SINNER’S MOON Episode 6 (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: 24:34 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
LEAVE A REVIEW ON APPLE PODCASTS:
https://podcasts.apple.com/us/podcast/frank-horror/id1598941266
Website: FrankHorror.com
Instagram: https://www.instagram.com/frankhorrorofficial/
Facebook: https://www.facebook.com/FrankHorror/
SINNER’S MOON Episode 6 (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: 24:34 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
LEAVE A REVIEW ON APPLE PODCASTS:
https://podcasts.apple.com/us/podcast/frank-horror/id1598941266
Website: FrankHorror.com
Instagram: https://www.instagram.com/frankhorrorofficial/
Facebook: https://www.facebook.com/FrankHorror/
SINNER’S MOON PODCAST Episode 6 - THE PATH OF A MAGICIAN IS A SOLITARY ONE
By
Frank Juchniewicz
2021 Frank Horror, LLC
SINNER’S MOON PODCAST EPISODE 6 - THE PATH OF A MAGICIAN IS A SOLITARY ONE
SCENE 1: THE WOLF AND THE SHEEP (THAT WAS ALSO REALLY A WOLF)
INT. THORNE MANOR, BASEMENT - DAY
NARRATOR
After realizing that Christine has gone missing, fearing the worst, Robin and Brianna have confronted Everett, who seems less than forthcoming with them. His bandmate, Doug, overhears this conversation and challenges Everett, but is met with defensiveness and aggression. Disgusted, Doug packs his things and leaves, quitting the band. Fearful now that a terrible fate has befallen Christine, Robin and Brianna seek help from the police. Meanwhile, Everett finds guidance from The Tattooed Woman and, as a result of his bloody sacrifice, discovers a newfound inner power...
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?
(A BEAT)
THE TATTOOED WOMAN
(HER DEMEANOR DARKENING)
Ohhhhhh. This isn’t good. Not good at all...
EVERETT
What?! What do you mean?
THE TATTOOED WOMAN
There’s trouble coming, Everett, and trouble carries a badge- Shiny and self-righteous. You’d better be the one to answer that door. You’d better put some pants on and get up there now.
SOUND: EVERETT SCRAMBLING UP OFF THE UNFINISHED BASEMENT FLOOR. THROWING ON HIS PANTS AND HIS FOOTSTEPS BOUNDING UP THE BASEMENT STAIRS.
SOUND: ON THE FIRST FLOOR NOW, HE SLAMS THE BASEMENT DOOR SHUT BEHIND HIM AND RUNS THROUGH MULTIPLE ROOMS TO THE FRONT
(CONTINUED)
CONTINUED: 2.
DOOR. A HASTY TURN OF THE LOCK AND HE WRENCHES THE DOOR OPEN.
SOUND:BIRDS CHIRPING. THE OUTSIDE SOUNDS OF THE DAYLIGHT AS A CAR CRUISES UP SLOWLY IN THE DRIVE, COMING TO A HALT. THE DRIVER-SIDE DOOR OPENS AND CLOSES AND A LONE PAIR OF HARD-SOLED SHOES PACES UP TO HIM WHERE HE STANDS IN THE DOORWAY.
EVERETT
Afternoon, officer.
CHIEF MORENO
Chief. Chief Moreno. And you are?
EVERETT
Renting. Just renting for a couple more weeks, so if you’re looking for the owner, he’s not--
CHIEF MORENO
What’s your name, son?
EVERETT
Everett.
CHIEF MORENO
You got a last name?
EVERETT
Nicholas.
CHIEF MORENO
Well, Everett Nicholas. You’re who I’m looking for, actually. See, I’m looking for a local - a young lady by the name of Christine Schultz. Word is she’s been hanging out here with you.
EVERETT
Schultz, huh. So that’s her last name.
CHIEF MORENO
So you do know her.
EVERETT
Not really all that well. Why? Did she... Is she in some kind of trouble?
CHIEF MORENO
When’s the last time you saw her?
EVERETT
Yesterday.
(CONTINUED)
CONTINUED: 3.
CHIEF MORENO
And where was that you saw her?
EVERETT
Here. She was here. She...just left. No explanation, no nothing. She left in a hurry. Just got in her car and took off. I thought it was odd, but whatever. Did something happen?
