WAITING FOR OCTOBER: TO THE MOON
E1: “To The Castle”
by D.J. Sylvis
ANNOUNCER (Deej): There is a world – one of many that touches ours – known as October. One of the archetypes; one of the realities that is a source for our stories. It is not difficult to reach, if you know the way – you can experience their wildness for yourself, adventure there, and live, and love. But be wary – perhaps more than any other existence, here there be monsters …
Note – there may be advertisements inserted at this point in the episode.
ANNOUNCER (Robin): You’re listening to “To The Moon” – a Waiting for October miniseries.
SCENE ONE
SOUND: Jeep background, in transit on country roads (ongoing)
SOUND: We hear Hodag humming to himself (from the front seat); close up we hear Yvonne rummaging through her bag, muttering to herself
YVONNE
Where’d I put it … I know I packed the damn thing.
KARO
What’re you looking for?
YVONNE
My peppermint oil. I’m not a great back seat rider.
HODAG
Sorry. I’m sorry.
YVONNE
Not your fault.
HODAG
I’ve got to keep an eye on this little guy until we get to the woods. He’s not feeling great either.
SOUND: A sad little squonk from the front seat
KARO
Poor fella. What’s his name?
HODAG
Nathaniel. Not what he calls himself, but I’m guessing you don’t speak Squonk.
SOUND: They hit a bump in the road, the squonk and Yvonne both react
HODAG
It’s okay, buddy. We’re almost there.
YVONNE
Careful with the potholes, please?
KARO
I’m sorry, I should have brought some Dramamine.
YVONNE
You couldn’t have known; public transit is different. Here we go. Just gotta dab a little of this …
(she breathes deeply)
That helps. I can look out the window again. Oh hey, cows!
SOUND: A far off half-growl, half-moo – let me know if we need to record something
KARO
Not exactly.
HODAG
Don’t usually see mantabungal this far down. I’ll have to put that in my next report – they do not play well with others.
YVONNE
So basically, cows. Umm … did I miss the part where you told us where we’re headed? I mean, I know, the Moon, but right now?
HODAG
This is right on the way, I just need to – whoa!
SOUND: The road is changing from pavement to rocks and dirt, the noise inside the jeep increases considerably
SOUND: We start hearing branches rustling faintly outside – we’ve moved into a forest and the background changes to match
HODAG
That snuck right up on me. Anyway, I just … whoops, heads up!
SOUND: Another big bump
YVONNE
Ow! I’m gonna let you drive.
(quieter, to Karo)
Do you know where we’re going?
KARO
I don’t know where we are now. This is all new to me.
YVONNE
Okay. I’ve only got a three-day weekend.
(she sings a little)
The books, the books are calling.
KARO
It’ll be okay. Here, I’ve got your jella beans.
YVONNE
I thought I told you not to give those back to me!
KARO
You already found out how many you can fit in your mouth at once, what else could happen?
SOUND: Hodag hits the brakes hard and they slide to a stop
YVONNE
(a short coughing fit)
You … had to say something, didn’t you?
SOUND: Hodag turns off the ignition
HODAG
This looks like a good spot. I’ll just be a minute.
SOUND: He opens the jeep door, picks up the squonk – who makes a noise, and slides out
SOUND: We hear faint footsteps in the grass outside, Hodag whistling, another squonk noise
YVONNE
What’s he doing out there? Some sort of catch and release thing, I guess.
(after a moment)
Doesn’t it look darker outside than it should be for mid-morning?
KARO
The forest did close in pretty quick. But even so …
SOUND: Karo opens the door on their side and gets out; footsteps outside in the grass
YVONNE
Karo? What are you doing?
KARO
I’m just gonna take a look!
YVONNE
Get back here!
SOUND: We hear her slide across the seat to get out too; then the door closing and Yvonne’s footsteps following Karo (with cane, of course)
YVONNE
(to herself as she walks)
It’s getting chilly, too.
SOUND: The footsteps stop as she reaches Karo
KARO
Can you feel it out here?
