After Rho's stunning display of her combat abilities, Warren interrogates the single person left alive following the gruesome encounter, Rho continues her struggle to remember, and Dr.s Amos and Bennett expend all of their resources searching for anything that might help them locate their lost asset.
For transcripts and other details, please visit spectrepod.com.
Cast (in order of appearance):
Allen Chan -- Warren Lee
Jason Bell -- Charlie
David S. Dear -- Garyn Beikirch
David Ault -- Edward Whitlaw
Newton Schottelkotte -- Atta Harris
Karim Kronfli -- Dr. Karl Amos
Lindsay Zana -- Dr. Cicely Bennett
Stef Howerton -- Rho
Support this podcast at — https://redcircle.com/spectre/donations
Thanks so much for listening! <3
STEF HOWERTON: Hey everybody, Stef here. I’m just popping in before the episode to remind you to stick around all the way to the end because - lucky you - I have got two trailers to share with you this time. The first trailer is for a show called The Chronicles of Wild Hollow. It’s an award-winning musical audio drama. Those of you who know me personally know that I have a deep love for music since my background is in musical theatre and opera, and this show is so great. If you love original musicals, epic set-piece dramas, oddball comedies, and a cinematic orchestral score, then The Chronicles of Wild Hollow is the show for you. Our second trailer is from Dungeons and Drimbus, a podcast in which professional actors play unprofessional D&D characters… professionally. They use traditional D&D mechanics to tackle nontraditional scenarios and oftentimes find themselves in quite sticky, ridiculous situations. If you’re a fan of Critical Role or The Adventure Zone, you’ll definitely have a good time listening to Dungeons and Drimbus. Again, make sure you listen all the way to the end to hear both of those trailers, and without further ado, enjoy the third episode of SPECTRE: A Way In.
SHOWRUNNER: SPECTRE is intended for mature audiences. Listener discretion is advised.
[SFX: The theme music plays fully, beginning with a haunting, dark humming that escalates into an electronic melody with a surging arpeggio that pushes the tempo forward. It ends in a fade, punctuated by a high-tone chord that reverberates into silence.]
WARREN: Hour... 5. Warren Lee. The prisoner is still unresponsive and has refused all food and water. Atta finished her most recent session with him 26 minutes ago, and he’s been sitting silently in his chair since she left. I’m going back in to reason with him. Since normal, strong-arm tactics aren't working, the plan is to bargain and offer potential release if the proper, truthful information is communicated. Going in now.
[SFX: A door slides open, and WARREN walks into the holding cell, sits down, and places the recorder on a metal table. CHARLIE sits across from him, his face covered in blood and nose visibly broken. Ominous music drones in the background.]
WARREN: What’s your name?
[SFX: There is a long pause. Only the prisoner’s labored breathing can be heard.]
WARREN: You and I both know this would be a lot easier if you talked.
CHARLIE: (long beat) I have nothing to share.
WARREN: I’m not above bringing Atta back in here.
CHARLIE: Maybe not, but your threats mean nothing to me.
WARREN: Look, I get it. You’ve got nothing to lose. Following orders, right? And I’m sure you would never have accepted this mission without making absolutely sure that your family - or whoever you need to provide for - is taken care of should you die. (beat) Just tell us who sent you and any information you have on your target, and you can leave. We’ll go to the nearest spaceport, drop you off, and I give you my word you’ll never see or hear from us again.
[SFX: The prisoner remains silent.]
WARREN: Come on, man. We’ve been doing this for hours. I want to end it as much as you do.
[SFX: There is a short beat, at the end of which WARREN begins to push back his chair in faux defeat.]
WARREN: (sighing) Well... if you’re--
[SFX: His voice is muffled by nasal and other facial swelling. He's been through hell, and it's a wonder he's lasted this long.]
CHARLIE: Charles. That's my name. Charlie, actually.
WARREN: Thank you, Charlie. Can you tell me who hired you?
