Series Recommendation: Woodbine

Summary

Podcast Summary: "Series Recommendation: Woodbine" How I Died by Audiohm Media
Release Date: November 27, 2024

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Episode Overview

In the gripping episode titled "Series Recommendation: Woodbine," How I Died delves deep into the mysterious events unfolding in the peculiar town of Springfield. Forensic pathologist Jonathan Spacer is on a quest to understand the escalating body count, but the narrative takes a supernatural turn as secrets about Jonathan himself begin to surface. This episode intricately weaves themes of mystery, romance, and the supernatural, offering listeners a captivating journey through deception and transformation.

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Introduction to Characters

Beatrice Ash

Beatrice Ash, often referred to as Bea, is an assistant at the Woodbine Agency located near the Woodbine subway station. Aspiring to climb the ranks, Bea is characterized by her reflective nature and underlying vulnerabilities. Her encounter with a violent attacker sets the stage for the episode's central conflict.

Grace Hawthorne

Grace Hawthorne serves as the sole detective at the Woodbine Agency. A poised and enigmatic figure, Grace becomes Bea's unexpected savior after a brutal attack. Her mysterious demeanor hints at deeper secrets, especially as the episode progresses into supernatural revelations.

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The Violent Attack and Transformation

At [05:28], the episode takes a dramatic turn when Bea is violently stabbed by an unknown assailant. The ensuing struggle between Bea and Grace reveals unexpected dynamics:

Beatrice Ash [05:28]: "The guy who walked into the office a few minutes ago and started stabbing me. He didn't even look at the nameplate on the desk."

Grace's immediate response to save Bea leads to a revelation that changes Bea's existence forever.

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Grace's Revelation: Embracing Vampirism

Grace Hawthorne discloses a life-altering secret to Bea, transforming her into a vampire to save her from death. This pivotal moment unfolds between [12:05] and [17:18], where Grace explains the supernatural intervention:

Grace Hawthorne [12:05]: "I'm a vampire."

Bea grapples with disbelief and confusion, questioning the very essence of her reality and the nature of her savior.

Beatrice Ash [14:21]: "I understand the words that you just said. They are words that make sense in my head. I comprehend them. It's just that they are words that don't make any sense in the context of real life."

Grace elaborates on the mechanics of vampirism, addressing common lore and debunking myths:

Grace Hawthorne [14:22]: "A vampire. You know, a mythological undead creature said to feed on the blood of the living. An aspiratu, A creature of the night, A bloodsucker."

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Adapting to a New Existence

As Bea begins to adjust to her vampiric state, the episode explores the challenges and conveniences that come with immortality. Discussions around vampire lore, such as avoiding sunlight and managing blood hunger, dominate the dialogue between [17:37] and [34:34].

Beatrice Ash [29:21]: "It's like hunger was mixed in a blender with desire and lust. And I just want something. But I can't. I can't. And I won't. I will not be ravenous."

Grace offers practical advice and support, attempting to ease Bea into her new life while addressing the emotional turmoil involved.

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Investigating the Attack: A Joint Effort

Determined to uncover the motive behind her stabbing, Bea and Grace decide to revisit the crime scene—the Woodbine Agency office. This segment, ranging from [37:09] to [47:55], presents a meticulous examination of evidence and fragmented memories.

Bea's recollections are hazy, filled with sensory overload and disjointed memories:

Beatrice Ash [40:36]: "He was tall. He had on a coat and a medical mask on his face. And he was also wearing a scarf, which I thought was weird cause it's warm out."

Grace analyzes the scene, noting peculiarities such as the taken business cards and the methodical nature of the attack, suggesting premeditation.

Grace Hawthorne [43:12]: "He took a card. Proof that he's been here."

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Unveiling Further Mysteries: The Arrival of Lennox

As Bea and Grace delve deeper into the investigation, tensions rise with the introduction of Lennox, a figure from Grace's past. This confrontation occurs in a dream sequence at [56:26], blending reality with supernatural elements.

Lennox confronts Grace about her actions, hinting at betrayal and unresolved conflicts:

Lennox [57:13]: "You were born here, in this cemetery. You remember, don't you?"

Grace counters with anger and determination, seeking to unveil the truth behind the attack:

Beatrice Ash [57:46]: "He puts his hand on my shoulder and I tense my body torn between repulsion and the grounding of a familiar touch. I don't know. But if this was you, I am going to prove it. And I am going to make you pay."

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Climactic Showdown and Ongoing Mysteries

The episode reaches a climactic tension as Lennox challenges Grace, questioning her motives and decisions. Bea finds herself entangled in a web of supernatural politics and personal vendettas, leaving listeners eager for resolution in subsequent episodes.

Grace Hawthorne [57:34]: "Did you do this, Lennox? Did you kill Bee?"

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Notable Quotes

1. Beatrice Ash on Transformation:

   Beatrice Ash [16:45]: "I want to say that my head is throbbing. That my eyes burn. That I feel a shiver running through me, but I don't. Just this endless numbness that is settling across my skin like lukewarm water."

2. Grace Revealing Her Nature:

   Grace Hawthorne [12:05]: "I'm a vampire."

3. Bea's Struggle with New Needs:

   Beatrice Ash [29:21]: "It's like hunger was mixed in a blender with desire and lust. And I just want something. But I can't. I can't. And I won't. I will not be ravenous."

4. Investigation Insights:

   Grace Hawthorne [43:12]: "He took a card. Proof that he's been here."

5. Climactic Confrontation:

   Beatrice Ash [57:46]: "He puts his hand on my shoulder and I tense my body torn between repulsion and the grounding of a familiar touch. I don't know. But if this was you, I am going to prove it. And I am going to make you pay."

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Conclusion

"Series Recommendation: Woodbine" masterfully blends elements of mystery and the supernatural, offering a narrative rich with character development and suspense. As Bea transitions into her vampiric existence under Grace's guidance, the episode sets the stage for deeper explorations into Springfield's dark secrets and the intricate relationships between its enigmatic inhabitants. Listeners are left on the edge of their seats, anticipating the unraveling of truths that lie beneath the town's eerie facade.

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Featured Series Recommendation: "Woodbine"

In this episode, How I Died highlights another captivating podcast series, "Woodbine," described as a supernatural mystery featuring queer vampire detectives. Vince praises "Woodbine" for its engaging blend of horror, comedy, urban fantasy, and romance, likening it to beloved shows like Supernatural and Buffy the Vampire Slayer. Listeners are encouraged to explore "Woodbine" for a thrilling auditory experience filled with intriguing characters and suspenseful storytelling.