YVONNE
I told you to bring a jacket. Just because you’ve got monster blood …
KARO
Not that … the whole place. It feels different, it looks different …
YVONNE
I thought it was just shadows under the trees, but all the colours are muted. As if …
KARO
Almost like black and white.
YVONNE
Yeah. Does that mean something?
KARO
Remember, way back at the beginning, I told you that sometimes there are places in October that are not so …
SOUND: Hodag walks in briskly, whistling, cutting Karo off
HODAG
Oh, hey. I’m done here.
YVONNE
Nathaniel is back with his people?
HODAG
He’s back where he wants to be. And, now the Lindworm owes me a favour.
KARO
That’s pretty unusual.
HODAG
Right?
YVONNE
Speaking of unusual … we were just talking about the trees.
HODAG
Oh, yeah. Arbores Horrores. They can be a wee bit intimidating.
YVONNE
And monochromatic.
HODAG
That too.
KARO
You can feel the age of things. Not many stories here anymore.
HODAG
I like the feel of it. This isn’t far from where I landed back in the day.
YVONNE
From the Moon.
HODAG
Right.
YVONNE
Because you’re Moonkin.
HODAG
That is where the name came from – when Singularity split off, that’s the sci-fi version of October … most of the monsters left behind came down all at once. And we, uhh, kinda made a splash. No two of us are really the same, not like the Wilds, or the Constructs. The world took some time to get used to us. So “Moonkin” tends to get slapped on every monster who’s odd, or one of a kind … only some of us are actually from the Moon.
YVONNE
But you are. And the rest of your family is still there.
HODAG
The “rest” is just my Per and my sib, Milamo. Not many big clans left among the Moonkin. Kinda like Nathaniel, I guess.
(after a moment)
Anyhoo, enough backstory. We should get ourselves going.
SOUND: They all start walking back towards the Jeep
HODAG
I do like this place. Memories, I guess.
KARO
Is that why you came around this way?
HODAG
A little bit nostalgia, a little bit for Nathaniel … but mostly there’s a friend who lives in this direction we’re gonna need to see.
SOUND: The footsteps slow and stop behind the next line
YVONNE
What kind of friend lives in a place like this? No offense.
SOUND: Hodag opens the jeep door and starts to get in
HODAG
An old friend.
SOUND: The doors open and close as Yvonne and Karo get back in; Hodag starts up the jeep
HODAG
A very old friend.
SOUND: They start driving again, and then the sound fades out
SOUND: Forest background ends
Note – there may be advertisements inserted at this point in the episode.
SCENE TWO
SOUND: Forest background, darker, spookier (ongoing)
SOUND: Trees rustling, bats flying by, maybe an owl hooting ominously somewhere?
SOUND: Tires on gravel, rolling to a stop
HODAG
And here we are. Be careful getting out; it’s steep down the left side.
SOUND: Doors opening, careful footsteps on gravel
YVONNE
You think? I’m not sure Holmes and Moriarty aren’t fighting down that way.
HODAG
Sorry.
KARO
Come around this side, it’s very Carpathian.
YVONNE
You’re not wrong about that. Look at the crenellations!
SOUND: Various sliding noises, Hodag grunting as he gets the luggage out
KARO
You don’t have to carry everything, here, gimme.
HODAG
I can handle it. We should get inside before the storm hits.
YVONNE
What storm? There’s not a cloud in the –
SOUND: She’s cut off by a clap of thunder, and the crackle of lightning overhead
SOUND: The transition music we use for passing time
SOUND: We’re back, and we hear the sound of a full rainstorm, raging around us for a moment with distant thunder, and then a massive door slams, and we only hear it faintly – at the same time we switch to an inside-castle-entryway type background
SOUND: Hodag is gasping for breath; Karo is laughing
YVONNE
Oh, fuck! Goddamit!
KARO
About five steps too late, but we’re not gonna melt!
YVONNE
Speak for yourself; I’m a mess!
HODAG
Could one of you bar the door?