CHARLIE: No, I can’t. Everything - all the mission and payment details, tracking specifics, target information, all of it - was sent to us encrypted. It was almost funny how thorough they were in covering their tracks.
WARREN: Are you able to share any of the files with us? There’s a potential that we could trace them--
CHARLIE: Not possible. Trust me. We tried. Do you have any pain meds? My head is killing me.
WARREN: I’ll get something for you once we’re done here. Was she your main target?
CHARLIE: (coughing) They didn’t provide that information, and we didn’t ask. We were given a directive to retrieve her unharmed, and we did our best to complete it. If we had known that she... Well, let’s just say we might not have taken the mission had we been privy to some very pertinent details.
WARREN: You weren’t warned that she was capable of protecting herself?
CHARLIE: We were told she was capable. But what she did? That was well beyond capable.
WARREN: How so?
CHARLIE: Check your cameras. You saw what she did to my men. Seriously, I need something for my head.
WARREN: Charlie, I promise I’ll get something for you soon. The cameras only caught a portion of it. I’d rather hear it from you firsthand.
CHARLIE: She ripped some of them apart without even touching them. Into pieces. Minced them. I’ve never seen anything like it.
WARREN: How did you survive?
CHARLIE: I’m only alive right now because she wanted me to live.
WARREN: Did she tell you that?
CHARLIE: No. She had the opportunity to kill me. She made the choice not to.
WARREN: If she didn’t tell you that, how do you know?
CHARLIE: I was the last one left. I’d lost my blaster in the fight, and she just stood there, staring at me, covered in my team's blood. I saw a pistol in the holster of one of my fallen men, and when I made a move for it she lifted me into the air - didn’t even touch me, hand to the Gods - shook her head no, and then laid me back down. Gently. Like she thought I was fragile or something.
WARREN: If she didn’t touch you, how did you know it was her who lifted you?
CHARLIE: Look, I know it sounds crazy. She was just... focused, I guess? When she lifted me... her eyes bored holes into me. And I felt... connected to her somehow… Gods, I sound insane.
WARREN: Take a moment to wrap your head around it.
CHARLIE: I can’t. My head is pounding thanks to her and your merc, so I’m not wrapping it around anything until I get some meds.
WARREN: (sighing) I’ll see what I can do.
[SFX: WARREN slides the chair back from the table as he gets up. As he walks to the door, CHARLIE begins yelling as if in great pain.]
WARREN: Charlie? What’s wrong?
[SFX: CHARLIE continues to yell, the screams escalating by the second. Warren opens a channel on his comms unit.]
WARREN: Garyn! Brig! Now!
[SFX: The screaming escalates further, stopping only when Charlie’s head explodes.]
[SFX: Ominous transition music]
GARYN: I’ve got nothing.
EDWARD: Nothing? No explanation for how a man’s head could split open without warning?
GARYN: Well, Atta did work him over pretty --
ATTA: Hey now. This wasn’t my first rodeo, okay? He was fine when I left. Bruised maybe, but not broken... 'cept for his nose.
WARREN: I can vouch for that. He was roughed up, but nothing life-threatening that I could see.
EDWARD: And he just started complaining of a headache?
WARREN: Yeah. Just a minute or two after he finally started talking.
ATTA: I definitely stayed away from his head. I know better than that.
GARYN: That’s just it. The damage on his skull isn’t consistent with external force. It’s almost like pressure from the inside built up until the bone and tissue just... popped. You know, like a bubble.
ATTA: Gods... What a way to go.
GARYN: Glad it wasn’t me.
EDWARD: We air-locked the body, yes? Just in case it’s a virus.
WARREN: Yeah, along with the rest of the bodies.
EDWARD: Garyn, I want you to run any tests you can think of of everyone on board. Make sure there’s not something bacterial or viral at work. Start with Rho, Atta, and Warren. They all had direct contact.
ATTA: So what now? Girlie obviously knows more than she’s letting on. Hell, after looking at that footage I’m not even sure I could win in a fight against her what with all of her mind control mumbo-jumbo.