Vince [01:43]: "Creepy supernatural mystery about monsters, love and new beginnings... it's a mixture of horror comedy and urban fantasy with romance elements made for lovers of Supernatural and Buffy the Vampire Slayer."

For more information and exclusive content, fans can visit Woodbine's official website or support them through Patreon.

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Stay Connected To keep up with premium content, bonus episodes, and early access, listeners are invited to join the How I Died Patreon. Follow How I Died on all major podcast platforms to never miss an episode of this enthralling serial fiction.

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Note: Advertisements, promotional segments, and non-narrative sections have been excluded to maintain focus on the episode's core content.

Transcript

[June Parker]

Sometimes the best part of a secret is being part of its reveal, and it's even better if I can solve a mystery or two of my own along the way. When I'm looking to escape reality and bring out my competitive side, I turn to a tale of murder and romance in June's Journey. It's a game full of secrets where every clue brings you closer to the truth. June's Journey is a hidden object mystery game where you play as June Parker as she uncovers scandalous family secrets at her sister's estate. I love playing June's Journey because I get genuinely invested in both the storyline and my ability to spot all the clues at each level. Each chapter brings you deeper into the story, plus it's set in the Roaring twenties, so beyond discovering clues, you can explore stunning scenes from New York parlors to Parisian sidewalks. They get more complex the further along you go, and it's so fun to compete with friends and other players for the fastest case solving and highest scores. How sharp are your observation skills? Put them to the test in June's Journey. Download for free today on iOS and Android.

[Grace Hawthorne]

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[Vince]

Hey everybody, Vince here and man, do I have a podcast recommendation for you from the creators of the award winning horror fiction podcast Parkdale Haunt comes Woodbine, a supernatural mystery about monsters, love and new beginnings. Parkdale Haunt was one of my favorite shows when it was running and I was super excited when they launched Woodbine this fall. The first season is available now and the series follows queer vampire detectives, namely Beatrice and her boss Grace, as they investigate cases in an urban fantasy setting. Each week the crew solves a new mystery, encountering characters such as Mothman, the Boogeyman, and a literal brain in a vat, all while trying to get to the bottom of the mystery of who killed Bea. The podcast is a mixture of horror comedy and urban fantasy with romance elements made for lovers of Supernatural and Buffy the Vampire Slayer. Again, two fantastic TV shows. So check out Woodbine anywhere you listen to podcasts and stick around for the first episode right now.

[Beatrice Ash]

It was an unusually warm September day when it happened. I was at work typing up some notes my coworker Grace had left for me to transcribe. Grace Hawthorne. Nice lady. Bit of an old soul, but we get along. We're friends. She's the main detective here at the agency. I mean, she's the only detective. I'm just an assistant mostly. I take notes, call clients, whatever is needed. But I join her out on the field sometimes, helping with cases, digging around. I hope I have the chops to actually move up the ladder here. Well, it's not really much of a ladder. It's a step stool. Perhaps it's a small workplace. Woodbine Agency. Located just near Woodbine subway station. Not the most creative name, but, hey, I didn't pick it. A tiny detective agency with tiny cases. Stuff too small for anyone major to care about, but too big for one person to handle. It's not bad. Good benefits, dental. Have to admit, I'd been hoping for a promotion. And Grace has definitely been taking more of an interest in me as of late. But none of this is important right now. As for me, my name is Beatrice Ash, but everyone who knows me well calls me Bea. I like it, B. It sounds bouncy, bright, sweet. All these things that I just feel like I'm not now. People who've just met me call me Beatrice, and it makes me feel like I'm still in school. The teacher's voice barking it out across the classroom, the kids making jokes about it. And young me wishing my parents gave me a cool contemporary name like Kayla or Ashley or Misty. But no Beatrice. An old lady name. Grace likes it, although I'm not sure why. But, yeah, that's why I get called by people who barely know me. As for people who don't know me at all, well, they don't call me anything. For example, the guy who walked into the office a few minutes ago and started stabbing me. He didn't even look at the nameplate on the desk. He just got to work and, well, here I am.

[Grace Hawthorne]

Oh, no. Oh, no.

[Beatrice Ash]

Oh, my God.

[Grace Hawthorne]

Oh, my.

[Beatrice Ash]

Okay.

[Grace Hawthorne]

Okay, I'm going to be. Honey, I need you to stay with me, okay?

[Beatrice Ash]

Grace. Help me. Oh, I'm gonna die. Oh, my God. Oh, my God.

[Grace Hawthorne]

No, you're not doing that. I'm not going to let that happen. We will get you out of here. We'll get these wounds stitched up.

[Beatrice Ash]

I don't think you have much choice in the matter.

[Grace Hawthorne]

I'll call for help. I'll get an Ambulance. They can. There's so much blood.

[Beatrice Ash]

Be my blood inside me. It's all I want. Oh, God. Oh, God. Please help. Please.

[Grace Hawthorne]

It's. It's a lot.

[Beatrice Ash]

No.

[Grace Hawthorne]

I won't let you die. Okay.

[Beatrice Ash]

Where's your phone?

[Grace Hawthorne]

Oh, no, it's been smashed.

[Beatrice Ash]

I'm gonna die. I'm gonna die. Please. Please don't let me die.

[Grace Hawthorne]

I told you that won't happen.

[Beatrice Ash]

Oh.

[Alden]

Cold.

[Beatrice Ash]

I'm cold.

[Grace Hawthorne]

I.

[Beatrice Ash]

Your pulse is so weak.

[Grace Hawthorne]

Okay. Fuck. I could go get my phone, but I don't think they can help.

[Beatrice Ash]

Just anything.

[Grace Hawthorne]

Be my sweet bee. I'm going to make a choice for the both of us.

[Beatrice Ash]

What?

[Grace Hawthorne]

It's not your time.

[Beatrice Ash]

Who says you get to pick? Who says you get to pick that?

[Grace Hawthorne]

Good question. What kind of God would let this happen to you?

[Beatrice Ash]

I don't know.

[Grace Hawthorne]

What kind of God would cause such pain? What kind of devil will allow me to help you?

[Beatrice Ash]

I'm sorry, Grace.

[Grace Hawthorne]

Don't be sorry. What do you have to be sorry for?

[Beatrice Ash]

All this. It's gonna be a mess to clean up, and I won't be here for it. I don't want to die.

[Grace Hawthorne]

Is this what was used to stab you?

[Beatrice Ash]

Yeah.

[Grace Hawthorne]

Yeah, I'm helping. Don't worry.

[Beatrice Ash]

Shh.

