FRANK HORROR Presents: SINNER'S MOON Episode 5 (of 7)

SINNER’S MOON    Episode 5 (of 7) - When three young women (longtime friends and roommates) learn that a famous Art-Metal band is coming to town, they make it their mission to meet and party with the band. But the mansion where the band is staying to record their upcoming album has a sordid occult past - a past that lingers still within its halls and haunts their dreams.

Runtime: 21:16 mins

***Warning: This podcast contains depictions of graphic violence, sexual situations, drug use, adult language and occult themes. Listener discretion is strongly advised.***

SINNER’S MOON is a 7- episode horror fiction podcast brought to you by FRANK HORROR.
www.FrankHorror.com

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Transcript

SINNER’S MOON Podcast Episode 5 - ONE DAY YOU WILL DIE IN YOUR DREAMS

By

Frank Juchniewicz

Copyright: 2021 Frank Horror,

LLC

SINNER’S MOON PODCAST EPISODE 5 - ONE DAY YOU WILL DIE IN YOUR DREAMS

SCENE 1: ONE DAY YOU WILL DIE IN

YOUR DREAMS

INT. GIRLS’ APARTMENT - NIGHT

NARRATOR

Robin finds herself within a vivid nightmare, roaming the halls of Thorne Manor in search of something or someone.

ROBIN

(AWAKING WITH A START. HEAVY BREATHING AS SHE CATCHES HER BREATH AND REIGNS IN HER PANIC)

NARRATOR

The nightmare ends with her own beheading, her own murder at the hands of a shirtless man wearing some kind of wood-carved tribal mask. It’s just a dream, she reminds herself, but her heart hammering in her chest isn’t so convinced of that yet. Her bed - the very bed where she slept in the thrall of that dream - feels like a crime scene, so she gets some distance from it and heads to the living room.

SOUND: GROAN OF BEDSPRINGS AS SHE GETS UP. FOOTSTEPS ON THE CARPET OUT OF THE ROOM AND DOWN THE HALLWAY.

NARRATOR

Robin recognizes the need to get fully grounded in reality once again in order to shake off that residual feeling of dread that won’t quite let go of her. It’s the middle of the night; she doesn’t expect to see anyone else up and about in the living room, so when she clicks on the overhead light she’s startled to discover someone sitting on the couch.

ROBIN

(GASPS)

Oh! You scared me. What are you doing out here in the dark?

BRIANNA

I’m awake. Don’t worry - I’m not sleepwalking. I just couldn’t sleep.

ROBIN

Bad dreams?

(CONTINUED)

CONTINUED: 2.

BRIANNA

...Yeah.

ROBIN

Me too.

(A BEAT)

ROBIN

We never should have gone there. Your deja vu, your sleepwalking -- all of my dreams ever since that first night have been about that house.

BRIANNA

Mine, too.

ROBIN

One of my clients warned me about it. We just didn’t know until it was too late. And Christine keeps going back...I get this really bad feeling about her that I just can’t shake.

BRIANNA

Yeah. I feel it, too. Like whatever is happening at that place has a hold on us, but it’s really got its hooks in her.

ROBIN

I died in my dream tonight. At the mansion. And the other night I dreamed about you and Christine partying with the band - that’s the night you called me to pick you up. In my dream, I was watching you from outside the house through one of the windows. And a woman leaned in behind me and whispered, "You can’t help them." I don’t know who she was, but she felt connected somehow to the house...Like maybe she was one of the two women who had lived there in Thorne’s weird little cult.

(A BEAT)

BRIANNA

I’ve seen her. That woman. I caught a glimpse of her in one of my dreams. Lurking around the mansion grounds at night with the cats. Black hair and covered in tattoos.

SOUND: A LAPTOP BEING OPENED, POWERED UP.

BRIANNA

Are you going to do an internet search for her?

(CONTINUED)

CONTINUED: 3.

ROBIN

Yeah. There’s got to be pics out there of Thorne and his priestesses, or whatever he called them.

SOUND: TYPING ON A LAPTOP KEYBOARD

(A BEAT)

ROBIN

You said tattoos...?

BRIANNA

Let me see... That’s her! That’s who I saw in the dream. What does this mean, Robin?