YVONNE
I’m sorry?
HODAG
The door. Right to the side, there’s a –
KARO
Got it.
SOUND: A big wooden thunk
YVONNE
Are we expecting villagers with torches and pitchforks?
HODAG
Just so the wind doesn’t blow it back open.
YVONNE
Right.
(after a moment)
Even my kleenex is soaked. Point me to the washroom?
HODAG
Oh. Umm …
YVONNE
Down the dark foreboding hallway, right or left?
HODAG
I don’t … she doesn’t really keep things up well, not on this level.
KARO
Hard to believe, looking at the cobwebs.
YVONNE
When you say, “not on this level,” does that mean –
SHELLEY
(shouting from far below)
Who’s up there? If it’s that manticore again, I don’t want your –
HODAG
(yelling back)
It’s just me! Hodag, remember?
YVONNE
Not just you …
SHELLEY
Shit. Already? Just a minute, hold on –
SOUND: Various crashing, chains clanking together, gears moving
SHELLEY
Just a few safety precautions!
YVONNE
This is the weirdest AirBnB.
HODAG
She’s all about the environment.
KARO
Very Franken-chic.
YVONNE
Karo!
SOUND: One more huge crashing sound
SHELLEY
Should all be good now! Come on down to the lab!
KARO
And see what’s on the slab?
YVONNE
You are on notice, themfriend.
SOUND: Hodag gathering up the luggage again
HODAG
Oof. Come on, down this way.
SOUND: Our standard transition music
SOUND: Footsteps down a stone staircase; background fades in a little, it’s a movie-monster type laboratory, archaic machine noises, chains, electricity arcing, etc.
KARO
Just keep hold of my arm.
YVONNE
I’m holding. You’d think a world with all types of monsters would do better with accessibility.
HODAG
It’s a … heritage site.
SOUND: Fast footsteps moving to meet them
SHELLEY
There is a service elevator in the back. I use it for … never mind, that’s not important, sometimes just because other people are around. But it does work. Hi, I’m Shelley, she/they pronouns, welcome to my lab, I’m the Mad Scientist in residence! Come in, come in, watch your feet, your hands, your hair.
SOUND: Some quieter footsteps as they all move inside; background noises ramp up some
KARO
(under their breath)
Mad Scientist?
SHELLEY
Neurodivergent Scientist I suppose, unless you’re one of our secret club. I’ve got a little sensory processing disorder, a little ADHD, do the hokey pokey and I turn myself around … there’s a reason I live where company and clocks and cleaning aren’t important! Just me and my experiments and – careful, no touching please, me or the equipment. Hodag! It’s been half past forever! How are things? How’re the trees? How are the bats? We met when I had this particularly troublesome bat infestation, zooming in and out of my machicolations and murder holes …
KARO
Okay …
HODAG
They’re parts of the castle.
SHELLEY
They are parts of the castle! Which is far more liveable thanks to our friend here! A few bats are good for the atmosphere, but this was more like … Bat-sylvania! Watch your cane there, you almost unplugged my interocitor. Have a seat, there’s a couch under this pile –
SOUND: A pile of metal being tipped over; Yvonne collapses on an antique sofa
YVONNE
Thank you!
SOUND: Shelley’s fast footsteps across the room, flipping a switch or two
KARO
Quite a … place you’ve got here. I think I saw this stuff in a Hammer film.
SHELLEY
Those were the days, weren’t they? Chris Lee, Peter Cushing … “There is more evil around us here than I have ever encountered before.” Hammer Studios, Universal, Roger Corman and the Poe films … this corner of the world was really hopping back then! Now, if it weren’t for del Toro … but that’s a whole other tangent! Hodag, I’m guessing you’re not just here because you missed me. What’s the dealio?
HODAG
Umm … I hate to get in your way like this, I’m sure you’ve got other stuff to do …
SHELLEY
Who knows? I was working on … something, somewhere … but it’s all good.
YVONNE
(quiet, in the background)
Karo, could you do that … thing, with my phone?
