Dramatis Personae
(in order of appearance)
Father John WHITNEY, leader of the Whitmoor church and all that entails. Male, early 50s, Northern English accent.
Dr. ERNEST Wilde, botanist and semi-voluntary investigator. Male, early 30s, Northern English accent.
Eloise “ELLIE” Westmont, protective older cousin. Female, mid 20s, posh British accent.
KURT Cross, veteran of the French Foreign Legion, among other things. Male, early 30s, New York accent.
Inspector ISKANDAR Meshkia, who has seen this before. Male, late 30s, strong Turkish accent.
AURELIA Westmont, sheltered heiress. Female, late teens, posh British accent.
A pair of Whitmoor CULTISTS, searching for a particular text. Both male, ages can vary, Northern English accents.
JAMES MacDonald, oblivious citizen and book enthusiast. Male, early 30s, Northern English accent.
Scene 1: Int. Whitmoor Parish Church – Day
MUSIC: OPENING THEME.
Father WHITNEY approaches the investigators at a casual pace. The floorboards creak, and his steps echo; the church is a tall, narrow building.
WHITNEY:
(Brightly)
Good afternoon.
I don’t think I’ve seen you before. Welcome to Whitmoor.
ERNEST:
Oh. Thank you.
WHITNEY:
As much as I’d like to believe our humble church could attract visitors, I’m certain you aren’t tourists.
What brings you all the way out here?
ERNEST:
Well, er, I’m a researcher. From the University of London.
I’m studying the blight that took the fields on the eastern side of town.
Miss Westmont here is a friend. She offered to show me around.
ELLIE:
Lovely to meet you, Father.
WHITNEY:
Ah, a prodigal Westmont!
I should have said welcome back.
John Whitney. I’m the vicar here.
ELLIE:
Eloise.
This is Dr. Ernest Wilde.
The sound of firm, friendly handshakes.
WHITNEY:
I’m surprised you’re here all the way from London. Did someone send for you? I don’t recall anyone mentioning it.
ERNEST:
No, I’ve been—
(Making up a story)
I’ve been looking for more samples and…a colleague remembered seeing some damage up here.
I didn’t expect it to be so extensive.
WHITNEY:
Well, it looks worse than it is.
ERNEST:
I—I’m sorry?
WHITNEY:
The farmers aren’t terribly concerned, and I trust them to know what they’re talking about.
These things happen.
ERNEST:
(At a loss for words)
But—I—
ELLIE:
I hope so. I’ve never seen anything like it.
ERNEST:
Entire fields are gone.
WHITNEY:
It certainly looks that way, doesn’t it?
ERNEST:
(Increasingly confused)
What?
You’re not concerned? At all?
WHITNEY:
We’ve weathered worse storms.
What do you need? Samples? I can make sure you get them, if it’ll set your mind at ease.
ERNEST:
Um. I suppose so.
WHITNEY:
Consider it done.
Should we expect more expeditions from the university later in the year?
ERNEST:
No, probably not.
I’m the only one on the project.
ELLIE:
Thank you so much, Father. We really appreciate your help.
ERNEST:
Right. Sorry, I’m just a little out of sorts.
ELLIE:
You know, I’ve never been inside the church before. The windows are so unusual.
WHITNEY:
Are they? I must admit, I see them every day, and I’ve grown rather fond of them.
The artist was a bit of an eccentric, as I understand it.
ELLIE:
I don’t suppose you ever met the artist?
I’m particularly interested in the church bell, there, by the woman at the well. It doesn’t seem to fit the rest of the scene.
WHITNEY:
Before my time, I’m afraid.
ERNEST:
I’m sorry, I don’t mean to be rude.
ELLIE:
(Quietly, a warning, aside to ERNEST)
Doctor…
ERNEST:
(Ignoring her)
The entire harvest was lost last year, and nothing is going to grow this year, and maybe nothing will grow next year, or ever.
And you’re just…fine with it?
Why isn’t anyone worried?
WHITNEY:
Do you think this will be an ongoing problem?