ROBIN

This isn’t good. This isn’t good. We’ve got to get Christine out of there. I just gotta grab my phone.

SOUND: A FLURRY OF FOOTSTEPS ON THE CARPET RACING OFF TOWARDS THE BEDROOM

BRIANNA

(YELLING AFTER ROBIN)

You’re calling her now? It’s three in the morning.

SOUND: FOOTSTEPS EMERGING FROM THE BEDROOM, SLOWER AND MORE DELIBERATE THIS TIME

ROBIN

Come on, pick up. Pick up.

BRIANNA

She’s not answering? I mean, she’s probably just asleep, right?

ROBIN

(CLOSER TO BRIANNA NOW)

Voicemail.

BRIANNA

Ssssso what do we do? We’re not going over there, are we? I don’t think that’s a good idea. Not now.

ROBIN

No. I don’t think so either.

(A BEAT)

ROBIN

We’ve gotta catch her in the morning. We’ve got to tell her. Convince her not to go back.

(CONTINUED)

CONTINUED: 4.

BRIANNA

Yeah... yeah, we do.

SCENE 2: THE DEAD DON’T DREAM

INT. THORNE MANOR, BASEMENT - NIGHT

NARRATOR

The halls of Thorne Manor sit in silence. In these pre-dawn hours, no one or nothing stirs, and all lie fast asleep in their beds - everyone that is, except for Everett. In the belly of the mansion, in the lightless pit of its basement, Everett works furiously. Kneeling in the tepid dampness that coats the concrete floor, he toils away with a bucket of soapy water and a wet towel, scrubbing the floor around him. Her toes just past the edge of the crimson-tinged puddle, The Tattooed Woman waxes philosophical as she watches him work to erase the evidence of his brutal and violent sacrament. Just feet away, resting against the wall,is the ax streaked with blood and hair.

SOUND: RHYTHMIC SCRUBBING OF A WET RAG ON AN UNFINISHED BASEMENT FLOOR. DIPPING THE RAG INTO A BUCKET OF WATER, DRIPPING WATER ON THE FLOOR FROM THE RAG. MORE RHYTHMIC SCRUBBING.

THE TATTOOED WOMAN

Some people talk about death like it’s sleep. But that’s not right. It’s nothing like sleep at all, actually. The dead don’t dream. They just don’t.

(A BEAT)

THE TATTOOED WOMAN

You missed a spot, right there. Always clean up after yourself, Everett. Own every part of it including the aftermath...Ooh, I’m so proud of you!

SOUND: DIPPING THE RAG INTO THE WATER BUCKET, DRIPPING WATER ON THE FLOOR FROM THE RAG, A RETURN TO THE SCRUBBBING

THE TATTOOED WOMAN

That’s something your mother never said, did she? Not

even when you got signed to your first label. Isn’t

that just awful? But I am. I’m proud of you. Tonight

you took a very big step, Everett. I remember my first-

how I felt afterwards.

(MOANS SENSUALLY)

Powerful. It changes you, it does. How do you feel? Wait, don’t tell me! I already know; I’m in your head, silly boy.

(CONTINUED)

CONTINUED: 5.

(CHUCKLES)

You’re just at the beginning. The path that lies ahead is filled with wonders. You’ll see.

SOUND: FADE OUT SCRUBBING SOUNDS.

NARRATOR

For the rest of the band, sleep carries them through until morning. But Everett’s bed, where there once were two, with its sheet peeled back like a shed skin, lies empty.

SCENE 3: NO CALL, NO SHOW

INT. THE GIRLS’ APARTMENT - DAY

NARRATOR

As morning gives ground to the afternoon, Robin and Brianna see no trace of Christine and their anxiety sharpens into a fine point.

BRIANNA

Still nothing?

ROBIN

Every time I call it just goes to voicemail. And her voicemail’s full, so... She hasn’t come back here. We can’t reach her. I don’t know what to do.

BRIANNA

Maybe she just went to work. Maybe her charger’s here and her phone’s dead. Maybe she’s just at work? She is kind of scatter-brained like that.