[Grace Hawthorne]

I'm the one who's sorry. Be. It's not your time to go, okay? We'll figure this out together. Are you ready? I am. And I'll explain everything after. This will feel disorienting. You look so beautiful, Bea.

[Lennox]

Do not make this mistake again, Grace. It's difficult for me to watch you fail.

[Grace Hawthorne]

The fuck what's be.

[Beatrice Ash]

Don't. Don't come any closer. All right, you tell me what happened? Where am I and what the fuck happened?

[Grace Hawthorne]

And I'm sorry. I don't think you're fully healed yet. It's only been a few hours.

[Beatrice Ash]

Where are we?

[Grace Hawthorne]

You're at my house.

[Beatrice Ash]

What? What? Why did you bring me here? Shouldn't I be in a hospital or something?

[Grace Hawthorne]

A hospital wouldn't help.

[Beatrice Ash]

What does that mean? How. How. How am I even conscious right now? Or. Or alive, for that matter? Last time I looked, most of my blood was now in a big puddle outside my body, ruining the office floor.

[Grace Hawthorne]

That hardwood will never be the same, unfortunately. What a shame. It was original.

[Beatrice Ash]

You know, I don't think that's the issue right now. What the hell is going on? Why are we here?

[Grace Hawthorne]

I needed to get you somewhere safe.

[Beatrice Ash]

Did you call the police? An ambulance, an Uber?

[Grace Hawthorne]

Cops are useless. An ambulance would never have arrived in time. And I would have ruined my 5 star rating on Uber if I had tried to load your bloody form into the back of some random man's Kia Sportage.

[Beatrice Ash]

Ok, ok. So you brought me here to what? Stitch me up?

[Grace Hawthorne]

In a sense.

[Beatrice Ash]

In a sense? What did you. Did you hot glue me back together or something?

[Grace Hawthorne]

B, we need to talk.

[Beatrice Ash]

What the. What? No, I was stabbed. I was stabbed a lot. Look, my shirt. My shirt is a mess, but there's no open wounds. How. What?

[Grace Hawthorne]

I have some things I should explain.

[Beatrice Ash]

Yeah, you think? Grace, what the hell is going on? What is this? Am I. Am I hallucinating? Am I dead? How long have I been out?

[Grace Hawthorne]

Just calm down and I.

[Beatrice Ash]

How the shit am I supposed to calm down? What did you do?

[Grace Hawthorne]

It's a complicated thing.

[Beatrice Ash]

I don't have the patience right now for complications. Grace. Did you scoop my blood up and put it back inside me? I don't think that's how it works.

[Grace Hawthorne]

Would you describe yourself as someone with an open mind?

[Beatrice Ash]

What? I'm gonna start throwing more stuff if you don't give me a straight answer.

[Grace Hawthorne]

If it'll make you feel better, at least aim for the vase on the table over there. I've. I've never cared for it.

[Beatrice Ash]

Oh my God. Okay, let me get on your level right now. Are you some sort of necromancer? Are you a witch? Are you some sort of weird cultist with a patron or whatever?

[Grace Hawthorne]

No, I've been approached before, but not my style. Cultists are too hot headed. I did have a stint as a priestess of a worm goddess. Oh, there was this woman. She was so gorgeous when she was zealous. She got me into it. But yeah, I'll save that story for another time.

[Beatrice Ash]

What is going on?

[Grace Hawthorne]

This might take a little time to explain.

[Beatrice Ash]

Make it quick.

[Grace Hawthorne]

There is a lot of information that I'm going to need to get through before I get to the crux of the issue.

[Beatrice Ash]

Tell me now.

[Grace Hawthorne]

I'm a vampire. Bee.

[Beatrice Ash]

I understand the words that you just said. They are words that make sense in my head. I comprehend them. It's just that they are words that don't make any sense in the context of real life. So I'm going to ask you to calmly repeat to me what you just said. Okay?

[Grace Hawthorne]

Yes, all right.

[Beatrice Ash]

Please repeat what you just said.

[Grace Hawthorne]

I am a vampire.

[Beatrice Ash]

What?

[Grace Hawthorne]

A vampire. You know, a mythological undead creature said to feed on the blood of the living. An aspiratu, A creature of the night, A bloodsucker.

[Beatrice Ash]

I know what a vampire is.

[Grace Hawthorne]

Oh, well, good I am aware of.

[Beatrice Ash]

The concept and the mythology. I've seen Buffy. I skimmed Twilight. And I'm glad for you, Whatever that means. But I'm not really sure how this applies to whatever's happening here, because I'm not. Oh. Oh, no, Grace. No, you didn't.

[Grace Hawthorne]

I'm sorry. It was all I could do. There were no other options.

[Beatrice Ash]

Are you shitting me?

[Grace Hawthorne]

Believe me, this is not a thing I would you about.

[Beatrice Ash]

All right, you know what? I'm done. I am not putting up with this. Ah. Stop.

[Grace Hawthorne]

If you're trying to dramatically immolate yourself, it's not going to work.

[Beatrice Ash]

Okay. Fine. Oh. Oh, that stings. Oh, my. Oh, my God. I can't. I can't go out in the sun now.

[Grace Hawthorne]

Yes and no. If you'll just let me explain, I.

[Beatrice Ash]

No. No, this isn't. This isn't real. Why. Why aren't there any stab wounds? I do not understand what happened to me.

[Grace Hawthorne]

You were stabbed and you were dying, and I. I couldn't stand there and watch you shake off this mortal coil, so I did the only thing I could do. And because of that, because of what I did, you have changed. You may have noticed that one of the changes allows you to heal quite quickly. You're still going to be a little sore, I've noticed. But you're alive. Well, sort of. Not technically, I suppose, but you still exist.

[Beatrice Ash]

Why?

[Grace Hawthorne]

I couldn't let you die. And I made a choice.

[Beatrice Ash]

I want to say that my head is throbbing. That my eyes burn. That I feel a shiver running through me, but I don't. Just this endless numbness that is settling across my skin like lukewarm water. Am I still me?

[Grace Hawthorne]

Yes. But different. Look, there's so much to tell you. But it's not all bad. There are things about the change you might enjoy. It does come with benefits. Things will become clearer over time.

[Beatrice Ash]

This feels like this fucking bullshit. You were lying to me.

[Grace Hawthorne]

I know. It's a lot to take in. I remember the change. I went through it, too. It's overwhelming, but it can also be exhilarating. Like the first kiss of a new lover. Our burning man.

[Beatrice Ash]

I think I. What is that smell?

[Grace Hawthorne]

Oh, you'll be hungry. I brought you something.

[Beatrice Ash]

Is that blood?

