Storm of the Century

PART 2

The Storm of the Century

Act 1

[We begin with a MONTAGE OF SCENES from PART ONE. This ends with the final image: LINOGE'S predatory tiger's face superimposed upon the intersection at the center of town.]

1 EXTERIOR: THE CENTER OF TOWN NIGHT.

The blizzard is rising toward a state of total fury, with snow falling so fast and hard that the buildings look like ghosts. Drifts are already beginning to pile up against the storefronts on Main Street.

As LINOGE'S image fades, we hear a SOUND, LOW at first, then UP TO FULL: THE TOWN

WHISTLE, blowing the EMERGENCY SIGNAL over and over again: two shorts and one long.

On Main Street, we can see a STRING OF MOVING LIGHTS and hear the SOUND OF ENGINES as folks comply.

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2 EXTERIOR: MAIN STREET SIDEWALK, WITH FERD ANDREWS NIGHT.

He comes pelting along toward the town hall through the snow, sometimes slipping and falling, then picking himself up again. He makes no attempt to go around the building drifts, but bulls his way straight through. He approaches a group of five or six men who are skiing toward the town hall.

One of them is BILL TOOMEY.

BILL TOOMEY Say, Ferd where's the fire?

Because of Ferd's job (it says LITTLE TALL V.F.D. right across the back of his parka), this breaks BILL'S friends right up it doesn't take much to amuse island people, let me tell you, and these fellows have probably been having a little storm refreshment.

FERD takes no notice, just picks himself up again and continues running toward the town hall.

3 EXTERIOR: MIKE ANDERSON'S STORE NIGHT.

Battened down for the storm. The porch has already drifted in. The storm shutters RATTLE on their tracks. PETER GODSOE'S pickup truck and MOLLY'S little car are now little more than snow-covered humps, but in the case of the truck, it's no big deal; PETER'S driving days are over.

4 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.

HATCH is as we left him at the end of Part One, staring up at PETER'S dangling legs. Nearby is the overturned chair PETER stood on while he was putting the noose around his neck.

5 INTERIOR: THE SIGN AROUND PETER'S NECK, CLOSE-UP.

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"GIVE ME WHAT I WANT" written all over it, helter-skelter, along with the dancing canes. And, at the top, like a title, is the complete thought in capital letters so big they almost scream: "GIVE ME

WHAT I WANT AND I'LL GO AWAY."

6 INTERIOR: RESUME CONSTABLE'S OFFICE.

HATCH looks from the dangling legs to LINOGE, sitting there in the cell, his stocking feet cocked up on the cot's edge, his faintly smiling

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face peering out from between his spread knees. LINOGE'S eyes have gone back to normal, but he projects a terrible quality of hunger and predation, just the same. He's locked up, yes, but it's such a ridiculous sham of a cell, with its wood floor and home-welded bars. HATCH is getting the idea that he is the one in trouble, locked up with this tiger in human form. We can take it a step further: the whole town is in trouble.

Between the dangling body and the silent, staring LINOGE, HATCH starts to lose it.

HATCH What are you lookin' at?

(no reply from LINOGE)

Did you make him do it, somehow? Make him write that around his neck and then hang himself?

Did you?

Nothing from LINOGE. He only sits there, looking at HATCH. HATCH has had enough and heads for the door. He tries to do it at a walk, but can't hold on to himself well enough to keep that pace.

He begins to hurry . . . then simply BOLTS. He grabs the knob, turns it, yanks the door open . . .

and there is a SHAPE out there by the meat counter. It GRABS HATCH. HATCH shrieks.

7 INTERIOR: TOWN HALL BASEMENT, FEATURING PIPPA HATCHER, CLOSE-UP.

In one hand PIPPA holds a tail (actually a rolled-up hankie) with a pin sticking out of it. She walks slowly toward a piece of paper that has been taped up to the wall. On the paper, MOLLY ANDERSON

has drawn a smiling donkey. Gathered around PIPPA, calling "Warmer!" and "Colder!" are all but one of MOLLY'S day-care pupils: RALPHIE, DON BEALS, HARRY ROBICHAUX, HEIDI ST. PIERRE, BUSTER

CARVER, and SALLY GODSOE (who has become fatherless but fortunately doesn't know it yet).

FRANK BRIGHT is sleeping on a cot nearby.

Behind the children, we see CAT WITHERS, MELINDA HATCHER, and LINDA ST. PIERRE making beds. Standing nearby, holding piles of blankets, are GEORGE KIRBY, HENRY BRIGHT, and ROBBIE

BEALS. ROBBIE doesn't look happy about it.

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CARLA BRIGHT comes up to MOLLY, who is monitoring the festivities.