ERNEST:
I don’t know.
That’s just it—no one knows how it spreads, how long it can survive in the soil, anything.
But I do know that losing a harvest may very well mean the end of this town.
And what if it spreads to more people?
WHITNEY:
If the war didn’t end Whitmoor, I’m sure nothing else will.
Still, it would be valuable to know what to expect, what precautions to take.
Would you be able to come by this evening?
We’re having a bit of a gathering, and I think we’d benefit from hearing your perspective.
ERNEST:
Um, well, I didn’t bring all my notes.
Never mind. I think I have enough. I can come up with something.
WHITNEY:
Perfect.
Come back around, let’s say, nine o’clock?
Of course, you’re welcome to stay here as long as you like. I just have a few errands to run before then.
ERNEST:
Right. I’ll be back then.
WHITNEY:
Excellent. I’m so grateful you showed up when you did, Dr. Wilde. I apologize if I made it seem like I was dismissing your concerns.
I think we’ll all feel much better after tonight.
Scene 2: Int. Westmont estate, dining room – Day
MUSIC: BRIDGE.
The front door opens, admitting KURT and ISKANDAR. As part of the ongoing preparations and cleaning, the hinges are well-oiled and quiet. Their footsteps are sharp against the polished floor and echo in the empty space. The Westmont estate is clean and well maintained, but empty and lonely.
ELLIE:
(Off mike)
No. This is a terrible idea.
ERNEST:
(Off mike; growing closer as KURT and ISKANDAR approach)
Well, yes, probably, but what else are we supposed to do?
No one else will talk to us.
Maybe with the vicar’s help, they’ll listen instead.
ELLIE:
At least let me go with you.
KURT:
Evening.
ELLIE:
Oh, good, you’re back.
KURT:
How did it go?
ELLIE:
The farmers won’t talk to us, and the constable said that terrible things might happen to us if we continue to pry, but the vicar was nice.
KURT:
Oh?
ELLIE:
So nice, in fact, that he wants Dr. Wilde to come by the church and talk to the townspeople about the blight.
Tonight. After dark.
KURT:
Oh.
ERNEST:
It’s much worse than I thought.
There’s barely an inch of arable land left.
And every time it rains, more infected matter gets into the soil, spreads down to the river, and from there, who knows?
I don’t want to speculate.
ISKANDAR:
How far can it spread?
ERNEST:
(Frustrated)
I don’t know!
For all I know, it’ll cover the earth in a few months.
Or it will just go away, like a bad dream, just as fast as it appeared last fall.
I just don’t know.
So, maybe, if I have the priest’s support, I can start some kind of containment operation, get some more samples, try to understand what happened and how to keep it from getting worse.
ELLIE:
At first, Father Whitney acted like there was nothing wrong—like he couldn’t see outside his own window.
And then, all of a sudden, he was worried about it and encouraging Dr. Wilde to give a speech.
KURT:
You think something’s fishy?
ERNEST:
Maybe I convinced him.
ELLIE:
I don’t mean to cast doubt on your powers of persuasion, Dr. Wilde, but I don’t trust this.
He changed his mind much too quickly.
KURT:
And he suddenly wants the good doctor to come to the church at night.
I see what you’re saying.
ISKANDAR:
You shouldn’t go alone.
ERNEST:
I was hoping I wouldn’t have to.
ELLIE:
There’s still an hour or so before dark. Father Whitney said he’d be out.
I want to take a look around the church before everyone else arrives.
KURT:
We can tail the vicar, too.
But subtly. Like we’re just out for an evening walk.
ERNEST:
This isn’t normal. You all understand that, I hope?
ELLIE:
This town isn’t normal.
It wasn’t when I was young, and it’s much worse now.
I’m sorry, Dr. Wilde, but I don’t want you to confront a church full of people willing to ignore the blight, and call the constable on you just for not ignoring it, without at least knowing what to expect.
Approaching footsteps, light and quick, as AURELIA enters the room.