KARO
(similarly)
Do you have a signal?
SHELLEY
There’s WiFi if you need it.
KARO
Really?
SHELLEY
It’s that gizmo in the corner that looks like a Victrola had a baby with a lightning rod.
YVONNE
Of course.
SHELLEY
Hodag? I am at your disposal.
HODAG
So I’ve kinda got this … family thing going on …
SHELLEY
How is Bem? I haven’t seen them in a moon’s age!
KARO
Bem?
HODAG
My Per. Yeah, the how is … kind of the thing. They’re in some kind of trouble, and I need … we need to get up there. Fast.
YVONNE
Hold on. This is who’s getting us to the Moon? No offense.
SHELLEY
Who else is gonna do it, human girl? There’s no NASA on this side. Or even Space-X, thank you very much.
YVONNE
Human girl? What does that make you? Ouch!
KARO
Are you okay?
YVONNE
Something poked me through the cushion. Shit, I’m bleeding. There should be some band-aids in my –
SHELLEY
Wait!
(sniffs dramatically)
You’re … B-negative, right? I can tell from here.
YVONNE
What do you mean, you can – oh. Ohhhhh.
SHELLEY
I do double duty in our little corner of the world. My real work, of course, but on occasion when needed I’m also the local bloodsucker.
(after a moment)
Does that answer your question?
YVONNE
(wary)
It … does.
SHELLEY
I can get you to the Moon. All of you, and fast. It happens I’ve got just the thing.
SOUND: Lab background fades out quickly
SOUND: Our standard transition music
SOUND: Creaky elevator background, in motion, there’s also some ancient victrola music playing over the speaker, and for a few moments that’s all we hear
YVONNE
So … vampire, huh?
SHELLEY
You’ll have to excuse the lab coat; all my Dracula capes are in the wash. And you don’t have to cower back in the corner. You’re completely safe.
YVONNE
I’m a ‘human girl’. Aren’t you gonna bite me, or turn me, or something?
SHELLEY
Let’s nip this in the bud.
SOUND: She pushes a button and the elevator stops (the music continues)
SHELLEY
First, I only bite with enthusiastic consent. And you’re not my type.
KARO
You don’t have to be rude.
SHELLEY
B-neg just tastes like soap to me. I don’t have the right gene for it. And I couldn’t “turn” you if I wanted, vampires here can’t do that. Weres either, I’d think your buddies in the Wilds would have mentioned. I can smell them all over you.
SOUND: She hits the button again; the elevator continues
YVONNE
Well, I didn’t know. I figured, if it’s part of the story …
SHELLEY
The Endling wrote that out of us a long time ago. For the public good.
SOUND: The elevator stops; the doors open
SHELLEY
Now come along, there’s science to do. The door to the roof is right through the library.
SOUND: She takes off; her footsteps are a lot faster than Yvonne and Karo following
YVONNE
How was I supposed to know any of that?
KARO
I should get one of those lint rollers; Grey’s hair is all over me.
YVONNE
Wait, did she say … LIBRARY?
SOUND: Footsteps and background fades out
SOUND: Transition music
SOUND: Castle roof background, light rain, occasional far-off thunder
YVONNE
All those books and they’re just blank pages. What a waste.
HODAG
A castle needs a library.
YVONNE
Well, it’s a personal insult. Where is she, anyway?
(she grunts)
This roof is one big slipping hazard. Somebody needs to call OSHA.
KARO
I can hear her up around the way. Watch out for murder holes.
YVONNE
(laughs)
You liked that one a little too much. Gimme your arm.
SOUND: We can hear Shelley in the distance doing various mechanical stuff
SHELLEY
(similarly distant)
Get on there, you gods-forsaken mechanical mess! There’s work to be done!
HODAG
Thanks again for coming with me for … whatever this turns out to be.
KARO
It’s no big deal.
HODAG
I hope not.
SOUND: We’re getting closer to Shelley, coming up on her during the next bit
SHELLEY
Annnd the contact spring’s connected to the conducting wire, the conducting wire’s connected through the genny case, the genny case connected to the – there you are! Still plenty to do before liftoff!