CARLA

Evening sessions now?

MOLLY It's sort of fun. But . . .

PIPPA manages to plant the tail somewhere in the region of the donkey's ass.

MOLLY

(continues)

. . . when they all finally fall asleep, I intend to track down the nearest alcoholic beverage and make it disappear.

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CARLA

I'll pour.

DON BEALS

I wanna be next!

MOLLY (to CARLA) Done deal.

She takes the blindfold off PIPPA and starts putting it on DON.

8 INTERIOR: THE TOWN HALL, UPSTAIRS NIGHT.

FERD ANDREWS bursts in, wild-eyed and covered with snow from top to tail.

FERD

(top of his lungs) Lloyd Wishman's dead!

All bustle and activity stops. Forty or fifty faces turn to FERD. Central to this group is URSULA GODSOE, with her clipboard.

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INTERIOR: THE TOWN HALL BASEMENT.

The KIDS are still having a good time, shouting "Warmer!" and "Colder!" to DON SEALS as he tries to pin the tail on the donkey, but all the ADULTS have turned toward the SOUND of that SHOUT. ROBBIE BEALS drops his pile of blankets and heads up the stairs.

10 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.

HATCH grapples with the SHAPE, hysterical with fear, until MIKE Stop it, Hatch! Whoa! Whoa!

HATCH stops it and looks up at MIKE, his terror becoming relief. He hugs MIKE tightly does everything but rain kisses on MIKE'S face.

MIKE

What's the-Then, without the distraction of being grappled by his rather overweight second-in-command, MIKE sees what the trouble is. His face fills with wonder. He walks slowly past HATCH to the dangling body. He looks at it ... then looks at LINOGE. LINOGE smiles back at him.

11 INTERIOR: THE TOWN HALL, FEATURES FERD NIGHT.

FERD

Lloyd Wishman's killed himself! Chopped his face in two with a axe! Oh, God, it's awful! Blood everywhere!

ROBBIE comes upstairs. His wife, SANDRA (a plain little thing), is there, and she grabs ineffectually at his shoulder, probably wanting some comfort. He yanks her hand off him without so much as a look (pretty much the way he treats her even in ordinary circumstances) and goes to FERD.

FERD

(babbling)

I ain't never seen nothin' like it! Knocked his own brains right out! And he wrote on the side of 124

the new pumper, didn't make no sense

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ROBBIE

(grabs him, shakes him) Get hold of yourself, Ferd! Get a damn grip!

FERD quits babbling. It's so quiet now you could hear a pin drop except, of course, for the CEASELESS WHOOP OF THE STORM OUTSIDE. FERD'S eyes are filling with tears.

FERD

Why would Lloyd chop his head in two, Robbie? He was going to get married, come spring.

12 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.

HATCH (also babbling)

I just went out to use the can and get a fresh coffee he was fine then. But he kept lookin' at him

. . . like a snake lookin' at a bird ... he ... he ...

MIKE looks at LINOGE. LINOGE looks back.

MIKE What did you do to him?

No reply. MIKE turns to HATCH.

MIKE Help me get him down.

HATCH Mike ... I don't know's I can.

MIKE You can.

HATCH gives him a pleading look.

LINOGE

(very pleasant) Let me out and /'// help, Michael Anderson.

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MIKE looks at him, then back at HATCH, who is pale and sweaty. But HATCH takes a deep breath and nods.

HATCH

Okay...

13 EXTERIOR: BEHIND THE STORE NIGHT.

A snowmobile pulls up next to the loading dock, and two men, bundled up in heavy nylon snowsuits, clamber off. They have rifles strapped over their shoulders. It's KIRK FREEMAN and JACK

CARVER, the next watch. They go up the steps.

14 INTERIOR: THE CONSTABLE'S OFFICE.

MIKE and HATCH have just finished putting a blanket over PETER we can see GODSOE'S

fisherman's boots poking out when a HAMMERING on the back door begins. HATCH gasps and lunges for the desk, where the pistol sits beside the makeshift sign, which the men took off the suicide's chest. MIKE grabs HATCH'S arm.

MIKE

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Relax.

He goes to the door and opens it. KIRK and JACK come in with snow swirling around them, stamping their feet.

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KIRK FREEMAN Right on time, by God, storm or no st

(sees the blanket-covered corpse) What ! Mike, who's that?

JACK CARVER (sick to his stomach) Peter Godsoe. I reckinize the boots.

JACK turns to look at LINOGE. KIRK follows his gaze. These men are new to the situation, but still understand instinctively that LINOGE has been a part of what has happened they feel his power.

In the corner, the CB RADIO CRACKLES.