WARREN: (quietly) Telekinesis.
WARREN: It’s not mind control. What she can do... I think it’s telekinesis.
ATTA: Whatever it is, it’s freaky.
WARREN: It’s not--
GARYN: Uhh, yeah, hold up a tick. How do we know Rho didn’t do it?
EDWARD: Do what?
GARYN: Turn that soldier's brain into a grenade.
WARREN: I don’t think she would--
EDWARD: You’ve got a point, Garyn. She’s shown that she can do things that others can’t. How do we know she didn’t, you know, think his head into exploding? Or whatever she does.
WARREN: Why wouldn't she just have killed him before? She had the opportunity. Not only that, but she’s on a completely different level of the ship. I really don’t think--
EDWARD: We must investigate all possibilities, even if our guts are telling us otherwise.
ATTA: You seem awfully trusting of a complete stranger, Warren.
WARREN: What? I -- I just... If I'm right about the telekinesis, we still don't know anything about her abilities. I want to make sure we give her a fair shot.
EDWARD: And we will. But not without respecting due process. Lillian won’t take kindly to it if we don’t at least ask the necessary questions.
GARYN: Yeah, who’s gonna ask?
EDWARD: Warren, why don’t you have a chat with her? I trust you’ll be unbiased in your assessment of her response.
ATTA: You really think that's wise, Ed?
WARREN: (overlapping) I'm not sure that's --
EDWARD: Nonsense. Let me know what she says.
WARREN: (beat) Aye.
EDWARD: Off to it then.
[SFX: WARREN stalks out of the bridge, the door opening and closing for him as he exits.]
ATTA: He’s compromised.
EDWARD: What do you mean?
ATTA: He’s showin' unjustified bias for our little stowaway. Only thing I can figure is because she's pretty, though I figured Warren to be more evolved than that.
GARYN: Atta, you know Warren has a better head on his shoulders than that.
EDWARD: Agreed. He is the epitome of cool-headedness and rationale.
ATTA: Maybe, but you have to agree that his sudden support for her is strange at best. None of us - including Warren - know her from Adam.
EDWARD: Perhaps, but let’s give him the benefit of the doubt for now. His judge of character is usually spot on. You’re welcome to keep an eye on him if you feel it necessary.
ATTA: You bet your sweet bippy I “feel it necessary.”
GARYN: Atta, come down to the medbay. Gotta run a few tests and make sure your head isn't going to explode.
ATTA: Oh, goodie.
EDWARD: How soon will we have any definitive results?
GARYN: Couple hours. You’ll know as soon as I do.
[SFX: Ominous transition music]
[SFX: The tinny, clicking clock fills KARL's office. The heavy silence is cut by a small, hesitant knock on a wooden door.]
KARL: Come in.
[SFX: The door opens inward and CICELY strides into the office. KARL places papers down on his desk as she approaches.]
KARL: Ah, Cicely. What do you have for me?
CICELY: Not much, but at least it’s something. The ping we were investigating out in the Bantham sector was a dead end. There was a small station on a nearby planet, but no one there had seen anything. Hadn’t had any visiting ships in weeks. The entire sector is a wasteland to begin with, so we were lucky to find anyone at the station at all.
KARL: What else?
CICELY: We got another ping. This one was even further away, but some actual data came through with it. Not a ton or anything, but if it’s accurate, her vitals looked good. She appeared to be in a moderately stressful situation, but nothing too worrisome. I’ve dispatched a new crew because your group of mercs went AWOL on us. Probably found a higher bidder for their time after they reported back in from the first ping.
CICELY: Fifty to fifty-five hours, give or take.
KARL: Besides vitals data, was there anything else that transferred over?
CICELY: Not really. Just some random fragments, but nothing that can really be pieced together to make any sense.
KARL: Keep it all. Just in case more comes through.
CICELY: We’ve dedicated a few servers to house and backup everything, and we’re scanning every thirty minutes.