[Grace Hawthorne]

Ethically sourced. I promise. It's AB positive. Quite earthy.

[Beatrice Ash]

I am not touching that.

[Grace Hawthorne]

You're going to need to eat. The hunger will come sooner than you think.

[Beatrice Ash]

No, no, no, no. I just.

[Grace Hawthorne]

Just.

[Beatrice Ash]

Just leave me alone for a bit.

[Grace Hawthorne]

Are you sure?

[Beatrice Ash]

Yes.

[Grace Hawthorne]

Okay. Okay. Just don't open that Curtain again.

[Beatrice Ash]

Don't tell me what to do.

[Grace Hawthorne]

Believe me, I have no desire to be your keeper. But I do have a responsibility to protect you from yourself. At least until you understand how this works. Be please. Trust me. I had to learn all of these things the hard way, but.

[Beatrice Ash]

This is fucking real?

[Grace Hawthorne]

Yes.

[Beatrice Ash]

What am I supposed to do now?

[Grace Hawthorne]

I can help. I owe you that much.

[Beatrice Ash]

You can help? You got me into this mess.

[Grace Hawthorne]

I wasn't the one who stabbed you. I wasn't trying to hurt you.

[Beatrice Ash]

You did this to me. You turned me into this. You made this choice for me. Get out.

[Grace Hawthorne]

I'm sorry, Bea. I'm going to give you some space. Please. If you are feeling hunger, I urge you to consider eating.

[Beatrice Ash]

What do you say to someone who's told you something? Unbelievable. What do you do when your world, the one where this stuff doesn't exist, ends and is suddenly replaced with a world that no longer makes sense? I don't want to exist in this new reality. But it doesn't feel like it matters what I want anymore. I walk over to the window, and if I place my arm in the sunlight, it feels like someone's snapping a hundred elastics across my skin. I'm not gonna die doing this. I don't think, but fuck. Everything feels too loud, too weird. Thick and hazy. Like I'm looking through sleet and listening through thunder. My body hurts, but not enough. I was dying a few hours ago. I was dying, but there's no trace of the wounds. And the pain feels like a distant memory. I've checked my phone. It's late afternoon. This morning I came to work. I did a little admin. I was stabbed 27 times. And now I'm. I can't say it yet, but I've changed. I know in my heart I have. I can feel it. But I'm still breathing. Why am I still breathing? And I'm hungry. It feels like normal hunger, but also. It doesn't. It's like hunger was mixed in a blender with desire and lust. And I just want something. But I can't. I can't. And I won't. I will not be ravenous. I am not a monster. I just want to know why this is happening. And I want to know why she did this to me.

[Lennox]

Still haven't heard back from Grace?

[Alden]

No. Have you had any luck?

[Lennox]

I tried again. No response.

[Alden]

How serious of a situation do you think this is?

[Lennox]

When was the last time you got a panicked voicemail from her? Aurelius, 1999.

[Alden]

Yes. When she got Those chunky highlights.

[Lennox]

A terrible decision. Yes. But the tenor of this call. I don't think my concern is unfounded. She said she made some choices and it all feels out of character. What do you think has her so worked up? Reassure me before my brain takes me down a terrible path. What do you think happened?

[Alden]

She killed her latest meal.

[Lennox]

Hasn't done that in decades.

[Alden]

She's gone vegan.

[Lennox]

Do you honestly think she would want to relive that short lived phase?

[Alden]

Perhaps she burned the office down by accident. Or by design. She has been talking to me about updating the interior.

[Lennox]

She would have just told us.

[Alden]

And leave a paper trail? Let a woman commit a little insurance fraud as a treat. Alden.

[Lennox]

Right now I hope it's something as ridiculous as that.

[Alden]

May I offer an unlikely option?

[Lennox]

You may.

[Alden]

Perhaps she turned someone.

[Lennox]

Grace has never. Not once since I've known. Even considered. Do you really think she could?

[Alden]

That isn't something she would do without a very good reason.

[Lennox]

Who would she even consider turning?

[Alden]

She's turned people since we've met her.

[Lennox]

She most certainly has not.

[Alden]

What about that one lover of hers? What was his name? George Gordon.

[Lennox]

What, the poet? I would have eaten him before ever letting him become even halfway immortal. Imagine being stuck with that blowhard.

[Alden]

He wasn't that bad.

[Lennox]

He said her hair was made of water and her teeth looked like moonlight. And then he wrote a sestina comparing her to a hangover. He can go to hell.

[Alden]

Fussy.

[Lennox]

No. I have taste. Grace is fussy.

[Alden]

She never turned her ex girlfriend, Right?

[Lennox]

Which one?

[Alden]

The really friendly one with the big curly hair back around 93.

[Lennox]

No. And I liked Rhonda. Didn't she die? Is that who I'm thinking of?

[Alden]

Yes. Car crash, I think.

[Lennox]

Right. Tragic. I remember seeing the obituary. Grace. Actually. I don't think she ever spoke about her again.

[Alden]

She did send a floral arrangement when she heard about the funeral. White roses. I remember helping her pick them out. So who would she turn now? She hasn't been with anyone in ages.

[Lennox]

She's spoken highly of the woman she works with.

[Alden]

The co worker.

[Lennox]

I guess she blushes when she brings her up.

[Alden]

No.

[Lennox]

Have you been paying attention? Yes.

[Alden]

I should get new glasses.

[Lennox]

She's sweet on her. At least a little.

[Alden]

Can't trust a vampire with emotions.

[Lennox]

Don't play on old tropes. I'm just saying something has happened. Grace is in a tizzy. That call made my hair stand on end.

[Alden]

Now you're making me nervous.

[Lennox]

Sorry.

[Alden]

It's all right. Let's just try calling her again. I want to know what's happening.

[Beatrice Ash]

Is there some sort of onboarding for this?

[Grace Hawthorne]

I don't have a PowerPoint presentation readied, if that's what you mean. What do you want to know?

[Beatrice Ash]

What a hilariously huge question. I still barely believe that any of this has happened. But I. You know, there's a lot I'd like to know more about.

[Grace Hawthorne]

Well, we have a lot of time. An eternity, one could say.

[Beatrice Ash]

Okay, I can't handle. I can't handle the thought of that right now. Alright, let's start small. God, this feels stupid. You'll adjust, all right? Vampires have lore, there are rules.

[Grace Hawthorne]

Everything's got rules.

[Beatrice Ash]

Yeah, but it's things like, okay, sunlight hurts, but it doesn't make me turn to ash. Not immediately, anyways.

[Grace Hawthorne]

No. But you'll want to wear long sleeves if you're going out during the day. And a hat. Oh, you know, I have some wonderful hats you can borrow.