ERNEST:
(Resigned)
Fine.
Let’s go before it gets dark.
AURELIA:
Are you leaving again?
ELLIE:
Just for a bit.
How were your lessons?
AURELIA:
They were nice.
Where are you going?
ELLIE:
We just have to take care of a few more things in town.
We’ll be back later.
AURELIA:
You’re not staying for dinner?
ELLIE:
It’ll have to be a late dinner, but we can make it.
I’m sure this won’t take long.
ERNEST:
How much time do you think I’ll need to convince everyone to take this seriously?
AURELIA:
Take what seriously?
ELLIE:
(Anxious)
Oh, nothing. It has to do with his university work.
I promise we’ll be back soon, all right? I said I’d tell you all about London, and I will.
Mr. Cross will help.
KURT:
I’ve got a great story about mob debts and secret identities for you.
AURELIA:
(Dejected, but trying to hide it with politeness, and ignoring KURT)
Oh, well, I suppose I have to pick out invitations.
Aunt Eleanor wanted me to do it last week.
ELLIE:
We’ll see you later, okay?
AURELIA starts walking away.
AURELIA:
See you later.
A pause; AURELIA leaves the room.
KURT:
Ellie, dear, I don’t want to tell you your business, but I don’t think you can keep your cousin in the dark forever.
ELLIE:
She has enough to worry about right now without adding a secret cult and a potential apocalypse.
ISKANDAR:
(Gently)
She lives here, Miss Westmont.
ELLIE:
I know.
For now, she’s safe here.
ISKANDAR:
It takes ten minutes to walk from here to town, and I would guess fifteen to the nearest ruined field.
If there is danger, it’s right outside her door.
Not knowing about it doesn’t make her safe.
ELLIE:
Well, if there’s danger, I’ll warn her about it.
In the meantime, there’s no need for her to worry about nothing.
Speaking of which, weren’t we about to find out whether it’s safe for Dr. Wilde to address the congregation?
KURT:
Right you are.
Shall we, gentlemen and lady?
ISKANDAR:
I’ll need a cup of whatever passes for coffee, and then I’ll be at your disposal.
ELLIE:
There’s some in the kitchen.
Don’t take too long.
Scene 3: Ext. Whitmoor Main Street – Night
A thin, whistling wind passes through Whitmoor, scattering dust on the gravel street and through the ruined fields. Our investigators walk down from the estate, shoes crunching on the gravel. In the distance, a crow calls.
ERNEST:
It’s already getting dark.
ELLIE:
I’ve never seen so many lights on in town before.
KURT:
That’s the post office.
Awfully late for them to be open, isn’t it?
ERNEST:
The ones in London close at six o’clock.
Which is unfortunate for me, most days.
ELLIE:
There’s Father Whitney.
Making house calls, I suppose.
KURT:
The sooner we get going, the sooner we can get back to where it’s safe and warm.
More footsteps on gravel as they walk into town. As they approach, we hear doors slamming and others
ISKANDAR:
It seems the town isn’t as depopulated as I’d thought.
ERNEST:
Where did all these people come from?
KURT:
Okay. We can blend in, but not as a group.
I’ll take Ellie up to the church.
Can you two keep an eye on things here?
ERNEST:
Um. Sure.
What do you mean, “keep an eye on,” exactly?
ELLIE:
Make sure Father Whitney doesn’t come back while we’re in there.
ISKANDAR:
We’ll do what we can.
In the distance, the scream of an animal.
KURT:
What was that?
ELLIE:
Nothing. Just an animal.
ERNEST:
What animal?
There’s barely anything alive out there.
Just the crows.
ISKANDAR:
It sounded like it was being slaughtered.
KURT:
Oh. Good.
Ellie, dear, can we go before things get even creepier?
ELLIE:
We’ll meet you back at the house.
Scene 4: Ext. Outside the vicarage – Night
MUSIC: BRIDGE.
A quiet, tense interlude. In the distance, the occasional shout goes up from the town as the participating locals prepare for what’s about to happen. The wind continues to blow. KURT and ELLIE move quickly and quietly up the path past the church.