CHIEF MORENO
She’s not in any trouble. We’re just looking for her. How would you describe the nature of your relationship with Ms. Schultz?
EVERETT
(CHUCKLES)
Ain’t no relationship. Like I said, she was just hanging out for a few nights.
CHIEF MORENO
Hanging out.
EVERETT
Yeah, you know these fan girls.
(A BEAT)
EVERETT
We’re a band. Just renting out the mansion here long enough to record our next album.
CHIEF MORENO
(TAKING A SURPRISED, FRIENDLIER TONE)
A band? You don’t say. Anything I would know?
EVERETT
Have you heard of Factories of Ruin?
CHIEF MORENO
Ahhhh! I have heard of your band. Now me personally, I’m more of an old Motown kind of guy. That and classic rock. But my stepdaughter... She listens to your music. She’s a fan of yours, all right.
EVERETT
Oh yeah?
CHIEF MORENO
Mmm-hmm. Spent a weekend with her and two of her friends. Drove them down to the city to see your band play at Madison Square Garden.
(CONTINUED)
CONTINUED: 4.
EVERETT
(LAUGHS)
No shit!
CHIEF MORENO
Bonding time. That’s important and all, especially with blended families. Gotta keep the ship running smooth, you know what I mean?
EVERETT
I hear you.
CHIEF MORENO
Well I’ll be damned! Factories of Ruin! All that screaming and loud guitars and such.
EVERETT
(BEAMING)
Yup, that’s us.
(A BEAT)
EVERETT
Tell you what - why don’t I run inside here real quick. I’ve got some promo glossies. I can give you an autograph. For your stepdaughter.
CHIEF MORENO
Oh man, she’d like that. I’m sure she would like
that...
(SUDDENLY COLD)
But no. I don’t want your autograph.
(AN UNCOMFORTABLE SILENCE)
CHIEF MORENO
You see, the thing about my stepdaughter is she can get really enthusiastic about her bands and her music and all that kind of stuff. She can get caught up in it. You see, she’s young, and she’s dumb. She doesn’t know what good music is yet. Now you wanna know what I think... My theory is, anyway, that she just followed the crowd and fell into some bad music. Pretty awful music, actually. And she didn’t realize what she was getting into. She didn’t know any better... Did she?
(ANOTHER UNCOMFORTABLE SILENCE)
CHIEF MORENO
I’m trying to get her to listen to something a little more...honest. So no, you keep your autograph, Everett Nichols. And you keep an eye out for Christine Schultz. And hope she turns up. If she does... or if you rethink
(MORE)
(CONTINUED)
CONTINUED: 5.
CHIEF MORENO (cont’d)
any of the answers to the questions I just asked you...
well, you just give me a ring.
EVERETT
(COLD AND SARCASTIC)
Yeah, if that girl turns up here again you’ll be the first person I call.
CHIEF MORENO
Appreciate it. Oh, and I would advise you not to leave town. Not just yet.
SOUND: THE CHIEF TURNS AND STRIDES BACK TO HIS CAR. A JINGLE OF HIS CAR KEYS.
EVERETT
(CALLS AFTER HIM)
So tell me, Chief, I’m curious... You ever have to use that thing? You ever shoot anyone?
(A LONG PAUSE)
CHIEF MORENO
Not yet.
SOUND: THE CAR DOOR OPENING AND CLOSING. THE CAR ENGINE STARTS AND THE VEHICLE SLOWLY PULLS AWAY.
EVERETT
(TO HIMSELF)
Sssssshit.
SCENE 2: MARCO POLO
INT. THORNE MANOR, FOYER - DAY
SOUND: EVERETT BOUNDS THROUGH THE FIRST FLOOR AND DOWN THE BASEMENT STEPS.
EVERETT
Where are you?... Are you down here?... Where are you?!
THE TATTOOED WOMAN
(GIGGLES IN THE RECESS OF THE BASEMENT)
EVERETT
I know you’re in my head. I know you know what just happened out there.
THE TATTOOED WOMAN
(IN A SINGSONG CADENCE)
...Polo.
(CONTINUED)
CONTINUED: 6.
EVERETT
What? What are you doing?
THE TATTOOED WOMAN
Polo!