[Beatrice Ash]

I'm not really a hat person.

[Grace Hawthorne]

Said like someone who's never been to a milliner.

[Beatrice Ash]

I'm not even entirely sure what that is.

[Grace Hawthorne]

I know a wonderful one. I'll send her a text. You'll love her. Besides, I think you'd look incredible in something a little slouchy.

[Beatrice Ash]

Grace, come on.

[Grace Hawthorne]

It would clearly match your attitude.

[Beatrice Ash]

Fine, fine. We'll go hat making.

[Grace Hawthorne]

No, you don't make the hat. She does.

[Beatrice Ash]

Enough about hats.

[Grace Hawthorne]

Said like someone who's never owned a well made cloche.

[Beatrice Ash]

Okay, whatever.

[Grace Hawthorne]

Crosses tacky in many contexts, but otherwise, not an issue.

[Beatrice Ash]

Silver.

[Grace Hawthorne]

That's werewolves.

[Beatrice Ash]

It's both.

[Grace Hawthorne]

Regardless, not an issue. Which is good for me because I have never liked how gold looks against my skin tone.

[Beatrice Ash]

Okay, are there plants I can't be around? I assume garlic is fine. Ooh, Seriously?

[Grace Hawthorne]

It won't kill you, but it will make you sick. Sorry.

[Beatrice Ash]

Yeah. This is the second worst news I've gotten today.

[Grace Hawthorne]

It's not like you'll need food to live.

[Beatrice Ash]

Yeah, but I enjoy it. I like to cook.

[Grace Hawthorne]

Maybe replace it with onions.

[Beatrice Ash]

All right, all right. Okay. Okay. I don't know. Like, I assume a stake through the heart or a beheading can kill me, but that kills anything, so not really a huge leap.

[Grace Hawthorne]

Yeah. Oh. Beware of oleander.

[Beatrice Ash]

Like the plant?

[Grace Hawthorne]

Yes. It can cause symptoms.

[Beatrice Ash]

Okay, what are we talking here? Are we talking mild headaches, rash, bleeding out of the eyeballs?

[Grace Hawthorne]

It's poisonous to regular humans, but for us, dizziness, weakness. It'll make you feel drunk, but bad drunk.

[Beatrice Ash]

Can I still get drunk?

[Grace Hawthorne]

If you drink enough, you can for a short bit, but it wears off quite quickly.

[Beatrice Ash]

Quickly. All right. That's not too bad.

[Grace Hawthorne]

Oh, and you have to be invited in.

[Beatrice Ash]

I'm sorry, what now?

[Grace Hawthorne]

You can't enter a space that's claimed without an invitation.

[Beatrice Ash]

Is that why you always had me head into a house first?

[Grace Hawthorne]

Yes. You adapt. You learn.

[Beatrice Ash]

How old are you?

[Grace Hawthorne]

Actually?

[Beatrice Ash]

No. Theoretically. Tell me. As if this is some sort of age double slit experiment.

[Grace Hawthorne]

Let's just say I've lived lifetimes.

[Beatrice Ash]

Oh. All right. Cool. You'll have to give me your skin care tips.

[Grace Hawthorne]

Oh, Lots of water. Retinol. Being undead. Vaseline over moisturizer every night.

[Beatrice Ash]

Wonderful.

[Grace Hawthorne]

Look, there's a lot to take in. I don't want you to feel too overwhelmed right off the bat.

[Beatrice Ash]

That right? Like vampire?

[Grace Hawthorne]

No. Like this.

[Beatrice Ash]

Okay. Please tell me that I don't need to get a rabies shot to hang around you.

[Grace Hawthorne]

Even if I could give you rabies, you wouldn't die from it. I don't think.

[Beatrice Ash]

You don't think? Think.

[Grace Hawthorne]

I never tried. Oh, and don't worry about shape shifting just yet. That takes a bit of practice. I'm sure you'll be fine, though. You're a quick learner.

[Beatrice Ash]

So. So am I immortal?

[Grace Hawthorne]

In the sense that you're not going to die of old age, yes.

[Beatrice Ash]

That's. No, No. I don't want to go into that anymore right now. That is too much to wrap my head around at this moment. I don't want to think about it.

[Grace Hawthorne]

It's okay. It's okay. It just takes time. It'll make sense eventually.

[Beatrice Ash]

Grace. Why people die every day. Why couldn't you have just called for help?

[Grace Hawthorne]

Because it would never have gotten here in time. And I didn't think this was the way you should go. Bleeding out on the office floor. I wanted better for you, and I thought that this will at least give you time.

[Beatrice Ash]

Fine. Fine. I'll put a pin in it and I'll. Am I really never going to be able to enjoy the sun again?

[Grace Hawthorne]

I can't begin to describe what moonlight will feel like on your skin. Once you're settled, we can. We can go for a walk. You've healed, but you had many wounds. And I know you look the same, but your body has changed. For a while, you won't know your own strength. You might feel like. Like a puppy growing into oversized paws.

[Beatrice Ash]

Don't patronize me.

[Grace Hawthorne]

Maybe that was a poor choice of words, but the fact remains, you are in the process of becoming something that comes with growing pains. Speaking of. Did you eat. You will need to eat.

[Beatrice Ash]

What if I don't? What if I just want to lie down on the floor and die like I was supposed to?

[Grace Hawthorne]

You can do whatever you want. Lie there. Ossify. But I will say this to you now. It is not as bad as you think. It will be difficult. A challenge at first, but really not as hard as you think it will be. Your mind may push against it. Your body, though it will crave. Eventually your mind will come to meet it as well. You can either fight it or accept it. Fighting it. Noble, maybe in a foolish way. It will hurt, though. It will feel like your skin is being peeled. Your body. But you won't die. You will just suffer. You can choose that bee. I can't stop you. I can't recommend it, though.

[Beatrice Ash]

Do you have someone you bleed when you're feeling peckish? Who's, like, chained up in the basement?

[Grace Hawthorne]

Things have changed in the last century. No one needs to die, so we can feed. No one even needs to suffer. Here. I can bring you another Blood Bag.

[Beatrice Ash]

Don't you need to eat if you don't want to be my keeper? Stop telling me what to do.

[Grace Hawthorne]

I am just trying to. Fine. Eat. Or don't. Do as you like. Just please don't get it on the wallpaper again.

[Beatrice Ash]

Right. My stomach gnaws at me. It radiates through my body, and I cannot bring myself to look at the bag on the table. It just makes me ravenous. Okay. Grace, I. I feel like I should say thank you or something for what you did, but I don't know if I'm there yet. I'm not mad. I know my other option was to just die. So. I understand why you did this. And somewhere deep down, I think if I had been in the same position, I probably would have done the same thing. So.