KURT:
Awfully dark, isn’t it?
ELLIE:
It means no one will see us.
KURT:
I just want it on the record that I don’t think this is a good idea.
ELLIE:
We’ll be in and out. What Father Whitney doesn’t know won’t hurt him.
Or us.
I only want to take a look around.
The sound of a leather case unrolling and a soft jingle of metal objects.
KURT:
You know I’m not going to stop you.
In any case, this is better than sending the good doctor into another trap.
I still feel bad about that.
A quiet, metal-on-metal scrape as ELLIE sets about picking the lock on the vicarage door.
ELLIE:
I know.
I want to apologize. I don’t suppose the bakery on Fourth Street makes “I’m sorry I got you tied to a chair and possibly bewitched to think you were drowning” cakes?
KURT:
Maybe a card would be better.
More room for the thought.
ELLIE:
I’m surprised he was willing to take the vicar’s offer, after all of that.
KURT:
You said the father was friendly.
ELLIE:
Too friendly.
Continued metallic scraping.
ELLIE:
I just want to be sure.
I want—
The lock springs open.
ELLIE:
I want to find a couple of Bibles, some potatoes, and a secret stash of nice brandy. Just normal, everyday things.
I want everyone to listen to Dr. Wilde, and contain the blight, and maybe save the town.
I want Aurelia to have nothing to worry about.
Then we can go back to London and find some nice, normal cases again.
KURT:
Yeah.
The door opens with a soft creak of its hinges. ELLIE puts the lockpicks away and folds up the case.
KURT:
Come on. Let’s get this over with.
Scene 5: Ext. Whitmoor Main Street – Night
We rejoin ERNEST and ISKANDAR in town. The wind has grown stronger, howling across the fields and between the buildings.
More people have taken to Whitmoor’s unpaved streets, walking briskly in groups of two or three. Distant shouts, the words unintelligible, ring out occasionally.
ISKANDAR:
We need to get out of sight.
ERNEST:
What is going on?
ISKANDAR:
I’m not sure.
I don’t like the look of it.
ERNEST:
It’s dark.
We should maybe head up to the church. I don’t want to miss my—
ERNEST makes a noise of surprise as ISKANDAR drags him off the street by one arm, his shoes scraping against the dirt.
Nearby, someone pounds on a door with a fist. The door opens.
ISKANDAR:
(Quietly)
I’m not certain keeping your appointment at the church is a good idea.
The nearby door slams shut again.
ERNEST:
(Also quietly)
But—
No. You’re right.
It wasn’t going to happen anyway, was it?
ISKANDAR:
I couldn’t say.
I’m worried—
Somewhat nearby, the sound of breaking glass.
ERNEST:
What was that?
A beat as they search for the source of the sound.
ISKANDAR:
The bookshop.
He takes off, footsteps crunching on the dry, cold earth.
ERNEST:
Wait for me!
They proceed through the town, keeping the main road and its sounds (footsteps, shouting, doors opening and closing) on their right.
Farther away, another animal scream pierces the night.
As they approach the bookshop, we can hear it being ransacked: glass breaking, shelves being overturned, books falling to the floor.
CULTIST 1:
(Off mike)
Nothing here.
CULTIST 2:
(Off mike)
Try upstairs.
JAMES:
(Even farther away)
What are you doing?
The shop is closed. You can’t be in here.
CULTIST 1:
(Off mike)
Where are the books from the Westmont estate?
JAMES:
(Off mike)
What? Why?
CULTIST 1:
(Off mike)
Just answer the question.
JAMES:
(Off mike)
Miss Aurelia sent someone to pick them up yesterday.
I don’t have them anymore.
ISKANDAR and ERNEST approach the bookshop. Broken glass crunches under their feet.
CULTIST 2:
(Closer now, aside to CULTIST 1)
Don’t trust the unbeliever.
CULTIST 1:
We’re just going to finish taking a look around.
