0:03

Thirteen Days of Halloween. Devil's

0:06

Night, a production of I Heart three D audio,

0:08

Blumhouse Television and Grimm and Mild

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from Aaron Maykey Headphones recommended.

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Listener discretion advised. This

0:22

is a w B r D Devil's Night bullet

0:25

reminder. The Sheriff's Department hasn't stated

0:27

a curfew requiring all citizens to

0:29

remain home until further notice.

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We've received reports of vandalism, are

0:34

even murder across the streets of Bradberry

0:36

tonight. Desperation has taken

0:38

root in our little town. And

0:42

if you're looking to take refuge from

0:44

this evening's cruel tricks, Bradberry

0:47

Picture House invites you to

0:49

drop on by, whether you're

0:51

in danger, lost, or just incredibly

0:54

lonely. Our doors are

0:56

always open. Mm

1:00

hm this

1:04

this is an air duct and

1:06

it's a dead end. Psilo.

1:09

I don't know where to go, Besilo,

1:13

Besilo, don't now

1:25

come in arrow quickly. I

1:32

can't see anything. What

1:34

is this place? H

1:38

m hm Now the

1:47

movie theater because

1:49

there's this thing playing? Blow

1:55

is anyone here? All

1:58

these empty seats? They

2:00

must be closed. Take

2:05

it into the lobby, maybe

2:07

the emergency exit. Ah,

2:11

why would they lock. It

2:13

just definitely qualifies as an emergency.

2:19

Well, we can't get out, and

2:22

we can't go back the way we came in. There

2:26

has to be something we

2:28

can't just be trapped in here as

2:32

well? Can you hear me? BESI?

2:35

Well, where

2:38

did he go? I

2:41

can't believe I'm saying it arrow, but

2:44

I wish he was here. His

2:46

help isn't always the

2:48

most helpful, but

2:51

at least he'd have an idea.

2:59

I know, boy, there's got

3:01

to be something wrong here. What

3:03

do you think it is? Movie? Is by

3:05

making it? Use your mind? Popcorns

3:08

so hard to break? Three TV? Is

3:11

the screen actually made of human skin? Hopefully

3:15

we won't find out to

3:18

claim a movie coming

3:22

to hell? There

3:25

must be someone up in the projection? Movie? Hello?

3:31

Hello, Hello,

3:35

I know someone's out there. What's

3:37

the matter? Is the picture blurry? No?

3:40

What? Well? Then take your seat. They'll

3:43

disturb the other guests. I'm

3:45

the only one here. Well, lucky, you

3:48

enjoy the show. I don't want to watch

3:50

a movie. I'm just trying to get out of

3:52

here. There won't be any refunds.

3:55

I don't care. Just let me out. You're

3:58

free to go any time. But

4:00

all the doors are locked. Hello,

4:06

there is another way out. Come

4:08

to the back of the theater. There's a

4:10

door hidden in the middle of the wall.

4:19

You know, hello, but

4:23

I don't see another way.

4:26

Come on Arrow. Well

4:39

you sure are getting the backstage tour tonight?

4:41

You said there was an exit. This is

4:43

just your office. This is the box. This

4:46

is where the real magic happens. Do you

4:48

have any idea of the work that goes into the

4:50

exhibition of cinematic I don't,

4:53

and you don't care. I just want

4:55

to leave. Oh calm down now.

4:57

There's nothing up here that will hurt you. You

5:00

have my word, Max. The screen

5:02

is not made of human skin, though

5:04

it would hardly be a stretch given

5:07

all you've seen tonight. Who

5:10

are you? I'm the projectionist.

5:14

And how do you know my name? Your

5:16

dog is very faithful? Uh

5:19

yeah, Carol's a restaurant.

5:23

Hmm. How come I've never seen

5:25

you around? Are you new to Bradbury?

5:28

No, I've been here a

5:31

while. Can't have been that long?

5:34

Is theater is only a few years old? I

5:36

think it opened right before the Craft. The world

5:38

doesn't revolve around motion pictures, Max.

5:41

There are many ways to tell a story. M

5:46

surely you listen to the radio. I

5:50

I have to get home. Please

5:52

unlock the doors, but

5:55

the movie is starting. I

5:58

heard about your fan No shame

6:01

in it. Good hard work and

6:03

folks all over town. If basen the

6:05

same your fiction? That's

6:10

is that me? How?