(A BEAT)
THE TATTOOED WOMAN
You’re supposed to say "Marco", silly.
EVERETT
The pigs were just at the door! Looking for the girl. The one buried in the back yard... I’m not playing with you.
THE TATTOOED WOMAN
(DISAPPOINTED)
No. You’re not, are you?
EVERETT
There you are.
THE TATTOOED WOMAN
(SLINKING CLOSER)
There YOU are. Tell me, Everett: How do you feel about the cats? The ones who prowl in the shadows of the trees?
EVERETT
I’m talking to you about the cops. Their chief was just here.
THE TATTOOED WOMAN
(SIGHS)
Fine. You’re boring when you’re like this, though.
EVERETT
He knows. He saw right through me.
THE TATTOOED WOMAN
Of course he did. He was shaking the tree to see what fell out. He knew exactly what to look for, and you have “tells”. I hate to break it to you.
EVERETT
So what do we do?
THE TATTOOED WOMAN
We? What do you mean by “we”?
(CONTINUED)
CONTINUED: 7.
EVERETT
We’re in this together! I killed her for you!
THE TATTOOED WOMAN
You killed her for me? You did no such thing. You killed her for you. I laid out the pathway for you - the pathway to power - and you chose to take it. But the path is a messy one, and it’s your mess to clean up, I told you that. That doesn’t just mean mopping up the blood; it means taking care of ALL of the loose ends... I can’t do that for you, Everett. And if you’re not strong enough, if you don’t want it badly enough, well then I--
EVERETT
(ASSERTIVELY)
I am! I’m strong enough. I do want this. Just help me.
Tell me what to do and I’ll do it, whatever it is.
Whatever it takes. I’ll do it. I’ll do it.
THE TATTOOED WOMAN
You’re almost there, Everett. Don’t worry about the badge. By the time he figures it out -- and he will. He’ll find the car. He’ll find where the body is buried. But by then, he’ll be too late. You are so far along the path now, you’re almost to the end. The real test still lies ahead. The danger for you isn’t that foolish man with the badge. The last thing holding you back are the Two. Loose. Ends. who alerted that man.
(A BEAT)
EVERETT
The roommates.
THE TATTOOED WOMAN
(SEDUCTIVE WHISPER)
The roommates... Two more sacrifices will buy your ticket on a dark ride.
EVERETT
How? How do I get them?
THE TATTOOED WOMAN
Call out to them. That dream you feel growing inside you -- call out to them through there, Marco. Bring those little Polo’s right to you.
8.
SCENE 3: YOU KNOW IN YOUR HEART
INT. ROBIN’S CAR - DAY
NARRATOR
They ride in silence. Thoughts churning, sapping all the power from their words, making dire insinuations about what may have happened to Christine.
SOUND: CAR SLOWING TO A HALT AND THE KEYS TURNING, CUTTING THE MOTOR.
NARRATOR
Robin pulls up to park outside their apartment, kills the engine, but makes no further move to exit the car; instead she stares off at some distant point, lost to her thoughts. The air feels stale and heavy between them as Brianna watches her, hanging on for any sign of movement, any word from Robin. But she is in another landscape within her head and, judging by her expression, the territory is solemn and grim.
BRIANNA
What?... Robin? Are we going in?... WHAT? What is it?... Robin? Why are you...
(A PAUSE)
BRIANNA
(SWALLOWS HARD, INCREASINGLY UPSET)
No. No, that’s not it. She’s fine, Robin. We don’t know what happened. She could be... She’s fine. The police are just going to find her, that’s all.
(A PAUSE)
BRIANNA
(ON THE VERGE OF TEARS)
What are you doing? Stop it! Why are you crying? I’ve... I’ve never seen you cry before and you’re freaking me out... No! Robin, please. Stop it! It’s not that. She’s okay. Christine is okay. It’s going to be okay.
(A PAUSE)
BRIANNA
(CRYING, PANICKED DENIAL)
No, Robin. Nooooo! It’s not that. It’s not what you’re thinking. Please stop. PLEASE!... She’s not dead, she’s not dead! She can’t be!
(A PAUSE)
(CONTINUED)
CONTINUED: | 9.