URSULA (radio voice)

. . . ike . . . come in, Mike An . . . have a bad sit ... town hall . . . Lloyd Wish . . . gency . . .

emergency . . .

That last word, at least, comes through clearly. MIKE and HATCH exchange a startled, worried look what now? MIKE goes to the shelf where the CB sits and snatches up the microphone.

MIKE

Ursula, say again! Say again, please . . . and go slow! The roof antenna's snapped off and I'm barely picking you up. What is your emergency?

He lets go of the button. There is a tense pause. HATCH reaches past him and TURNS UP THE

VOLUME. SOUND OF STATIC, then:

URSULA (radio voice)

. . . oyd . . . shman . . . Ferd says . . . Robbie Beals . . . Henry Bright . . . have . . . can . . . hear me?

MIKE looks frustrated, then has an idea.

MIKE (to HATCH)

Go out front and get her on the Island Services CB. Come back as soon's you know what her trouble is.

HATCH

Right.

STORM OF THE CENTURY 139 He starts away, then looks back doubtfully.

HATCH You'll be okay?

MIKE He's locked up, isn't he?

HATCH looks more doubtful than ever, but he leaves.

KIRK FREEMAN Mike, do you have any idea what's going on here?

MIKE holds up a hand, as if to say, "Not now." He reaches into his coat pocket and brings out the Polaroids he took at MARTHA CLARENDON'S house. He shuffles through them until he finds the one from over the door. He lays this down in the corner of the paper he and HATCH took from around PETER GODSOE'S neck. They are identical even the drawing of the cane over MARTHA'S living 126

room door looks the same as the ones dancing on the sheet of paper.

JACK CARVER

What in God's name is happening?

MIKE starts to straighten up, then sees something else.

15 INTERIOR: THE OPEN POWERBOOK, FROM MIKE'S POINT OF VIEW.

The entire grid of HATCH'S crossword has been filled in with variations of "GIVE ME WHAT I WANT AND I'LL GO AWAY," plus the little cane-icons in the black squares.

16 INTERIOR: RESUME CONSTABLE'S OFFICE.

MIKE I'll be damned if I know.

17 INTERIOR: THE TOWN OFFICE, WITH URSULA NIGHT.

She's working the CB microphone for all it's worth. Behind her, looking anxious, are a number of men and women, SANDRA BEALS and CARLA BRIGHT among them.

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Mike, are you there?

URSULA f

MOLLY, also understandably worried, works her way through the knot of onlookers.

MOLLY Can't you get him?

URSULA

The wind's knocked the damned antennas down! Over here . . . over there ... all over the island, most likely.

HATCH (staticky radio voice) Ursula, do you read me? Come on back.

URSULA I'm here! I read you! You gettin' me, Alton Hatcher?

HATCH (radio voice)

You're breaking up some, but it's better than it was. What's your problem?

URSULA

Ferd Andrews says Lloyd Wishman has killed himself over at the firehouse HATCH (radio voice) What?

URSULA

only it doesn't sound like any suicide I ever heard of ... Ferd says Lloyd cut his own head open with an axe. And now Robbie Beals and Henry Bright have gone over there. To investigate, Robbie said!

HATCH (staticky radio voice) And you let 'em go?

i

STORM OF THE CENTURY 141 CARLA takes the mike from URSULA.

CARLA

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There was no way to stop Robbie. He practically shanghaied my husband. And there could be somebody there! Where's Mike? I want to talk to Mike!

18 INTERIOR: THE ISLAND SERVICES VEHICLE, WITH HATCH.

He sits behind the wheel, holding the mike and thinking this over. Events are spinning out of control here, and HATCH knows it. At last he raises the mike to his lips again.

HATCH

I'm calling from the truck Mike's inside. With the man who . . . you know, the prisoner.

CARLA (very staticky voice) You have to send him down there!

HATCH

Well . . . we got us a little bit of a situation right here, you see, and . . .

19 INTERIOR: THE TOWN OFFICE NIGHT. MOLLY grabs the microphone from CARLA.

MOLLY

afe, Is Mike all right, Hatch? You come on back and tell me.

20 INTERIOR: THE ISLAND SERVICES VEHICLE, WITH HATCH.

Poor guy actually looks relieved. Here, finally, is a question for which he can provide a satisfactory answer.

MOLLY

He's fine, Moll. That's a big 10-4. Listen, I have to go. I'll pass on the message. This is Island Services.

He lowers the mike, looking simultaneously perplexed and relieved, then racks it. He opens the door and gets out into the HOWLING STORM. MIKE has parked the vehicle next to GODSOE'S truck.

Now, as HATCH looks up, he sees LINOGE'S ghastly, grinning face peering 142 STEPHEN KING

out at him from the snow-caked driver's side window of the pickup truck. LINOGE'S eyes are DEAD BLACK.