KARL: Up it to every ten and partition other servers if needed. And I want someone monitoring the files around the clock. A data analyst preferably, so they can parse the fragments together.
CICELY: Okay. We’ll need to allocate a resource for that because we don’t currently have the bandwidth.
KARL: Consider yourself allocated.
CICELY: (hesitantly) I don’t mean to be the Negative Nellie here, but I do have a lot of duties that I can’t drop just because--
KARL: Rho is a priority. Delegate your other responsibilities to the rest of the team.
CICELY: (beat, resigned) Okay.
KARL: Report back in twenty-four hours.
CICELY: That's not enough time t--
KARL: Regardless, report back. Twenty-four hours. Understood?
[SFX: Cicely walks out of Karl’s office and closes the door behind her, a bit more loudly than necessary.]
[SFX: Ominous transition music]
[SFX: RHO sits on her bed, visibly agitated as WARREN, standing across the room, gently interrogates her.]
RHO: You think it was me.
WARREN: No, it’s not that.
RHO: Then what is it?
WARREN: We have to eliminate that as an option.
RHO: And how do you expect me to prove that I didn’t turn a man’s head into mush with my mind?
WARREN: I don’t know.
RHO: Great. Just fantastic.
WARREN: Give me something to go with, Rho. I believe you, I do. But you have to help me out so I can convince the others.
RHO: Who? Atta? She’s had it out for me since I came on board.
WARREN: Yes, Atta, but Edward as well. And Lillian. And everyone else. They went out of their way to make a space for you on board, and now their trust is broken.
[SFX: RHO stands up and advances toward WARREN aggressively.]
RHO: Are you serious? I didn’t ask for any of this! I didn’t do anything! I was locked in my room when it happened! I don’t even know where--
WARREN: Okay, let’s take a second to calm down.
RHO: Ooh, buddy, you should know better than to interrupt me and then tell me to “calm down.”
WARREN: I’m sorry. I shouldn’t have said that.
RHO: (less agitated) Damn right, you shouldn’t have.
WARREN: (beat, then sighing) So how do we move forward?
RHO: I dunno, space me, I guess.
WARREN: Other than that.
RHO: (beat) I didn’t do it.
WARREN: I know. How do we prove that?
RHO: (short beat) Where was he?
WARREN: The brig.
RHO: How far away from my room is that?
WARREN: Two floors… roughly a hundred, hundred fifty yards.
RHO: I don’t have that kind of reach.
WARREN: How far can you normally control things?
RHO: Fifty? Sixty yards max? I don’t think I’ve ever pushed the limits past that. Well, not that I can remember anyway.
WARREN: So how do you know you can’t move something outside of this sixty-yard radius?
RHO: I’m not -- I - I don’t know.
[SFX: RHO lies down in her bed.]
RHO: It works kind of like a muscle. When I try to move something that’s close to what I think is my max range, it hurts. No, maybe hurts isn’t the best word to use. It gets more and more difficult as I push further out. I can’t even imagine what it would feel like at one hundred yards. But how do I prove that? I could very easily make something like that up.
WARREN: True. It’s a place to start. (beat) Have you considered meditation?
RHO: Meditation? For what?
WARREN: For control. Strengthen your range. Get more precision. You said it works kind of like a muscle, right? If that's the case, then meditation might be something worth looking into.
RHO: (chuckling) I wouldn't even know where to start.
WARREN: I actually know a little bit about it. Wouldn't mind giving some guidance.
RHO: What, like teach me or something?
WARREN: Sure. I could just help you focus. Be your accountabili-buddy.
RHO: (chuckling) I don't really see that doing anything. But thanks for the offer. And thanks for the laugh. I needed that.
WARREN: Well, if you change your mind, I'm here. Though it might help convince the others that you're not a safety concern if they knew you were actively working on gaining control.
RHO: I didn’t do it, Warren. I’m not a heartless killer.
WARREN: I know.
RHO: I did what I had to do because they were trying to kill me. He had stopped. He knew he couldn’t kill me. He even tried to go for a blaster, but I stopped him from using it. I don’t kill unless I have to.