BRIANNA
(BREAKING INTO SOBS)
Say something! Why don’t you say something to me?! Why?... No, no, no, NOOOOOO! Damn you! Stop it, Robin, PLEASE! Please stop!
(DEGENERATES INTO SOBS, CRIES AND WAILS)
SCENE 4:THE PATH OF THE MAGICIAN IS
A SOLITARY ONE
INT. THORNE MANOR, LIVING ROOM -
DAY
NARRATOR
Within Thorne Manor, a commotion gathers steam by the front door. Hot words erupt, and are lobbed back and forth like weapons. The sound of the conflict draws Everett towards the living room.
(THE VOLUME OF THE ARGUMENT INCREASES AS EVERETT MOVES CLOSER)
DYLAN
This is because of Doug? He’s a punk! He’s chickenshit.
KEITH
(THROUGH GRITTED TEETH)
Get your hands off my drum case, Dylan. I swear to god...
DYLAN
The hell are you doing? You lost your goddamn mind?
KEITH
Get out of my way! I’m not gonna tell you again.
DYLAN
Use your head, man. You think you’re going to get another gig like this? You’re delusional!
KEITH
You’re goddamn right I will. I’m the drummer for Factories of Ruin, bro. Any band would jump at the chance to bring me on.
DYLAN
You’re not gonna get anything better than this. I’m telling you, it won’t be like this.
KEITH
Good! That’s what I’m counting on. Because this-- this is bullshit! That’s what this is.
(CONTINUED)
CONTINUED: 10.
EVERETT
What’s going on here?
DYLAN
Everett. Talk to him, man. He’s got it in his head--
KEITH
What’s going on? That’s a good question, Everett. What IS going on? ‘Come to the spooky occult mansion,’ he says. ‘We’re going to lay down our new album.’ But what are we doing? Partying with girls. Keith doesn’t get a girl, he’s just the drummer. To hell with him. Everett hangs out in the basement all day, meditating to his tuning forks or whatever the shit he’s doing down there. Doug gets frustrated and leaves the band (can’t blame him). But you guys could care less. Doug was right. We’re not recording music; I don’t know what the hell we’re doing.
(A PAUSE)
KEITH
(SHIFTING IN TONE, LESS HOT BUT STILL ANGRY)
Vince called me because he can’t reach you, Everett. He’s left you messages to the point where your voicemail is full. Did you know about that, Dylan? How come we’re dodging calls from our agent? What the hell’s going on here?
(A BEAT)
KEITH
Well?... Speak!
(A PAUSE)
EVERETT
I don’t have time for this.
KEITH
And there you go. Have fun with your solo album, Everett. I’m out. It’s been real.
SOUND: KEITH GATHERING UP THE LAST OF HIS DRUM CASES.
DYLAN
Wait, Keith...KEITH!
SOUND:FRONT DOOR OPENS AND SLAMS SHUT BEHIND KEITH.
(CONTINUED)
CONTINUED: 11.
EVERETT
Let him go, Dylan.
DYLAN
SHIT! This is bad, man. This is bad! We gotta fix this... We just lost half the band!
EVERETT
No matter. The path of the magician is a solitary one.
DYLAN
What? No, we need to fix this. We can fix this. I’ll call Vince, okay? I’ll call him. We’ll figure it out. This is not over, no way. Mmm-mmm, not after all we’ve been through to get here.
(A BEAT)
DYLAN
Factories of Ruin is not over. Over my dead body.
EVERETT
I’m going to go get some rest now.
DYLAN
Yeah, yeah. You do that. I’ll get on the phone with Vince. You go rest and we’ll figure this out, don’t worry. We’ll get this all sorted out.
SCENE 5: ALL IS QUIET, ALL IS CALM
(INT. GIRLS’ APARTMENT - NIGHT)
BRIANNA
It’s too quiet here now. I don’t like it.
ROBIN
I called all the hospitals. She’s not in any of them. The chief said his men are looking out for her car in case it turns up. He said he’ll go stop by her parents’ house if she no one hears from her by tomorrow.
BRIANNA
We did everything we could... Didn’t we?
(A PAUSE)
ROBIN
I’ve been her friend for seven years. Ever since high school. What do I say when her parents call me?
(CONTINUED)
CONTINUED: 12.