ISKANDAR picks up a piece of the broken door frame from the wreckage of the front of the shop, lifting it free from the glass. Though he moves slowly to avoid making noise, bits of glass fall to the ground.
CULTIST 2:
Then you’re going to come with me.
JAMES:
(Fearful; placating)
I swear you won’t find those books here.
CULTIST 1:
Grab him.
We’ll have time to search later.
With a grunt of effort, ISKANDAR swings the piece of wood. It connects with the first CULTIST’s head with a loud, sharp crack. The second CULTIST, ERNEST, and JAMES cry out in surprise. CULTIST 1 slumps to the floor, unconscious (though it isn’t unlikely he is dead).
CULTIST 2:
Who the hell—
ISKANDAR swings again, connecting with the second CULTIST, who manages to bring an arm up to defend himself. The piece of wood splinters.
ISKANDAR:
Dr. Wilde—
ERNEST:
Right. Come on.
JAMES:
What is going on?
The second CULTIST has a knife; it slices through the air with a whistle.
ISKANDAR:
Now, please, Dr. Wilde—
ERNEST:
I’ll explain later.
JAMES crosses the floor, bits of wood and glass under his feet.
ISKANDAR’s improvised weapon connects again with the CULTIST’s arm, sending the knife skittering across the room.
JAMES and ERNEST run back toward the estate, shoes scrabbling on the wreckage of the shop front. ISKANDAR follows shortly behind.
Scene 6: Int. Whitmoor vicarage, office – Night
KURT and ELLIE move through the house, their footsteps quiet against a wooden floor. The door to the office creaks softly as it opens.
KURT:
(Whispering)
So you’re not going to look for potatoes and nice brandy?
ELLIE:
(Whispering)
Very funny.
We don’t have time to search everywhere.
KURT:
(Whispering)
The study it is, then.
More footsteps as they enter the room. Very faintly, we can hear the commotion from the center of town.
ELLIE:
(Whispering)
Lots of books.
Here are the Bibles, exactly where I’d expect them to be.
What’s this?
KURT:
(Whispering)
What’s what?
ELLIE:
(Whispering)
On the top shelf. The heavy, black one.
Can you see what it is?
KURT:
(Whispering; reading)
Malleus Maleficarum.
ELLIE:
(Whispering)
Odd.
He didn’t seem like the type to believe in witchcraft.
KURT:
(Whispering) Maybe it’s a collector’s item.
ELLIE:
(Whispering)
Do you have a handkerchief?
KURT:
(Whispering)
Sure. Here.
The fabric changes hands.
ELLIE:
(Whispering)
Let’s have a look in his desk.
She tries the drawer; it’s locked.
KURT:
(Whispering)
Not surprised.
ELLIE takes out her lockpicks again. Beneath the soft jingle of metal tools, we can hear shouts coming from the town.
KURT:
(Whispering)
Someone’s heading up the path.
The gentle scraping of the picks in the small desk lock.
ELLIE:
(Whispering)
Just a little bit more…
KURT:
(Whispering)
Ellie, dear—
ELLIE:
(Whispering)
Patience is a virtue.
KURT:
(Whispering)
Please tell me you’ve thought up an excuse for us to be in here.
ELLIE:
(Whispering)
Of course not.
Try the window, would you?
The lock opens.
ELLIE:
(Whispering)
There we are.
The drawer opens reluctantly. ELLIE shuffles through the papers within.
ELLIE:
(Whispering)
What on Earth?
KURT:
(Whispering)
What?
ELLIE:
(Whispering)
I think these are…
Star charts.
Sixty-seven degrees north, about twelve degrees west.
KURT:
(Whispering)
I was never much good at navigation, but…
That would be northwest of here, right? Somewhere out in the ocean?
ELLIE:
(Whispering)
Out in the North Sea.
Where Professor Ragnarsson’s island supposedly is.
More rustling of paper as she goes through the charts.
ELLIE:
(Whispering)
These go back years. All the way to 1918.
KURT:
(Whispering)
The preacher’s almost here.