6:14

Who are you? I told you

6:16

I'm the projectionist? Okay,

6:19

before that? What did people call

6:21

you before? I

6:24

was the projectionist? I've always

6:26

been a projectionist. My father was

6:28

a projectionist. His father before him was a

6:30

projectionist. His father before him was

6:33

He actually worked in textiles, but he was

6:35

the black sheep. Were you talking about? Your

6:37

grandfather? Couldn't have been a projectionist.

6:40

Don't even movies back there? Where

6:42

did you hear that? My dad told

6:44

me a bit of advice, son, don't

6:47

listen too much to what other people tell you. Everyone's

6:50

got an agenda. It's the

6:52

ones who say they don't that you can't trust.

6:55

Well, what's your agenda? Don't

6:58

got one? Hand me that real? Well,

7:01

go on, it won't bite. But

7:05

to your point, yes, I suppose

7:07

we didn't always call ourselves projectionists.

7:10

There were a host of gadgets that came before this

7:13

wonderful machine, phantoscopes

7:15

and phasmatropes, zoopraxoscopes

7:18

and zoo tropes, chromotropes,

7:20

kinetoscopes, kinnessy graphs, pracsino

7:23

scopes. Before them were the instruments

7:25

of phantasmagoria, the magic

7:27

lantern, the cameras obscure.

7:31

And before it all there was the art of silhouette,

7:34

the puppetry of handshadows against a fire

7:36

lit cavern wall. And

7:39

for all of them, in every era

7:41

there was an operator, someone who

7:43

could take a moment frozen in time and

7:46

bring it back to life. The

7:48

projectionist. How

7:51

did you have that film from the orchard of

7:53

me and the farmer? I

7:56

see everything that happens in Bradberry,

7:58

all of its stories. Kid,

8:03

What are you doing way out on the highway? No

8:06

harm? And they havn't a decent meal? Who warm

8:08

yourself up a bit? Maybe you could come

8:10

on, get out of the element, get

8:12

your breath. How

8:16

how did you get this? You

8:19

said? The dog is your

8:21

best friend? Huh,

8:24

Yes, he still is a best friend.

8:26

Who can't talk back. It's

8:29

got my design. Perhaps he's

8:33

protective too. That's

8:35

a good traitment a friend. But

8:38

Arrow is not the only one protecting you, is

8:40

he? Just tell me

8:42

what you want here,

8:46

come turn the crank. Will

8:49

it make me a projectionist

8:52

with you? As if just anyone

8:54

could take on this mantle? Now

8:58

what did you do? As I say, I

9:00

unlocked the doors? M

9:03

m, there's nothing

9:05

to be afraid of. I just want you

9:07

to have a hand in telling this story. Why

9:12

because it's yours? Llow

9:16

ll hold? Where the

9:18

all? How did you get

9:20

this? Birthday?

9:23

Birthdays

9:27

yard? I

9:30

was so little at

9:34

time? Flies, boy,

9:36

you better get to wrap in here. One

9:39

time lost his job. Children,

9:42

Get down school, Matt?

9:45

Are you paying attention? I haven't

9:47

been so long. M Does

9:50

that make you sad? Of

9:52

course? I mean at

9:55

first I thought I'd get really lonely not

9:57

seeing everyone. But and

10:01

I'd like kickball with you guys, mad

10:04

pot the point, kickball with the but

10:06

I all move mad off bird.

10:09

Oh. But

10:15

it was only after I left school that I realized

10:18

I've always really been lonely, and

10:21

I don't mind so much anymore. No,

10:26

why is that I

10:28

don't know most people,

10:31

at least the ones I've known, are cruel.

10:34

I only want to play tricks and hurt you. For

10:37

me, loneliness is

10:40

like the numb, frozen

10:42

feeling when snow gets inside your mitten. It's

10:46

frost bite. But being

10:48

around people, trusting

10:51

them and having them rite you down, it's

10:54

like having your handcut right off, the

10:57

searing pain of human

10:59

connection. Hence

11:01

the dog. What do

11:03

you want from me? Don't stop?

11:06

This is the good part. No, I'm

11:08

done. One more, one

11:10

more scene, and I promise that is

11:12

it. All your questions will

11:14

be answered. Fine,

11:24

do not be afraid. You

11:26

have nothing to fear from me. What

11:30

are you a friend?

11:33

For a man who sees everything? I thought i'd

11:35

seen everything, but this vesslele

11:38

as you call him? That? An

11:42

old one? He ala seems to show

11:44

up when you are in trouble. Well,

11:46

what do we have here? Another hitchhiker? You're

11:48

not my cooker? What do

11:51

you suppose that's because he's saving you from

11:53

danger? You needed me and

11:55

so I came to help, Or because

11:58

he is the danger back

12:00

the woman wants us? You're

12:03

not world? Who is

12:05

he really? Who? You pray? Pray?