(A BEAT)

SOUND: SOFT CLICKS OF PHONE KEYPADS BEING PRESSED..

ROBIN

I’m calling her work. They should know.

SOUND: PHONE RINGING, ON SPEAKER PHONE. A CONNECTION IS MADE.

OWNER(E.V.)

Mean Green Cleaning Services, how can I help you?

ROBIN

Hi, I’m looking for Christine.

OWNER(E.V.)

(EXASPERATED)

(MORE)

(CONTINUED)

CONTINUED: 6.

OWNER(E.V.) (cont’d)

Oh, I’m really sorry about that. We can arrange to send another cleaner in her place as soon as it’s convenient for you.

ROBIN

Huh? No, I’m not a client. I’m Christine’s roommate.

She hasn’t come home and I’m trying to find her.

OWNER(E.V.)

(TONE SOURING)

Well that makes two of us. She’s dodging my calls and she no-showed for three clients so far today. I’m assuming she’s going to miss the other two on the schedule, which means I get to handle two more angry phone calls... So you’re saying she’s not there, huh?

ROBIN

No. I don’t know where she is. I- I haven’t seen her.

OWNER(E.V.)

Well when you do, tell her to to swing by and pick up her last paycheck. I don’t run my business like this. No call, no show and she’s out.

ROBIN

Okay. Okay, but if you hear from her in the meant--...

She hung up.

BRIANNA

This is bad. This is really bad, I can feel it.

SOUND: QUICK FOOSTEPS THROUGH THE ROOM, A JINGLING OF KEYS BEING SNATCHED UP FROM THE COUNTER.

BRIANNA

Robin? What are you doing?

ROBIN

I can’t just sit here and do nothing. You said it yourself - this doesn’t feel right.

SOUND: QUICK FOOTSTEPS AS ROBIN MOVES TO THE BEDROOM AND BRIANNA FOLLOWS.

BRIANNA

Wait, you’re not thinking of going over there, are you?

ROBIN

I’m going to get her.

SOUND: A NIGHTSTAND DRAWER OPENING UP AND RUMMAGING BEFORE SHUTTING THE DRAWER.

(CONTINUED)

CONTINUED: 7.

BRIANNA

Is that mace?

ROBIN

In case things get ... argumentative.

BRIANNA

You can’t go there alone.

ROBIN

I wouldn’t ask you. Not after what happened to you the other night.

BRIANNA

Well, I’m coming with you.

ROBIN

Brianna--

BRIANNA

I’m coming with you.

ROBIN

Okay... Okay.

SCENE 4: WHAT DID YOU DO TO

CHRISTINE?

INT. ROBIN’S CAR, THORNE MANOR -

DAY

SOUND: THE STEADY HUM OF THE CAR ENGINE AS IT ADVANCES SLOWLY UP THE LONG DRIVE

BRIANNA

Her car’s not in the driveway. I don’t see it anywhere. (SIGHS)

This feels like deja vu again. Like we’ve lived this before.

SOUND: THE CAR COMING TO A HALT AND THE KEY BEING TURNED IN THE IGNITION AND WITHDRAWN. A CAR DOOR OPENS.

ROBIN

You can stay in the car. You don’t have to get out.

BRIANNA

Are you sure?

ROBIN

Yeah. In fact, get your phone out. You can get video of the whole thing. I’ll handle the talking.

(CONTINUED)

CONTINUED: 8.

SOUND: CAR DOOR CLOSING. A SINGLE FOOTSTEPS ON THE CONCRETE WALK MAKING THEIR WAY TO THE DOOR.

SOUND: THE OMINOUS FUNEREAL CHIME THAT IS THE DOORBELL AT THORNE MANOR. A PAUSE, THEN THE FRONT DOOR OPENING.

EVERETT

Yeah?

ROBIN

Where’s Christine?

(A BEAT)

EVERETT

Oh, it’s you. You’re that girl that Dylan banged.

ROBIN

I need to talk to her. Now.

EVERETT

Who?

ROBIN

Christine. You know damn-well who.

EVERETT

Yeah... well, she ain’t here.

ROBIN

Where is she then?

EVERETT

How the hell should I know? I’m not her keeper.