[Grace Hawthorne]

Thank you for saying that. We're going to find the person that tried to kill you.

[Beatrice Ash]

Hmm. This is going to sound really weird, but your touch feels. Feels different.

[Grace Hawthorne]

Oh. Oh, of course it does. Can I ask what it feels like?

[Beatrice Ash]

Hmm. There's sort of a light buzz. It's like putting your hand into a tub of ball bearings.

[Grace Hawthorne]

Interesting. The experience, your description.

[Beatrice Ash]

It's hard to explain.

[Grace Hawthorne]

You'll learn that if you touch a regular human, they'll feel all kinds of fun things. But when a vampire touches another vampire, it's a whole other experience.

[Beatrice Ash]

It's a nice feeling. So do we. Do we go back to the office, look around?

[Grace Hawthorne]

Hmm. Well, the sun will be going down shortly.

[Beatrice Ash]

Okay. I want to go back to the office.

[Grace Hawthorne]

Are you sure?

[Beatrice Ash]

Yes. I need to see where it happened. We return to the office to see if we can find any hints of who did this at the scene of the crime. It's weird to call it that. Not that it isn't, but that it's this thing that happened to me and I am the victim. And this is a thing that has to be solved. As we walk in, I am suddenly hit by this wall of fear. I knew I would feel trepidation coming back, but walking back in, I am overwhelmed by the smell of blood. My blood in the air. It's disgusting. It is horrifying. It's beautiful. And that feeling makes my stomach lurch. Although I cannot tell if it's because I'm revolted or if it's because I'm starving. God, I'm starving. But that's immediately replaced again by the fear. The energy in the room still shimmers like a too hot day. Harsh and unforgiving. It's all very fresh. Like walking in after an explosion. The sound gone, but the dust still thick in the air. Oh my God.

[Grace Hawthorne]

I think this floor will need refinishing.

[Beatrice Ash]

She was right, right? I wouldn't have survived. Are you just going to call a guy and be like, sorry, I was slaughtering a deer in here and it got away from me?

[Grace Hawthorne]

What do you think I'm the only vampire in Toronto? But don't worry, I have a guy for this. Actually, I should have someone in tomorrow if Chris is available.

[Beatrice Ash]

Do you ruin floors often?

[Grace Hawthorne]

No, but I have a network of people who will do the things that need to be done. Discretion pays well.

[Beatrice Ash]

Makes sense. Okay, so here's where I was. I clearly had moved from the desk. The mental image of what happened feels blurry, even though it was so real. The adrenaline and the pain form a film over everything. And all I can remember are the most random pieces. The sound of my strained breathing. The creaking of the wooden floors beneath us. The smell of cologne, thick and cloying, heavy on his skin. I heard the door open. A man stood in the doorway. I didn't recognize him.

[Grace Hawthorne]

And you're sure it was a man?

[Beatrice Ash]

Yeah. Yes. He was tall. He had on a coat and a medical mask on his face. And he was also. He was wearing a scarf, which I thought was weird cause it's warm out. It was red. And I think he had brown hair or black hair or. I don't remember.

[Grace Hawthorne]

Just keep working through the memory.

[Beatrice Ash]

He came in and he stood here. And I could smell Him. That's what I remember. I could smell cologne. It was thick and it smelled familiar. I don't know. I don't remember why. But it did. And I asked him if I could help him, and he didn't say anything. And he looked from me over to here.

[Grace Hawthorne]

Which means he was looking at my office.

[Beatrice Ash]

Yes, but you were out. So the desk was empty. And then he turned to me and he locked eyes and he charged at me. And then.

[Grace Hawthorne]

That's good. You don't have to keep going. It's quite self explanatory from there. The only question is, how did you end up this far from your desk?

[Beatrice Ash]

A good question. But everything is a haze. I was crawling towards him, away from him. I don't remember. But I knew I was crawling.

[Grace Hawthorne]

There's tracks here. He walked around, tracking. Blood everywhere. He's moving quickly, trying to find something. Are you sure you were at your desk when he came in?

[Beatrice Ash]

Yes, I was writing an email. And I remember looking over my laptop top at him.

[Grace Hawthorne]

Do you remember getting up? Did you make any moves once the attack started?

[Beatrice Ash]

I. Yeah, I must have. Yeah. Yeah, I must have. I. I don't. I don't know. It's just a blur.

[Grace Hawthorne]

There's blood here.

[Beatrice Ash]

That. That looks like spatter from the attack. But this. This is new. There's blood on the business cards.

[Grace Hawthorne]

Huh. He took a card.

[Beatrice Ash]

What, like a. Like a fucking token? A little memento? Is he gonna call me and report my own murder? There's a thumbprint on the plastic holder that keeps both of our business cards. On the top of each stack, there's a drop of blood. Blood. He took both of our cards. And somehow that only makes this feel worse. I'm gonna change my cell phone number.

[Grace Hawthorne]

We'll monitor it. If this piece of shit reaches out, I want to be ready to respond.

[Beatrice Ash]

Why would he take a card?

[Grace Hawthorne]

Proof that he's been here.

[Beatrice Ash]

Is the blood not enough?

[Grace Hawthorne]

It's curious.

[Beatrice Ash]

So he took a souvenir?

[Grace Hawthorne]

Could be. Taking a little treat to remind him of a job well done.

[Beatrice Ash]

You think he was hired?

[Grace Hawthorne]

This feels premeditated, planned.

[Beatrice Ash]

Okay, but why?

[Grace Hawthorne]

I don't know. But I think the answers we're looking for might prove to be more elusive than tracking down a lone, angry man with a knife.

[Beatrice Ash]

Do you think you were the intended target?

[Grace Hawthorne]

I think it's a possibility. But to be thorough, let me ask you a few things. Do you have any history of violent or vindictive exes?

[Beatrice Ash]

I had a girlfriend who was a real piece of work, but she's long gone. So aside from that? No.

[Grace Hawthorne]

Any past experiences involving organized crime, drug trafficking?

[Beatrice Ash]

No.

[Grace Hawthorne]

I'm not honey trapping you. I just need you to be honest. If there's anything unsavory in your history.

[Beatrice Ash]

There's nothing. I smoked some weed in high school. I once did MDMA at a club and I hated it. I broke a car window with a basketball when I was a kid. And I didn't tell anyone, so I doubt that guy has been biding his time, waiting to just seek revenge.

[Grace Hawthorne]

I know people who have done more for less, but I'll admit it's unlikely. Money issues?