12:08

What is he really? You're

12:11

familiar the thing that follows?

12:14

Why is he so interested in you? Let

12:16

me walk home with you? That is all

12:18

I ask? And why does he need you to

12:20

trust him? I

12:22

think you are the reason I

12:25

exist either

12:30

way, it must be nice having someone who's always

12:32

there. Then again, I

12:34

wonder where he is now. You

12:38

didn't answer anything. All

12:40

you did was ask questions, why

12:42

are you keeping me here? You

12:45

didn't really think you're the only one

12:47

in this town who's lonely? Did you? Don't

12:51

you have friends? I spend

12:53

my days observing other some them afar so

12:56

close that I know every detail, every

12:58

glorious or dirty secret, But

13:01

nobody knows me. I've

13:04

had friends, but they're always

13:06

fleeting like

13:09

her. Let

13:13

me out, I'll

13:15

be lea,

13:21

you're back, you're not, and

13:23

then you won't get away with this. But what do

13:26

these let

13:30

me go? I

13:34

don't. Did

13:37

you trap someone nut in the screen?

13:40

How I'm the projections?

13:43

It's really hard and will

13:55

happened? They always burn.

13:58

I've tried this before tonight, prisoning

14:00

others humans inside my screen,

14:03

and it works well until midnight, when

14:05

the sorcery of sam Haine vanishes into

14:07

the dawn. On any normal day, the

14:10

weak constitution of human flesh

14:12

and bone are unfit to weather my playpen.

14:15

Only I could find someone of in

14:18

human constitution. Where

14:32

am I? Well? I

14:34

guess that's the end of the clip shop. What

14:38

is this place. I

14:41

do not know what happened. I do

14:44

not know how I lost you. Oh? But

14:46

he's never too far away? Is he? Max?

14:49

Who is that with you? It's

14:53

the projection is highs allow?

15:00

What is this? Let

15:03

me out of here at one. If there's anything

15:05

to be gleaned from tonight's events is

15:07

that your Bezel is in his element, battling

15:09

the mortal world, but against

15:12

something like me. Release me, Priest.

15:15

Perhaps he's not so scary after

15:17

all? What is going on here?

15:21

I I don't know how to explain it,

15:23

But you're in

15:26

a movie? What

15:30

what? Oh? Nothing for you

15:32

to worry about? Bez? Can I call

15:35

you? Bez? I don't know what you

15:37

are, and I know you'd never tell me the truth. But

15:39

we know you're not human, And if my theory

15:42

is correct, that very inhumanity

15:44

may possess the fortitude to withstand my

15:46

prison of the damned beyond midnight?

15:50

Or dare I say forever, no

15:52

way, no way, You're gonna trap

15:54

Beslo here as your friend

15:57

forever. Max, Listen to

15:59

me. You need to get out of here immediately.

16:02

This is not safe for you. What

16:05

about you? What if he's wrong?

16:07

You're not able to withstand it at

16:10

midnight, you'd be incinerated. Incinerated.

16:14

Oh, he'll be fine, better than

16:16

fine. He'll have a new companion, and

16:19

so finally will I.

16:22

Oh, I won't

16:25

leave him here, Max, this is

16:27

not about me. You need

16:29

to go. Let us talk. Of course,

16:32

Max, I'd never ask you to just leave

16:34

as alone here. I'm no common

16:36

highwayman, after all, I'm

16:38

a businessman. Let's see six

16:42

hundred seven D eight

16:44

hundred nine D. That's

16:48

that's for me and your

16:51

family. You could keep

16:53

the bank from taking your house hack With

16:55

this much dough, you could just buy the bank.

16:58

Max. It's okay, I will

17:00

be fine, but you have to get out

17:02

of here right now. Do not

17:05

listen to any of your mouth are all incinerate

17:07

you, and do do not scare

17:10

me. Do your worst, you

17:12

pathetic little Let's pause

17:15

right there. Please

17:18

excuse the outburst. The switch to talkies

17:20

hasn't been easy. You're crazy. Have

17:23

you thought to consider why you don't have any

17:25

friends. I might have a few ideas,

17:27

Oh, I imagine you do. We're

17:29

not so different, you and I. I

17:32

know what it feels like the way you begin

17:34

to lose feeling go numb. I

17:37

too have felt the frost bite of loneliness.