KARO
Is … liftoff the right word for whatever that is?
YVONNE
Oh, my gosh.
HODAG
Guys, it’ll be okay. You don’t know how this stuff works … right, Shelly?
SHELLEY
I mean, even I only know in theory. But that should be all we need! Like getting to the Moon is hard or something!
YVONNE
It seems like it ought to be.
KARO
So you loading us into a medieval catapult is just –
SHELLEY
If you’re making a comparison, it’s more like that part of a pinball machine that shoots out the ball to start the game.
YVONNE
Oh my gosh.
KARO
And we’re the ball.
SHELLEY
Capsule. You sit inside. It’s perfectly safe!
(after a moment)
Not that anything in the multiverse is perfect …
SOUND: She flips a switch, and the generator starts revving up
YVONNE
Oh my gosh!
HODAG
I know how it looks.
KARO
Do you? Really?
HODAG
I trust her to get us there. Annnnd … we don’t have another option.
KARO
Shit.
HODAG
We’ll look everything over before we get in. Really careful. Okay?
SHELLEY
Why don’t you two do that? Climb up to the capsule, poke around, whatever settles your stomach. This one can keep me company.
YVONNE
No, thank you.
SHELLEY
You’re gonna make that climb twice? No elevators up here, I’m afraid.
KARO
Vonnie?
YVONNE
(sighs)
I’ll be fine. I’m warning you, I had tons of garlic on my pasta last night.
SHELLEY
Like I couldn’t tell?
HODAG
We’ll be back.
KARO
Soon.
SOUND: We hear them walking away, and then some wood and metal clattering in the background as they climb the machine
SHELLEY
Earplugs?
YVONNE
What?
SHELLEY
I keep them in a lot, even though this is noise I’m used to. Here, you’ll have ‘em when you need ‘em.
YVONNE
(begrudgingly)
Thanks.
SOUND: The generator sputters and fails, then catches again and keeps going
SHELLEY
Shit! Keep a hand on the switch while I check that connection.
YVONNE
What? Me?
SHELLEY
Do you see anyone else?
YVONNE
Shouldn’t you have an assistant, an Igor or something?
SHELLEY
In this economy? You can be useful this way, or you can wait until my snack break.
(brief pause)
Kidding, of course.
YVONNE
You really think this thing is gonna get us to the Moon?
SHELLEY
As long as you believe in fairies … I get it, you’re new to this, but you’ve got to wrap your brain around how science works on this side. Physics, chemistry, engineering – all that stuff is diddly squat. Things work the way they need to. I design for that need.
YVONNE
I guess I can understand that. I met an Ent who’s researching how characters work.
SHELLEY
Most of what I do is manipulate plot devices. The Chekhovian gun, the Maltese Falcon, the Ark of the Covenant. It’s easier in this part of October where the rules run fast and loose. Where your buddies live, I’d need better technology and a team of experts, but here it’s all what one big brain makes it. And I’ve got a very big brain.
YVONNE
With an ego to match.
SHELLEY
Ever known a mad scientist with low self-esteem? Trust me, there are downsides. Not many stories told this way anymore, so I can only get it to work in small doses. And the villagers … they’re kind of their own break-glass-in-case-of-fire clause.
YVONNE
Not necessarily a bad thing.
SHELLEY
That’s how the world works. How the blood flows. Now, will you watch the damn switch while I check that wiring?
YVONNE
Fine.
SOUND: We hear Shelley wriggle into the wiring and get working; a moment later we hear Karo and Hodag climbing back down the contraption
KARO
Heads up down below!
SOUND: They drop heavily to the castle roof, grunting; Hodag finishes the climb down
KARO
Things okay here?
YVONNE
I guess. Even for October, this feels kinda weird.
HODAG
It is weird. But if it gets us up there …
YVONNE
You think it’s gonna? I mean, I trust Shelly … now … mostly. But it’s an awful long way to ‘shoot’ a pinball.