ROBIN

No, but you’re the guy she’s been hanging out with every night and now she’s missing.

EVERETT

What the hell is this?... Why is your friend over there filming us? What do you want, an autograph? If I give you one, then will you leave?

ROBIN

I want answers. You’re lying; you know where Christine is.

EVERETT

I told you already. I don’t know where that bitch went.

(CONTINUED)

CONTINUED: 9.

ROBIN

When’s the last time you saw her?

EVERETT

She left yesterday in a hurry and she never came back. She seemed upset about something, I guess. Just got in her car and drove off without a word... Kind of like what you’re about to do right now.

ROBIN

What happened? Why was she upset?

EVERETT

Who the hell knows. Because she’s emotional. Women stuff. That time of the month. I really don’t care, as long as she keeps her drama out of my life because I’m not interested in dealing with that.

(A BEAT)

EVERETT

Man, you girls came over for a good time. It was just a lay; get over it. But you’ve gotta turn it into some dramatic shit like this. I don’t know where your friend went and I don’t give a shit. But when you find her, tell her not to come back. I’m done... with all of you. Now get the hell out of here.

SOUND: TWO HESITANT STEPS AS SHE RETREATS FROM THE DOOR AND EVERETT SHUTS IT MORE GENTLY THAN SHE ANTICIPATES. HER FOOTSEPS BACK TO THE CAR. THE CAR DOOR OPENS AND THEN CLOSES AFTER SHE HOPS IN.

BRIANNA

What did he say?

ROBIN

He’s lying. He says he doesn’t know, but he’s lying.

SOUND: KEYS BEING INSERTED INTO THE IGNITION AND TURNED. THE ENGINE FIRES UP.

BRIANNA

I mean, her car isn’t here.

ROBIN

He did something. Brianna, I think he did something to her.

BRIANNA

(TIMIDLY, AS IF ALMOST TOO AFRAID TO ASK)

Like what?

(CONTINUED)

CONTINUED: 10.

SOUND: THE GEAR SHIFT POPS INTO REVERSE AND THE CAR SLOWLY BEGINS ACCELERATING BACKWARDS.

ROBIN

Something bad.

SCENE 5: ANGER & LIES

INT. THORNE MANOR, FOYER -

CONTINUOUS

NARRATOR

Having answered the doorbell’s call alone, Everett had no idea that it’s ring had drawn another set of ears. Turning away now from the door, he startles at the sight of Doug lingering in the grand, open space of the mansion’s foyer.

EVERETT

Oh! Doug. You about gave me a heart attack, man. What are you doing creeping around here?

DOUG

Where is she?

EVERETT

Huh?

DOUG

Where is that girl? Christine. Our cleaning lady. The one we party with. The one you’ve been sleeping with every night.

EVERETT

Yeah, bitch took off. I don’t know.

DOUG

Why did you tell her friend that she left yesterday? She was here last night. You two went up to bed together.

EVERETT

Huh?

DOUG

That’s what you said just now. That she left yesterday, but she didn’t; that’s not what happened.

EVERETT

You were eavesdropping on my conversation?

(CONTINUED)

CONTINUED: 11.

DOUG

Why did you lie? Why did you tell her that she left yesterday?

EVERETT

(CHUCKLES UNCOMFORTABLY, ANGER RISING)

I don’t think I like what you’re getting at here... I mean, if you’re trying to say something, come out and say it. Say it to my face.

DOUG

What am I getting at, Everett? I’m just asking you a question. About why you lied just now.

(A LONG BEAT)

DOUG

What happened to Christine?

EVERETT

(THREATENINGLY)

Doug...

DOUG

Did you... do something?

(A BEAT)

DOUG

What did you do?

EVERETT

You better back up. Now. Get the hell outta my face with this shit.

(A PAUSE)

DOUG

Oh, I will. Yeah, you can count on that.

NARRATOR

Doug edges away, not daring to take his eyes off of Everett until he senses the staircase behind him. He marches off, up the stairs and to his room.

SCENE 6: AU REVOIR

12.