17:39

Max, Well, if

17:42

you like that, let

17:45

go of my arm. I'm

17:47

gonna love this seering pain

17:49

of human connection. Help

17:52

me out of this? How do I free? Bez? All

17:54

out? Max? It's going to get cooling

17:56

you in? What are you worried about your

17:59

precious projectors? This

18:01

projector is more valuable than you can imagine.

18:04

But it's not just that you don't

18:06

know what you're doing well. Times

18:09

are tough all around. Now now,

18:11

no no,

18:18

no, no, no, no, no no no. I can't

18:20

be here. What have you done? Boy? What

18:24

have you done? Hello?

18:27

Stranger? Stay back, stay

18:30

back? Where's

18:33

your pause button? Now? Now

18:35

listen. I'll make you a deal.

18:40

Have another stack of bills on you? You

18:42

know I'm the only one who can

18:44

get you out of here. We will

18:46

see about that, Max,

18:49

this would be a good time to leave. I

18:52

am not sure you will want to see this. Yeah,

19:02

mh

19:11

Bresilo is not in the screen anymore. The

19:15

screen Arrow through

19:17

the screen. There's gotta be an exit

19:19

back there. H

19:23

oh grows it is

19:26

human skin. Oh

19:29

arrow, don't eat it, good

19:33

boy, I guess come

19:36

on, m hm

19:40

m hmm. I can't see anything

19:42

back here. Where out

19:46

arrow? Are you still there? A

19:49

little? Is that following my voice?

19:52

This way? You're

19:57

free. I wasn't sure, but

20:00

I thought maybe if I grouped the projector

20:03

hurry, there's a trash shoot back here

20:06

A little? Yes,

20:08

Max? Well, I

20:10

guess I was expecting a thank

20:13

you for rescuing me. Max. I appreciate

20:15

you saving me from an eternity enslaved

20:18

as the climate of a deranged projectionist

20:21

trumped in a movie screen meat a flesh.

20:25

Oh thank you, Max.

20:29

Now please get in the shoote.

20:34

This will drop you behind the building. What

20:36

about you? Aren't you coming? No,

20:40

I need to finish the movie. But

20:47

how you Carol?

20:51

Don't worry. Bisilo will

20:53

be okay. Yeah,

20:57

he'll be okay. Come

21:00

on, buddy, I like your best one. It's

21:02

just us anyway. Thirteen

21:27

Days of Halloween Devil's Night,

21:30

starring Carter Rockwood and Clancy

21:32

Brown. Episode eleven. The

21:34

movie Theater written by Noah Finberg

21:37

and Alexander Williams, editing

21:39

and sound designed by Zoe Shay, featuring

21:42

the voices of Noah Finberg, Olivia

21:44

Castineau, Jeffrey Kennedy, Joseph

21:46

Whipp, Joe Hart, Stig, Michael

21:49

Eldred Clayton, Frowning, Clayton

21:51

Ferris, Laura Shine, Raphael

21:54

Corkill, Brian Bickerstaff, Mark

21:56

Hatfield, and Gary Forbes. Directed

21:59

by Alexander Williams. Script

22:02

supervision by Nicolas Takoski. Casting

22:04

by Sunday Bowling c s A and Meg

22:07

Mormon c s A. Production coordinator

22:09

Wayna Calderon. Production assistants

22:12

Zoe Shay and Amber Ferris. Animal

22:14

recording by Ben James, closing

22:17

theme by Rose Azerti Loyalty

22:19

Freak Music dot Com. Recorded

22:22

at d G Entertainment in Los Angeles,

22:25

California. Engineered by Gary Forbes

22:27

and Jody Avant. Additional recording

22:30

by Wally's Hideout in San Francisco,

22:33

California. Engineered by Chris

22:35

mcgru Executive producers

22:37

Aaron Mankey, Noah Finberg, Chris

22:40

Dicky, Matt Frederick and Alexander

22:42

Williams. Supervising producers

22:44

Trevor Young and Josh Stain. Producers

22:47

Jesse Funk and rima il Kali.

22:50

Thirteen Days of Halloween was created by Matt

22:52

Frederick and Alexander Williams and

22:55

is a production of iHeart three D Audio,

22:57

Blumhouse Television and Grim and Mild

22:59

from Aaron Mankey. Learn more about

23:01

the show at Grimm and Mild dot com.

23:04

Slash thirteen days and find more

23:06

podcasts from I heart Radio by visiting the

23:08

i heart Radio app, Apple Podcasts,

23:10

or wherever you listen to your favorite shows.

23:16

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