[Beatrice Ash]

Just the usual of rent too expensive, everything too expensive.

[Grace Hawthorne]

No loan sharks, then enemies, People you've pissed off. Anything? No.

[Beatrice Ash]

Grace, I don't have any sort of dark past. I don't have any of the Sopranos coming after me because I got in Tony's way or whatever. I don't know. I didn't watch the show. I don't have hbo.

[Grace Hawthorne]

Yeah, neither do I. I've heard it's about psychiatry and ducks, but. Anyway, keep thinking about it. If anyone comes to mind, please let me know.

[Beatrice Ash]

Are there people who'd want to kill you?

[Grace Hawthorne]

Yes. You live long enough, you don't make as many friends as you do. Individuals willing to forgive, lack of a better phrase, stab you in the back.

[Beatrice Ash]

Are you going to elaborate on this?

[Grace Hawthorne]

No. But I will make a few phone calls.

[Beatrice Ash]

As she walks around the room. Something I've never noticed about her is that she never gets sweaty. I've never seen her wipe the sweat off her forehead or even look a little clammy. If she's nervous, she doesn't wear it on her body. And if she's lying, well, I guess I just have to figure that out another way.

[Grace Hawthorne]

H, you're right. A good professional would have staked out the office ahead of time. They would have known that I wasn't here when they came in. So either they were a subpar hitman or they weren't hired to kill me. Maybe they were hired to send me a message. I just don't know what that message means. Not yet. Anyone who's spoken to me over the last couple of years knows that we work together. Someone might have been trying to hurt me through you. And if that's the case, I will obliterate them and then put them back together piece by agonizing peace, just so I can fucking obliterate them again.

[Beatrice Ash]

Her eyes lock onto me and then dart away, eventually drifting back over to the blood pool on the floor. All Right. Let's take some pictures and then finish up here. Because I can't handle being in this space much longer. It is stressing me out.

[Grace Hawthorne]

Yeah, I've got a few photos. I'll grab a few more. And tomorrow my guy will be in to redo these floors. It'll be like none of this ever happened.

[Beatrice Ash]

Yeah, except for the vampirism.

[Grace Hawthorne]

Yeah. Yeah, except for. Except for that.

[Beatrice Ash]

What I'm not saying to her is this. My chest hurts. My body aches from hungers I can't even begin to describe. But I know that if I don't concentrate, I will become floppy. Start stumbling. And I don't want to do that. I can't. Keep your head up. Shoulders back. Move forward. Don't look afraid. Why am I doing this? I don't know. Maybe it's to stop the constant screaming in my brain that I don't know how to even start thinking. Thinking about what comes next. How things have changed. How am I going to explain this to my parents? I can't think about them right now. I can't. I just got to think about something else. Can you just. Can you drive me home? I. I don't trust myself to drive right now.

[Grace Hawthorne]

Are you sure?

[Beatrice Ash]

Yeah. I just want to go home. Unless it's easier for me to turn into a bat and just fly back. Back.

[Grace Hawthorne]

I would not recommend that just yet. It's hard to control. Besides, turning into many small things is difficult.

[Beatrice Ash]

How do you do it?

[Grace Hawthorne]

You have to focus. Understand how the pieces of your body can be twisted into other shapes.

[Beatrice Ash]

Right.

[Grace Hawthorne]

It's like finding all the sections where your form can be taken apart. Not like a broken vase, but like a puzzle. Something that can be put back together. You just. You need to find the key within and turn it. Oh, shit.

[Beatrice Ash]

Bea. Oh, good God.

[Grace Hawthorne]

This is too soon. Be. Concentrate. I need you to concentrate on your form. Focus.

[Beatrice Ash]

Oh. Holy shit.

[Grace Hawthorne]

Are you alright? I told you that you're not ready. It's too soon to be trying such things.

[Beatrice Ash]

Oh. How do you do anything with that many eyes?

[Grace Hawthorne]

It's a challenge.

[Beatrice Ash]

Oh, God.

[Grace Hawthorne]

It's all right.

[Beatrice Ash]

I want bugs. I want a moth. Give me a moth.

[Grace Hawthorne]

Yeah. The first few times are quite disorienting. Deep breaths.

[Beatrice Ash]

Holy shit. That was. I was bats. All of me bats.

[Grace Hawthorne]

Yes. It's both very useful and incredibly inconvenient.

[Beatrice Ash]

Yeah. Stop it. Stop. My leg thinks it's a wing. Stop. Ha.

[Grace Hawthorne]

Once you get the hang of it, it can be quite fun.

[Beatrice Ash]

Grace. Just drive me home. Standing in the bathroom back at My place, I take a good hard look at myself for the first time since. Since it all happened. I keep expecting something different. Some big change. Red eyes, taut and shiny skin. Leathery ears resembling bat wings. I have to admit, I was never much into vampire media. Not really my style. I was always more of a science fiction girl. But turns out it's all weirder Earthside than I ever could have guessed. My hair looks nice, though, which is odd because all I did was awkwardly walk some of the blood still crusted in it. It's smooth and knotless, which is shocking because normally my hair tangles if you breathe on it too hard. So I guess I'll take the change. My teeth look nice too, but there's no obvious fangs. Do they pop out on request? My mouth feels sharp under my tongue as I explore it. But overall, I just look like I'd taken a shower and put on my makeup. Recently, I tried eating a granola bar when I got home and it tasted fine, but flat. It left my mouth dry and uncomfortable. There was no satisfaction in it, not like before. And every time Grace puts her hand on me, it's like there's a thousand friendly bumblebees under my skin. I kind of want to see how this works in someone else. No, that. No, that's nuts. Nuts. Stay the course. Figure this out. Maybe another day.

[Grace Hawthorne]

I dug out a bottle of wine from your cabinet. Amarone. You have good taste.

[Beatrice Ash]

It was a gift from you, I think.

[Grace Hawthorne]

Ah, that explains it. I have good taste.

[Beatrice Ash]

Is this now just like drinking expensive water?

[Grace Hawthorne]

Well, water isn't ripe, raisiny and full bodied. Besides, it won't turn to ash in your mouth and you won't wake up with a headache tomorrow.

[Beatrice Ash]

I don't know. The thought of that kinda fills me with dread.

[Grace Hawthorne]

Don't worry. I won't make a toast. That would feel a little ghoulish. Ignore the possible pun there.

[Beatrice Ash]

Gladly.

[Grace Hawthorne]

I do have one more thing I'd like to talk to you about.

[Beatrice Ash]

In my head, I'm imagining you firing me right now for my clear failure and not getting stabbed at the workplace.