WARREN: You talk like this has happened before.
RHO: I-- I’ve started to remember things.
WARREN: You have? Since when?
RHO: A few days or so. And I think Lillian might be right. She said that I’m former military or something, and I keep getting these... flashes? Little snippets. Memories. Some of them are from the facility I escaped from, but in others - these are the ones that are fuzziest - I’m wearing a uniform. Fighting, I think. It all feels very tactical. Strategic.
WARREN: Are you with anyone?
RHO: If I am, they’re vague shapes. Nothing definite.
WARREN: Why do you think your memories are returning?
RHO: I have no idea. I had assumed they were never coming back.
WARREN: Do you think it would be helpful to have Garyn run some tests?
RHO: Who knows? Probably. Why not?
WARREN: (over comms) Garyn, are you available? (to RHO) In the meantime, I’ll tell Edward what you’ve told me. It should release some of the pressure, at least for the moment.
GARYN: (over comms, distracted) Yeah. What’s up?
WARREN: (to GARYN) Do you have time to run a few tests on Rho? Some of her memories are returning.
GARYN: (over comms) I’ll make time for that. Can you bring her to the medbay?
WARREN: On our way.
[SFX: WARREN gets up from his chair and makes his way to the door.]
WARREN: (to RHO) Need anything from in here?
RHO: You say that like I have anything in here that’s mine.
WARREN: A simple “no” would have sufficed.
RHO: Okay, then. “No.”
[SFX: Ominous transition music]
[SFX: GARYN examines RHO in the sickbay. Various medical equipment whir and beep in the background as RHO’s vitals are monitored.]
GARYN: So the memories are partial?
RHO: For the most part, yes. One or two of them are more complete than the rest.
GARYN: And how have they been returning? All at once, you know, like in batches, or gradually, one at a time?
RHO: It’s not consistent. They started coming back as dreams. Every night for the past few days, I’d wake up with 2 to 3 new memories. Now, little things trigger them. A specific view like looking out of the porthole in my room or the feeling of the synthetic cotton of my sheets... It’s kind of like deja-vu.
GARYN: You said that a couple of them were more solid, fully fleshed-out memories, so could you walk me through one of those?
RHO: Uh... they’re kind of personal.
GARYN: Your secrets are safe with me, Rho. I need to see what kind of things you’re remembering.
RHO: (suspicious) What will that tell you?
GARYN: It - uh - it would tell me or at least help me understand why you’re remembering some things and not others. You know, It may even lead you to more memories as you try to recount the ones you do remember. (beat) It might help to close your eyes and re-imagine it.
-RHO: Okay… The clearest one was from when I was a teenager... Possibly young adult - I’m with my parents - and we’re all outside. I’m not sure where we are, but there’s grass and trees everywhere and I feel... comfortable. As if I’ve been there a lot. It feels like a familiar place.
GARYN: Are your parents very clear to you?
RHO: As if I saw them this morning. I look like my Dad. No, Father. Dad feels weird.
GARYN: You're not sure what you called him?
RHO: No? It's fuzzy.
GARYN: I thought you had all of your memories from your childhood.
RHO: I mean, yes and no. There isn't some clear-cut line of where the memory loss starts. And there's no real way for me to verify it. So sometimes, I find little holes, even as far back as my earliest memories. Things that, objectively, I should know.
GARYN: Interesting... Tell me what you remember about your father. What does he look like in the memory that you recovered? What's he wearing?
RHO: He’s really tall, dark hair... and he's wearing a uniform. I think he was pretty high-ranking in the military. (chuckling) I probably followed in his footsteps.
GARYN: And your mother?
[SFX: Mysterious, nostalgic music begins playing in the background.]
RHO: She looks... kind. She’s holding my hand, leading me forward. It feels warm and normal. I look like my father, but there are pieces of Mom in me too, like my hair and the color of my eyes. Father’s were brown, but Mom’s are a really light blue like the clearest ocean you've ever seen. Mine aren’t nearly that light, obviously, but it’s close enough.