BRIANNA
Robin, we don’t know anything yet. And there’s nothing more we can do right now.
ROBIN
He killed her. You know that as well as I do.
BRIANNA
I’m not saying he did, but if he did--
ROBIN
He did. He killed her.
BRIANNA
IF he did, he won’t get away with it. He’ll pay.
(A BEAT)
BRIANNA
I just... I can’t think that way. Not yet. We just don’t know yet. We just have to...
(A LONG PAUSE)
BRIANNA
(A DEEP, CLEANSING BREATH)
Here, take this.
SOUND: A BOTTTLE OF PILLS BEING PULLED OUT FROM A POCKET.
ROBIN
What’s this?
BRIANNA
It’s nothing. It’s for anxiety. It’ll take the edge off enough to help you sleep. I don’t take it often, just when I need it. But I did tonight, and I think you should too.
SOUND: SHAKING SOUND OF THE PILL BOTTLE BEING UPENDED.
BRIANNA
Here. Trust me, it’ll help.
NARRATOR
And while the pills pull them down into sleep, they further blur the line between reality and dreams - a tenuous line that barely holds as it is.
13.
SCENE 6: DEAD STARS
EXT. THORNE MANOR, BACK DECK -
NIGHT
SOUND: CRICKETSONG.
NARRATOR
The light from distant stars could take millions of years to reach the earth. Many of these stars could be long dead, their light still visible in our sky. Out here on the back deck of Thorne Manor, Everett casts his eyes skywards at the expanse of twinkling stars that freckle the vast, black canvas of night. He ponders how many of these lights were merely ghosts. A sense of peace finds him here beneath the dead stars. But by contrast, Dylan, by his side, puffs at his cigarette and fidgets in his chair.
DYLAN
I’m telling you, man. We can make this right. This isn’t the end. We came too far, we fought too hard to walk away now. Factories of Ruin is a household name, for christsakes. Let me talk to Keith, I think we can get him back on board. Now Doug... that might be another story. To hell with him, though, he’s replaceable. The way I see it, any bass player worth his salt would jump at the chance.
(A BEAT)
DYLAN
(DRAWING IN ON HIS SMOKE AND EXHALING)
This doesn’t have to be the end, you know? That’s all I’m saying.
(A BEAT)
DYLAN
Say something, man...Hey Everett?
EVERETT
Huh?
DYLAN
You all right?
(A BEAT)
EVERETT
Yeah. I’m all right.
(CONTINUED)
CONTINUED: 14.
NARRATOR
The magician’s path is a solitary one, as Everett had stated, and now it is just the two of them.
SOUND: CRICKETSONG FADES.
SCENE 7: OCEANS DEEP
INT. THORNE MANOR, DYLAN’S ROOOM -
NIGHT
NARRATOR
When Dylan was a boy his parents led an active life. They favored camping trips in later summer/early fall each year and they always brought him along. The rental cabins in the state parks had very spartan bedding that proved to be significantly less comfortable than his own. Despite this, it was on those trips that Dylan enjoyed the best nights of deep sleep in his entire life. There was something about that mountain air, how it grew crisp and thick at night. It enveloped him like a blanket and cocooned him into a slumber so deep and still that it felt as if he were sinking into the trenches of a black and nameless ocean. After a slumber like that, adjustment to the waking world came gradually.
NARRATOR
Perhaps it was the exhaustion from the preceding days and nights of partying. Perhaps it was the strife and conflict of the band falling apart. Either way, tonight Dylan finds himself in the depths of one of those slumbers he has not experienced outside of his childhood mountain trips. Hints of dreams edge their way towards his consciousness, but prove to be elusive. Whatever prods him awake in the middle of the night, it is a fumbling, awkward climb back into wakefulness. Dylan opens his eyes, rubbing sleep from them with the palms of his hands. The bedroom around him comes into view, hazy at first but then gaining clarity. A shirtless figure stands over his bed and as his mind finds its focus, he recognizes that figure.
DYLAN
Everett?... What are you doing?
EVERETT
Get up, Dylan.
DYLAN
What... what time is it, man?
(CONTINUED)
CONTINUED: 15.
EVERETT
Come on. I’ve something to show you.