[Grace Hawthorne]

Well, I mean, that will be on your quarterly review, but. No, no, no. You did well today. It was a high stress situation to go back and you handled yourself nicely. And previous times out in the field, you've been a good detective.

[Beatrice Ash]

I've mostly just watched dudes cheat on their wives and take photos.

[Grace Hawthorne]

Yes, but you've never flinched. You've always been up for a challenge. I like that.

[Beatrice Ash]

Thank you.

[Grace Hawthorne]

I think it's Time you got a promotion.

[Beatrice Ash]

Hmm. Really? This is all it took?

[Grace Hawthorne]

You've shown talent growth over the last year or so. Plus you've got some new skills that will come in handy.

[Beatrice Ash]

She puts her hand on my shoulder and it's like my arm is going to buzz off of my body. And then a flash. A pain in my skull, like something is trying to push its way out through the occipital bone. For a split second, I see myself lying on the floor, bleeding, dying. As if I am outside my own body and reaching for it. A hand, soft and gentle, reaches for mine in the dream. In real life, I realize that Grace is now holding my hand, looking at me with a deeply furrowed brow. Concern, questions.

[Grace Hawthorne]

What's wrong?

[Beatrice Ash]

I. Nothing. Sorry, I. I think. I think I'm just, like, reliving things that I don't want to relive.

[Grace Hawthorne]

Tell me what you saw.

[Beatrice Ash]

I. I am not ready to.

[Grace Hawthorne]

All right. In due time. But, yes, we will need to talk about updating your role in the office.

[Beatrice Ash]

Does this come with a pension plan?

[Grace Hawthorne]

If you'd like.

[Beatrice Ash]

I. I'll think about it.

[Grace Hawthorne]

Which part of it?

[Beatrice Ash]

The pension, mostly. I feel like the payouts come to be very delayed, but I will take the promotion.

[Grace Hawthorne]

Excellent. We can iron out the details when we're back at the office. I think you could use the day off.

[Beatrice Ash]

Oh, boy. Can't wait to spend my day Googling vampire lore and myths. This should only go well.

[Grace Hawthorne]

You do that. Also know that most things are wrong. Just shoot me a text if you have any questions.

[Beatrice Ash]

Yeah, I'm going to have about a million.

[Grace Hawthorne]

That's fine.

[Beatrice Ash]

There's just one thing I want to find out right now, and that is who did this and why.

[Grace Hawthorne]

That is pressing and concerning.

[Beatrice Ash]

It's a lot of things that's certainly.

[Grace Hawthorne]

The main thing we should deal with. But we have one other thing that is quite prescient. You being promoted changes things.

[Beatrice Ash]

Ah.

[Grace Hawthorne]

We need to hire a new assistant. In the dream, it is winter. I'm standing at the edge of a cemetery on a gently sloping hill, pockmarked with gray stone. A breeze picks up a layer of powdery snow flakes, creating spirals in the night air. There's a presence here, one I have not felt in many years, one that I am not pleased but not surprised to sense. Lennox, the vampire who turned me, stands behind me, radiating a tang of freshly spilled metallic blood.

[Lennox]

You were born here, in this cemetery. You remember, don't you?

[Grace Hawthorne]

It's not a particularly happy memory.

[Lennox]

So why'd you do it. Why put someone else through the change?

[Beatrice Ash]

I thought I'd talk.

[Grace Hawthorne]

You better get out of my head.

[Lennox]

That's not what you really want, is it? You have questions. Ask them.

[Grace Hawthorne]

Did you do this, Lennox? Did you kill Bee?

[Lennox]

What reason would I have to harm.

[Beatrice Ash]

That poor little girl?

[Lennox]

Besides, do you have any proof?

[Grace Hawthorne]

He puts his hand on my shoulder and I tense my body torn between repulsion and the grounding of a familiar touch. I don't know. But if this was you, I am going to prove it. And I am going to make you pay.

[Lennox]

If this were me, I would enjoy watching you try.

[Vince]

Woodbine is an original podcast created, written.

[Lennox]

And produced by Alex Nursal and Emily Kellogg.

[Vince]

Show running and direction by Alex Nursal.

[Lennox]

Production and promotion by Emily Kellogg. Engineer and sound design by Ian Boddy. Theme by Phil Wright. Music by Phil Wright and Ian Boddy. Recorded at Pirate Sound. Artwork by Andy Kelly. Distributed by Realm. You can find us on Instagram at woodbinepodcast. Support us on [e-mail] parkdalehaunt transcripts, links and more are available at woodbinepod.com featuring the voices of Alex Nursal, Emily Kellogg, Taylor Davis, Harlan Guthrie and Rob Diovald.

[June Parker]

Hi, I'm Sarah Gabrielli and I've traveled to every single lesbian bar in the country for my podcast Cruising.

[Beatrice Ash]

Dancing was a no, no, no women dancing. That would be something that, yes, the cops would grab you for. There were no black owned female gay bars. We needed a place to follow on in those days. We went to the bars to socialize because there was no other way. When you went to Brady's Bar, you knew you were safe.

[June Parker]

This is Cruising, a documentary podcast about queer spaces, history and culture. Each episode of Cruising features a different space and tell the stories of the humans that run it and the humans that call it home. You can listen to Cruising on Apple Podcasts, Spotify, or wherever you get your podcasts. Season one and two are available now, so be sure to binge them before season three, which will go beyond the bars to queer bookstores, farms, peace encampments and more. Premiering February 4th.

[Alden]

Hi, this is Rob Benedict and I am Richard Speight.

[Beatrice Ash]

We were both on a little show.

[Alden]

You might know, called Supernatural.

[Beatrice Ash]

It had a pretty good run. 15 seasons, 327 episodes.

[Alden]

And though we have seen, of course, every episode many times, we figured, hey, now that we're wrapped, let's watch it all again. And we can't do that alone. So we're inviting the cast and crew.

[Beatrice Ash]

That made the show along for the ride.

[Alden]

We've got writers, producers, composers, directors, and.

[Beatrice Ash]

We'Ll of course have some actors on.

[Alden]

As well, including some certain guys that.

[Beatrice Ash]

Played some certain pretty iconic brothers.

[Vince]

It was kind of a little bit.

[Beatrice Ash]

Of a left field choice in the best way possible.

[Grace Hawthorne]

The note from Kripke was he's great, we love him, but we're looking for like a really intelligent Duchovny type with.

[Alden]

15 seasons to explore.

[Beatrice Ash]

It's going to be the road trip of several lifetimes.

[Alden]

So please join us and subscribe to Supernatural then and now.