GARYN: You said there was lots of grass and nature around you. Are you in a park?
RHO: Could be. My range of vision is limited, but I don't see any buildings.
GARYN: What are you doing there?
RHO: We’re just walking around. Talking, playing, dancing... having fun. I feel like a picnic was involved, maybe? It might have been a celebration, maybe my induction into the military.
GARYN: But in this moment, you’re just spending time with one another, right?
GARYN: Does anything else happen?
RHO: Not really. I’m just really... happy. And for some reason that happiness makes me feel low. I’m not sure why. The feeling is surprisingly bittersweet.
GARYN: What about the other memory?
RHO: (uncomfortable) The other one?
[SFX: The music fades to silence.]
GARYN: You said there were a couple of memories, right?
RHO: Oh. I did, didn’t I?
GARYN: Would you like to tell me about it?
RHO: You know, “like” is a very strong word.
GARYN: I’d like to hear about it.
RHO: Well, I guess that means I have to tell you about it then, doesn't it?
GARYN: No-no, you don’t have to tell me anything you don’t want to, Rho.
[SFX: RHO is silent for a moment. Medical equipment whirs in the background, providing a constant, stabilizing rhythm to their conversation.]
RHO: I’m older in this memory. Younger than right now, obviously, but definitely an adult. I feel like maybe it’s from a few years ago.
GARYN: Where are you?
RHO: Um... I’m in a dark room.
GARYN: Are you familiar with this room?
RHO: Yes. It’s my berth. I’m on another ship.
GARYN: What ship?
RHO: I don’t know.
GARYN: What are you doing?
RHO: (hesitant, chuckling) Uh... See, this is why I didn’t want to share this one with you.
GARYN: If you're uncomfortable, we can stop.
RHO: (sighing, quickly) Pretty sure I'm having sex.
GARYN: How do you know that?
RHO: (annoyed) Really, Garyn?
GARYN: Fine. So someone else is with you?
GARYN: Tell me about them.
RHO: That’s the weird part. Everything in this memory is as clear as day, but the person with me is this grey amoeba. I can’t make out any details at all.
GARYN: Can you hear anything?
RHO: Just heavy breathing. And one other thing...
GARYN: Which is?
RHO: They’re telling me they love me.
GARYN: How does that make you feel?
RHO: Elated. Almost... drunk on happiness.
GARYN: So this is a good memory?
RHO: You would think so, except...
[SFX: The whirring from the machinery around them intensifies slightly.]
GARYN: Except what?
RHO: It’s the same as before. There’s a bittersweet tinge to it. I’m not sure, but I have a feeling that this relationship ended badly.
GARYN: Why’s that?
RHO: I don’t know. It’s just a feeling.
GARYN: Try to probe a bit more. If you focus on the features of the person with you, can you make any of them clearer?
RHO: I -- I’m not sure.
[SFX: As RHO pushes her mind further, the medical equipment begins to shake around them.]
GARYN: Rho, are you feeling--
RHO: (becoming more agitated) I can see their hands. His hands. Their energy feels masculine, whatever that means. One of his hands is cradling my cheek. And he’s whispering, “I love you, I love you,” over and over again.
[SFX: Alarms begin to sound as the equipment begins to fail and malfunction.]
GARYN: Rho. Rho, I think it's best --
RHO: No, I can - I can almost make out his face. Just give me a second.
GARYN: Rho, please. Rho, you’re damaging the -- Augh!
RHO: Wait. I can’t. I can’t stop! Garyn!
GARYN: (with great pain, echoing) Rho! Rho, you’ve gotta snap out of it! Rho!
[SFX: Suddenly, all sounds stop except for echoed, labored breathing.]
UNIDENTIFIED VOICE: (whispering, muffled and echoed) I love you... I love you.
[SFX: Outro music plays while the closing credits run.]