INT. THORNE MANOR - A LITTLE LATER

NARRATOR

After the growing tensions festering within the ranks of the band, and now his latest confrontation with Everett, Doug has seen and heard enough. He packs his things in a hurry, stuffing them haphazardly into his bag, and orders a ride service to pick him up. He has no intention of wasting one more word on Everett or explaining his departure to the band; he simply wants to get clear of this place and of their company. On his way out, however, he runs into Keith, the band’s drummer.

SOUND: DOUG SLINGING AN OVERLY-STUFFED BACKPACK OVER HIS SHOULDER AND STRUGGLING WITH HIS INSTRUMENT CASE AND DUFFEL BAG DOWN THE STAIRS TOWARDS THE DOOR.

KEITH

Hey, man. What are you doing, Doug? What’s with the bags?

DOUG

My ride’s out front. It’s been real.

KEITH

What?! What are you talking about?

DOUG

Whatever this is, whatever Everett’s got going on here, I want no part of it. I’m out.

KEITH

So you’re leaving? C’mon, man... That’s it? Are you quitting the band?... What are you saying?

(A BEAT)

KEITH

Dude!

DOUG

It’s Everett. He’s gone off the rails, man, in a bad way, I’m telling you. I’m bugging out and I’m not coming back. And if you’re smart, Keith, you’ll do the same.

KEITH

Wait. Doug!

SOUND: THE FRONT DOOR OPENS

(CONTINUED)

CONTINUED: 13.

KEITH

WAIT--

SOUND: THE FRONT DOOR CLOSES DEFINITIVELY. SILENCE AS KEITH IS LEFT IN SHOCK.

SCENE 7: WILD CHILD LOST

INT. POLICE STATION, CHIEF MORENO’S

OFFICE - DAY

NARRATOR

Several years back, before he had been promoted up through the ranks, Dwight Moreno had been the one to cite Christine for underage drinking at Tommy Dunn’s houseparty in their senior year. When one of the boys smoking cigarettes out front announced through the doorway that the cops just pulled up, Robin and Brianna found themselves caught up in a herd of their classmates making a mad push out the back door. They managed to escape the clutches of the arriving officers, but Christine hadn’t been so lucky. Moreno, the one who nabbed her, was just a uniformed officer then.

NARRATOR

And just a few years after that, it was officer Moreno who responded to Robin’s fender-bender at Tioga & State Street. This being her first accident, she trembled like a wet dog as she stood beside her car with the crumpled side panel. She shrank beneath the unwanted attention of onlookers across the street at Ithaca Commons, feeling relief when the cruiser finally pulled up. When asked what happened, she burst into tears. But officer Moreno had been patient and his eyes kind - for that she had been grateful.

NARRATOR

In fact, way back when she was little, Robin had gone trick-or-treating at his house. The memory of seeing the man in plain clothes, at home amongst his family, made him feel all the more approachable now,all these years later, as she and Brianna were offered a seat before his desk. "Chief Dwight Moreno" read the placard that faced them from the desktop. Bold black letters embossed in a bronze background.

CHIEF MORENO

Christine Schultz?... She was in my daughter’s class throughout high school. A bit of a wild child. When’s the last time you saw her?

(CONTINUED)

CONTINUED: 14.

ROBIN

She hasn’t been home since Saturday. During the day.

CHIEF MORENO

And that was the last time?

ROBIN

Yeah.

BRIANNA

Ummm, actually I talked to her on Saturday around six o’clock, right before my shift. She came to the bar.

ROBIN

She did?!

CHIEF MORENO

Is that unusual?

BRIANNA

She came to apologize for the night before. We’d both been visiting the band at the Thorne House and we had a falling out.

CHIEF MORENO

The heavy metal band. That’s renting the old Thorne place.

BRIANNA

Yeah. Factories of Ruin.

CHIEF MORENO

So what you’re saying is that you two had some kind of argument and now she’s not coming home to the apartment.

BRIANNA

(DEFENSIVELY)

Well, we made up. And there were marks. She had fresh cuts all up the inside of her arm. And bruises on her thighs. She was all marked up. She said she got them from Everett.

(A BEAT)

CHIEF MORENO

The guy from the band...The Factories of, uhh--

BRIANNA

Ruin.

(CONTINUED)

CONTINUED: 15.

