bench.
At the circle's center is thenumber.
Eleven.

SPEAKER_01 (47:02):
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 five
dollars a month.
With the subscription you'llbecome a member of the Obsidian
Recovery Agency which grants youearly access to each episode,
bonus clips, artwork, and somuch more.

(47:23):
You can also find us on ApplePodcasts, Spotify, I Heart
Radio, and just about anywhereyou listen to podcasts.
You can also find us on Facebookand join the official Leo Braun
fan page.
Leo Braun was written andproduced by me, Jason Beard, and
starring Stitch Mainville as LeoBraun, Andy Parkin as Narrator

(47:43):
2, Tabitha Mixon as JillianBurkett.
Eric Carlino as Sebastian, BillyBoshie, and Herman Edward
Coxland.
Jim Fronk as Satan and the Pig.
Mitch Lashinsky as FatherMarwood and the Marksman.
Terry Briscoe as Willie Topazand Bishop Barlow.
Richie Berry as Maximilian.

(48:04):
Melrose Johnson as Captain F.J.
Mangut.
Emily Fry as Laurie Stryker.
Grace Newton as Young Woman.
and Robert Lloyd as BradleyTaft, Archbishop Macaluso, and
Felix the Barkeep.
Additionally, Robert's band,Awesome Bobby, had three
original songs featured in thisepisode.
Nola Girls, The Girl That WasLookin' At Me, The Voodoo You Do

(48:28):
To Me.
Stay tuned for Leo Braun Episode8, So Good It Kills.
Thanks again for listening.

All Episodes

Leo Brawn - Episode 7: Come Hell or Highwater

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

On Purpose with Jay Shetty

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Leo Brawn - Episode 7: Come Hell or Highwater