SHOWRUNNER: You have just been listening to Spectre, an indie, sci-fi, audio drama podcast. I'm Stef Howerton, the creator and showrunner, and I am so glad that you chose to spend some time with us today. If you have a moment, I'd appreciate it if you could rate and review Spectre on your podcast platform of choice. It’s a really great and easy way to help new listeners find the show, and the more people who listen, the more we can do in future episodes. This episode featured the voice talents of myself, Stef Howerton, as Rho, Allen Chan as Warren Lee, David Ault as Edward Whitlaw, David S. Dear as Garyn Beikirch, Newton Schottelkotte as Atalanta Harris, Karim Kronfli as Dr. Karl Amos, Lindsay Zana as Dr. Cicely Bennett, and Jason Bell as Charlie. Sound Design by Brad Colbroock, and Music by Tim Rosko. For a written list of credits and a full script of this episode, please visit spectrepod.com - that's s-p-e-c-t-r-e-pod.com. You can also chat with us on Twitter or Instagram via the handle @spectrepod. Thank you so much again for spending part of your day with us. There are a plethora of great podcasts to listen to out there, and I'm so honored that you opted to listen to Spectre. Have an absolutely wonderful day.
THE CHRONICLES OF WILD HOLLOW TRAILER
FREYA: Once upon a time… there was an ocean.
[SFX: ‘Artemis’s Theme’ music plays.]
MARTHA: The smuggler… I’ve heard about you.
MERCHANT CAPTAIN: You’re a long way from home again, Miss Gray.
OSRIC: You are charged with treason against the pirate code.
CAINE: I’ve had enough of this, throw her overboard!
ARTEMIS: Not until I’ve seen the captain!
BENNY: Sickness, sickness!
SALAMI: Exactly, he has a sickness. Only Paean’s Kiss can save him now.
OSRIC: We must be wary of sea magics…
CAINE: Pah. Tales of fishwives. Press on.
SALAMI: We could just leave? That’s always an option.
PRIMUS: Journey, you must, to the Stupid Woods!
STUART: Oh, hello there! Yes, I am Stuart.
REGGIE: The name’s Reggie!
PABLO: It is what it is, Caine.
LITTLE MOLLUSC: I’m no barnacle, you know.
NARRATOR: The trio began padding, in the direction of Wild Hollow.
ARTEMIS: Here we go then…
NARRATOR: The Chronicles of Wild Hollow: The Gray Trilogy. Streaming now, wherever you get your podcasts. Set sail on a brand new adventure.
[SFX: ‘Shouting Is Funny - Sting’]
DUNGEONS AND DRIMBUS TRAILER
[SFX: Party horns blow in celebration while people clap and cheer. Upbeat music plays in the background throughout.]
DUNGEONS AND DRIMBUS CAST: Happy Drimbaversary!!!!
GIANCARLO HERRERA: Dungeons & Drimbus is celebrating two years of improv comedy D&D goodness.
AMANDA FACOSTA: Whether you’re a lifelong player or have never touched a set of dice in your life, we’ve got three seasons with three separate hilarious and chaotic story lines that you’re bound to love!
NICHOLAS PALAZZO: Deliverance tells the tale of a group of inexperienced adventurers taking to the seas to deliver a cure for the deadly mire plague.
MICHAEL PISANI: Hunt for the Florida Man is as chaotic as it sounds with the Daytona Patrol Force hunting down the mythic, titular Florida Man!
NICHOLAS BENETATOS: And Your Honor follows a group of fantasy attorneys attempting to legally defend the creatures you would normally slay in a D&D campaign!
TJ BERRY: Wherever you start, we’re sure you’re gonna love what we’ve got for you as our cast of professional actors brute force puzzles, encounter horrifying and hilarious homebrew creations, and… use bodily fluids in… innovative ways. All in beautifully edited and sound designed episodes published every Friday. Every Friday; we never miss one.
AMANDA: So go check out Dungeons & Drimbus today, Professional actors playing unprofessional D&D characters. Professionally.