I’ll open the window. As soon as he gets to the door, we run.
ELLIE:
(Whispering)
But—
KURT:
(Whispering)
Neither of us can read them. Just leave it.
One.
Two.
Three!
The window opens, and the sound of wind and the commotion from in town grow louder. ELLIE slams the drawer shut, and they both escape out the window, falling to the ground below.
Scene 7: Int. Westmont estate, entry hall – Night
MUSIC: BRIDGE.
A tense, fast-paced musical interlude.
The door to the estate opens with a bang, admitting a howling wind, the distant sounds of the building riot, and ERNEST, JAMES, and ISKANDAR.
ISKANDAR:
(Breathing rapidly; taking a moment to look around)
Mr. Cross and Miss Westmont aren’t here.
ERNEST:
(Also breathing rapidly)
Are you sure?
ISKANDAR:
If they were, they’d have heard us come in.
JAMES:
What’s going on?
ERNEST:
They were looking for a book, and that book is almost certainly one that’s now here—
ISKANDAR:
We need to find Kurt and Ellie.
JAMES:
Well, yes, I gathered that they were looking for a book.
ERNEST:
You live here.
Is this not something that happens regularly?
JAMES:
Of course it isn’t!
ISKANDAR:
Gentlemen, please.
You need to reinforce these windows. I will search for the others.
A rush of footsteps and rustling skirts as AURELIA runs into the hall.
AURELIA:
What’s going on? Where’s Eloise?
ERNEST:
Um. Hello. She’s—
JAMES:
Miss Westmont! It’s lovely to meet you.
I don’t suppose you know why two of my neighbors broke into my shop to retrieve one of your books?
AURELIA:
What are you talking about?
ISKANDAR:
Miss Westmont, I promise everything will be explained to you, but right now you need to go back upstairs.
AURELIA:
Why?
ISKANDAR:
Because at any moment, those men will be trying to break in here.
Someone pounds on the front door. A beat of silence as everyone turns toward the sound.
ISKANDAR:
Upstairs, Miss Westmont. Please.
JAMES:
I’ll go with her.
(To AURELIA)
You can tell me about those books, if you don’t mind.
Footsteps as ISKANDAR approaches the door and JAMES gently herds AURELIA back toward the stairs.
Another beat, and ISKANDAR opens the door. The wind howls through the opening.
KURT:
Evening. Took you long enough.
The door opens the rest of the way to admit KURT and ELLIE and then closes behind them.
ELLIE:
I’m so glad to see you.
ERNEST:
The inspector was just about to go out and find you.
KURT:
That’s awfully kind of him, but we’re here, and I don’t think we should leave.
It’s not safe out there.
ELLIE:
What about Jasmine?
And Claire? And the others?
We can’t just leave them there.
ISKANDAR:
I’ll go.
Stay here and barricade the door.
KURT:
You can’t just go out there on your own.
ISKANDAR:
I can defend myself.
KURT:
So can I. I was in goddamn France, wasn’t I?
I’m going with you.
ELLIE:
Please be careful.
ISKANDAR:
We’ll cut through the field.
KURT:
You be careful, too.
Don’t answer the door unless it’s one of us.
Hopefully both.
The door opens again, and KURT and ISKANDAR go out into the wind.
MUSIC: OUTRO.
Back to Episode 10: All Who Have Ears to Hear
Forward to Episode 12: Sundown
In these episodes, I want to invoke the dread of the lengthy chase scene in The Shadow Over Innsmouth. Matt Ruff, the author of Lovecraft Country, remarks in his author’s note that Innsmouth contains one of the most emotionally realistic portrayals of an attempted lynching in fiction (I’m paraphrasing), which is ironic considering Lovecraft’s virulent racism. This is a first attempt; I’ll take another crack at it in the next draft.
Also, did you catch the reference to The Mummy (1999)?
Thanks for reading! One more episode in this arc, I think, and then we’ll take a brief interlude followed by a trip to Dublin.
Space Whales Press 
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