(A BEAT)

SOUND: THE SILENCE IS BROKEN BY THE TONE OF THE INTERCOM PHONE AND THE RECEPTIONIST VOICE CUTTING IN.

RECEPTIONIST (E.V.)

Chief Moreno, you have a call on line three. District Attorney Tate returning your call.

CHIEF MORENO

(SIGHS)

Put it through to the conference room please? I’ll be

right there.

(TO THE GIRLS)

Excuse me, ladies. I’ve gotta take this real quick.

SOUND: A DESK CHAIR ON WHEELS PUSHING BACK AND FOOTSTEPS ACROSS A TILED FLOOR, PAUSING TO OPEN THE DOOR AND THEN EXIT, PULLING THE DOOR SHUT BEHIND HIM.

ROBIN

What the hell, Brianna?!

BRIANNA

What?

ROBIN

You didn’t tell me any of that. Why were you hiding that from me?

BRIANNA

I just... I wasn’t hiding it. I just didn’t think it was that big of a deal at the time. Christine said she and Everett -- they like to play rough. She made me promise not to tell you. She said it was nothing.

ROBIN

What else are you not telling me?

BRIANNA

Nothing. That’s all there was. I swear.

(A BEAT)

BRIANNA

What? That’s all she said.

SOUND: THE DOOR TO THE CHIEF’S OFFICE OPENING AND FOOTSTEPS ACROSS THE TILES FLOOR TOWARDS HIS DESK AS HE REGAINS HIS SEAT.

(CONTINUED)

CONTINUED: 16.

CHIEF MORENO

(SIGHS DEEPLY)

My apologies. Now, where were we?

ROBIN

Everett Nicholas. The lead singer. That’s who she’s been hanging out with. He’s the one who cut and bruised her all up. Right, Brianna?

BRIANNA

Yeah. She said it was rough sex. But now I’m really worried about that.

ROBIN

When she didn’t come home, we went over there to talk to Everett. He claims she left Saturday night and he hasn’t seen her since. But he was lying.

CHIEF MORENO

And you’re sure she’s not just laying low there? You said it yourself, you had an argument. Maybe she doesn’t want to come back to the apartment until things cool down some?

ROBIN

She’s not answering her phone. Her voicemail’s full.

She hasn’t shown up to work. Something is really wrong;

I can feel it.

CHIEF MORENO

Her folks divorced a few years back if I remember correctly. Any of them still local?

ROBIN

She lived with her mom before we got the apartment together, but that’s been a couple of years now. Her mom moved to North Carolina (?), I think. Her father’s in PA.

CHIEF MORENO

All right, I’ll tell you what: give me their contact information - whatever you’ve got. It’s probably nothing. But I’ll take a ride over to the old Thorne place and have a word with this Everett.

ROBIN

Thank you, Chief! Thank you.

CHIEF MORENO

Mmm-hmm.

17.

SCENE 8: FLOWERS OF EVIL

INT. THORNE MANOR, BASEMENT - DAY

NARRATOR

If Thorne Manor were a grand tree, like a Sequoia or a Giant Oak, the basement was its root system. Beneath the soil, a hidden network running deep, stretching out its tendrils far and wide in search of sustenance. The house was, after all, a mighty beast and the more it fed the hungrier it grew. Ravenous, actually. And its cravings were the kind of nourishment offered by suffering and torment, nightmares and decay. Down here in the basement, evil bubbled up from the depths and bloomed into poisonous flowers. Everett, a party to his own his willful corruption, basked in the stench of their rancid bouquet.

SOUND: ECHOING SOUNDS OF THE BASEMENT.

THE TATTOOED WOMAN

That’s it, Everett. Reach deep inside yourself. Deeper. Can you feel that?

EVERETT

(GASPS)

I do! I feel it!

THE TATTOOED WOMAN

Like a little bulb on a fruiting plant, beginning to form. You feel it now, inside of you. Growing.

EVERETT

What is it??? What am I feeling?

THE TATTOOED WOMAN

That’s power. Dreams - they grow inside. You can touch

dreams through there, just by reaching. Do you realize

what that means?... Do you realize now what you can do?

TO BE CONTINUED