HODAG
It’s not as bad. Our Moon is a lot closer than yours. Smaller too, so it doesn’t look any different.
YVONNE
Curiouser and curiouser.
HODAG
A lot of your Moon is just wasted space.
SOUND: Shelley wriggling back out again
SHELLEY
It’s all wasted space from what I see. Still, we’re gonna get you there. Yvonne, would you like to do the honours?
YVONNE
As in what?
SHELLEY
Pull the string! Flip the switch! Insert-maniacal-laugh and all that. Oh, and it’s earplug time, girls, gays, and theys.
YVONNE
Wait a minute – you mean we’re going? Now? Don’t we need spacesuits, or some sort of training, at least an instruction manual?
SHELLEY
What did I tell you? Go go go! Start the countdown!
SOUND: Yvonne pulls the switch, the generator picks up, and we hear a series of clicking noises as if a giant plunger is pulling back, or a roller coaster approaching a drop
HODAG
I had a few questions about the capsule –
SHELLEY
Too late now! Get your butts up there! Ten … nine … eight …
YVONNE
Is she serious?
HODAG
Come on!
KARO
Here, I’ll take you piggyback. Hang on …
SHELLEY
Get moving! Six and three quarters … Six and a half … Five … Four … Three …
SOUND: The clicking sound stops, and for a moment all we can hear is our heroes scrambling to the top and into the capsule.
SHELLEY
(wild, joyous)
LAUNCH!
SOUND: With the sound of a huge spring uncoiling, the capsule is propelled into the air; we hear all three occupants screaming, and with a huge whoosh, the scene fades out
SOUND: The background ends with the rest of the scene
SCENE THREE
SOUND: Almost absolute silence for a moment at the start of the scene – we are on the surface of October’s Moon
SOUND: A rock falls, some sand is barely disturbed
SOUND: After the long moment of mostly-silence; we suddenly hear the whoosh of a huge object plummeting toward the ground, faint yelling from inside, and suddenly a huge, Moon-shattering CLUNK as it impacts
SOUND: After another moment, someone kicks a hatch open in the capsule; after that we hear the three occupants panting and stumbling out
KARO
Well, that was a ride and a half.
HODAG
I think I lost half my fur along the way.
YVONNE
(coughing)
I think I swallowed it. I can hardly breathe.
(after a moment)
Wait. Why can I breathe? Shouldn’t I be all Arnie-in-Total Recall right now?
HODAG
This isn’t your Moon. The atmosphere is … mostly consistent up here.
YVONNE
I’m gonna let that “mostly” bit slide for now. Because I’m on the Moon! A moon, I’m not picky. Moon rocks, Moon sand, Moon … umm, cacti, are you sure we didn’t land in Arizona?
HODAG
Where do you think they filmed the stories we’re based on?
KARO
It’s like a whole different satellite.
YVONNE
All right, wisenheimers, I hear you. At least I’m lighter up here; I think I turned my ankle that last somersault on the way.
KARO
I can carry you.
YVONNE
I’m okay as long as the gravity stays consistent. How far are we going?
HODAG
We’re … actually pretty close. It shouldn’t take too long.
KARO
Way to go, Shelley.
YVONNE
She’s a peach, all right. Now, which way are we headed into this spectacular Lunar landscape?
HODAG
I’ll grab the bags, then we’re headed … that way.
KARO
Second star to the right and straight on til –
YVONNE
I know you’re placating me with literary quotes, but if you finish that particular one I’m gonna collapse. That’s a no to straight on til morning.
KARO
I’m sure it won’t be too far. And hey, Vonnie?
YVONNE
Yeah?
KARO
We’re on the Moon!
SOUND: Standard transition music
SOUND: Footsteps on sand (Yvonne struggling a little)
YVONNE
Not to be that human girl … but are we there yet?
HODAG
Almost. I think, over that way, there’s a …
(after a long pause)
There are things I remember.
KARO
Works for me.