NARRATOR
Despite his desire to close his eyes and fall backwards into his pillow, Dylan complies, climbing out of bed and following Everett through the hallway. Neither of them bother to switch on the lights. Down the flight of stairs they go and past the grand living room where Dylan fails to notice one of the African tribal masks missing from it’s spot on the wall. The remnants of sleep still cling to his head like gossamers of a spiderweb through which he’s somehow stumbled.
DYLAN
This feels... Is this a dream?
EVERETT
Does it matter?
NARRATOR
They wind a path through the first floor towards the rear of the house, through the kitchen to the basement door that stands ajar.
SOUND: CREAKING OF A DOOR SLOWLY SWINGING OPEN
NARRATOR
Nothing but darkness below.
DYLAN
What’s down there?
EVERETT
Something wonderful. And I want to show you.
SOUND: TWO SETS OF FOOTSTEPS DESCENDING THE OLD STAIRCASE INTO THE BASEMENT.
NARRATOR
The wooden stairs groan as Everett descends into the basement and Dylan follows a few steps behind.
EVERETT
You have to see this.
NARRATOR
By the time Dylan reaches the bottom of the stairs, Everett has already slipped into the shadows, unseen. As Dylan struggles to regain sight of him, another unexpected form slinks forward from the blackness to his left: a beautiful woman, nude, her body covered in tattoos. Slowly she advanced towards him, her eyes gleaming red like lit rubies.
(CONTINUED)
CONTINUED: 16.
DYLAN
What the fff---? Everett, who the hell is this?!
THE TATTOOED WOMAN
We were dreamed into existence before we ever had form in this world. The truth is, some of us are born from dreams... and some of us are born from nightmares.
DYLAN
...What?
THE TATTOOED WOMAN
(TO EVERETT)
Show him.
NARRATOR
Dylan, his attention focused on The Tattooed Woman, fails to see Everett spring towards him from his right flank until it’s too late. Wearing the tribal mask over his face and with the ax poised high above his head, Everett brings down the ax with all of his might.
SOUND: AX BLADE BEING BROUGHT DOWNN WITH A WET THUD INTO DYLAN’S BODY.
DYLAN
(YELLS BRIEFLY)
SOUND: DYLAN’S BODY HITING THE FLOOR AND VAST AMOUNTS OF BLOOD FLOWING OUT ONTO THE CEMENT
EVERETT
Challah abe-atay! Onnog ohn Thule!
Challah abe-atay! Onnog ohn Thule!
SCENE 8: THIS IS A DREAM
(INT. GIRLS’ APARTMENT - NIGHT)
NARRATOR
Elsewhere, Robin finds herself once again weaving in and out of a light and dreamless sleep like a needle threading through the fabric of both the waking and sleeping worlds, stitching the two together into a unlikely tapestry. Unsure in this moment which side of that tapestry she occupies, Robin hears someone tiptoeing through the carpet past her door and towards the living room. Without hesitation, she springs out of bed, slipping the mace spray into the pocket of her pajama shorts and follows in pursuit of the footsteps. Once again in the middle of the night, she finds Brianna dressed in her own sleeping clothes lurking in
(MORE)
(CONTINUED)
CONTINUED: | 17.
NARRATOR (cont’d)
the gloom of the apartment. This time, instead of the kitchen, the front door yawns wide open and Brianna lingers in its threshold, facing the street outside. She stands rigid, transfixed; the only movement around her comes from the warm breeze that wafts through the doorway, ruffling the edges of her tee shirt and lifting the stray strands of her hair. She must be dreaming, Robin concludes. Sleepwalking again.
ROBIN
Brianna. Wake up, girl. You’re doing it again.
NARRATOR
Robin recalls the sleeping pills and wonders whether they may have contributed to these episodes of sleepwalking. She takes a cautious step closer to Brianna, then another. With the intention of gently coaxing her roommate back into bed, she’s careful not to take an approach that may be too quick or jarring.
ROBIN
Brianna?... Hey, girl...
NARRATOR
In response, Brianna turns around, eyes open, as if awake.
BRIANNA
This is a dream. We’re not here. We’re in the house.
We’re in the house right now, and we’re in danger...
Robin, you’ve got to wake up.
TO BE CONTINUED