YVONNE
What’s your place like, anyway? Do you live in some underground Moonbase? Are there flying cars? Could you go get one and come back for us?
HODAG
(sounding beaten down)
It’s just a regular farmhouse. With a regular truck. We’re almost there. Promise.
YVONNE
Okay. Sorry.
(after a moment, trying to lighten the mood)
At least you’re not on the dark side. I know, I know, there’s no real ‘dark side’ of the Moon … outside of my folks’ record collection. Or … is there?
HODAG
(fading out as this line goes)
Actually … the way the light works here is interesting. It’s a renewable natural resource …
SOUND: Standard transition music
SOUND: We come back to about the same background, walking continues
MUSIC: In the distance, starting to build as they walk, theremin music happening
KARO
Whoa. I didn’t know that.
YVONNE
So when we were in the pumpkin patch, and the Moon did its whole …
HODAG
When the light builds up to a certain point, the whole thing … vibrates, resonates, releasing it.
KARO
Hey, is this your place?
HODAG
Yeah, this is … where they live.
SOUND: A gate opening and closing again
SOUND: For a moment, we just hear their footsteps and the music
YVONNE
It really is a farmhouse. Kind of a weird one. What could you farm?
HODAG
You know … we harvest moonbeams, moonstones …
YVONNE
Moon cheese? But seriously …?
SOUND: Not too far off, we hear a screen door open; everyone else stops
SOUND: We hear two or three heavy footsteps on a wooden porch
HODAG
(after a moment, awkwardly)
Hi, Per.
BEM
I thought I heard someone out here; never would have expected you.
HODAG
I … told Milamo we were coming.
(after a long pause with no response)
This is Yvonne, and this is Karo. They came with me … we’re here to help.
BEM
Is that so? I’m Bem, welcome to both of you.
KARO
Thank you.
YVONNE
It’s a lovely … farm you’ve got here.
BEM
So, you’re friends with Hodag, are you?
YVONNE
Of course.
KARO
He said there was trouble and you needed help.
BEM
Is that all he told you?
HODAG
Per …
BEM
Don’t. You come back to help now? You and your sib conspire behind my back –
HODAG
That’s not how it –
BEM
Did he tell you how long it’s been since we had his help around the farm?
HODAG
Per, don’t.
MUSIC: The music continues in the background, but it becomes harsher, angrier
BEM
Fifteen years! Fifteen years of harvests and reunions and birthdays and All Hallow’s Eve –
HODAG
I wanted to take care of nature. There’s not a lot of nature on the –
BEM
Not once has his shadow darkened our door. Not one of those.
KARO
It wasn’t easy to make it here.
BEM
But now, when everything’s gone to shit, he shows up again like a bad debt.
SOUND: Another step or two on the porch
BEM
Welcome back, I guess. It might be your last chance to see the place. At least, with us still in it.
HODAG
What’s going on? MIlamo only said there was trouble, nothing about –
BEM
We’re being hunted. Stalked, one by one, nobody can figure out by what. But something’s out there and the Moon’s not safe.
(after a moment)
I guess you better come inside.
SOUND: The screen door opens again and they walk inside
BEM
(yelling into the house)
Milamo! Quit your practicing back there, come out and say hello to the prodigal son!
SOUND: The music immediately cuts off
SOUND: We hear footsteps moving into the house, and the screen door closing
SOUND: Background fades out
(The episode ends.)
ANNOUNCER: Thank you for listening to Waiting For October: To The Moon! Our slightly sci-fi, but still monster-world miniseries. This episode was produced by D.J. Sylvis, Tina Case, and Robin Regalado. D.J. wrote the scripts; Trace Callahan wrote the music and did our dialogue editing; Caroline Mincks did our sound design. Our To The Moon cover art is by Clare Bernik.
This episode featured Robin Regalado as Karo, Tina Case as Yvonne, Cass McPhee as Hodag, and introduced you to Maddy Searle as Shelley and Sarah Rhea Werner as Bem! See you again next time for a Maddy Searle monologue!