HATCH GASPS and staggers backward. He looks at the window of the truck again. Nothing there.

Must have been his imagination. He starts toward the porch steps, then turns and looks back, like

"it" trying to catch one of the other children moving in a game of Red Light. Sees nothing. Goes on.

21 INTERIOR: LINOGE, CLOSE-UP.

Grinning. He knows perfectly well what HATCH saw in GODSOE'S truck.

22 EXTERIOR: THE FIRE STATION NIGHT.

The side door is open FERD didn't bother to close it when he fled the sight of his partner's corpse and the emergency lights inside the garage are throwing their glow out onto the snow.

A HEADLIGHT appears; the WASPY WHINE of a Sno-Cat accompanies it. The Sno-Cat pulls up.

ROBBIE gets out from one side (the driver's side, naturally) and HENRY BRIGHT from the other.

STORM OF THE CENTURY 143

HENRY I don't know about this, Robbie

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ROBBIE

You think we can wait for Anderson? On a night like this? Someone's got to take charge, and we happen to be the ones on the scene. Now come on!

ROBBIE strides in through the open side door, and after a moment, HENRY BRIGHT follows.

23 INTERIOR: THE FIREHOUSE GARAGE.

ROBBIE is standing to one side of the nearest pumper. His hood is pushed back, and he has once again lost most of his pompous authority. In one hand he holds his little gun, and now he waggles the barrel at the floor. HENRY looks, and the two men exchange an uneasy glance. FERD left BLOODY TRACKS when he fled.

ROBBIE and HENRY are both reluctant now, but as ROBBIE pointed out, they're on the scene.

They walk around the back of the pumper.

24 INTERIOR: ROBBIE AND HENRY.

As they come around the pumper, their eyes widen and their faces KNOT WITH REVULSION.

HENRY claps both hands over his mouth, but that isn't going to keep it in. He bends out of the frame, and we hear the SOUND OF VOMITING. (Sort of like the SOUND OF MUSIC, only louder.) ROBBIE looks at:

25 INTERIOR: THE BLOODY AXE, FROM ROBBIE'S POINT OF VIEW.

It lies on the floor, beside one of LLOYD WISHMAN'S boots. THE CAMERA TRAVELS UP the side of the pumper to the words printed there in paint as red as blood: "GIVE ME WHAT I WANT AND I'LL

GO AWAY."

26 INTERIOR: ROBBIE BEALS, CLOSE-UP.

Wide-eyed. Beginning to pass fear and perplexity and into the land where panic dwells and really bad decisions are made.

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27 EXTERIOR: ANGLE ON ATLANTIC STREET NIGHT.

The STORM IS HOWLING. We hear a LOUD, RENDING CRACK, and a tree branch falls into the street, crushing the snow-covered roof of a parked car. Conditions are still getting worse.

28 INTERIOR: THE CONSTABLE'S OFFICE.

JACK CARVER and KIRK FREEMAN are looking at LINOGE, fascinated. MIKE is still standing by the desk, looking at the weird crossword puzzle on the PowerBook. He's still got the Polaroids in his hand. When JACK takes a step toward the cell, MIKE speaks without looking up.

MIKE

Don't go over there.

JACK stops moving at once, looking guilty. HATCH comes in through the market, shedding snow at every step.

HATCH Ursula says Lloyd Wishman's dead over at the firehouse.

KIRK FREEMAN

Dead! What about Ferd?

STORM OF THE CENTURY 145

129

HATCH

Ferd's the one who found him. He says it's suicide. I think Ursula's afraid it might be murder.

Mike . . . Robbie Beals took Henry Bright over there. To investigate, I guess.

JACK CARVER claps his hand to his face. MIKE, however, hardly reacts. He's holding on to his cool, and thinking furiously.

MIKE

Streets still passable? What do you think?

HATCH

In a four-wheel drive? Yeah. Probably until midnight. After that HATCH shrugs, indicating "Who knows."

MIKE

You take Kirk and go on over to the fire station. Find Robbie and Henry. Keep your eyes open and be careful. Lock the place up, then bring them back here.

(long look at LINOGE)

We can keep an eye on our new pal while you do that. Can't we, Jack?

JACK

I dunno as that's such a good idea

MIKE

Maybe not, but right now it's the only idea. I'm sorry, but it is.

None of them look really happy, but MIKE is the boss. HATCH and KIRK FREEMAN head out, zipping up their coats. JACK has gone back to looking at LINOGE.

When the door is closed, MIKE starts shuffling through the Polaroids again. Suddenly he stops, looking at:

29 INTERIOR: THE POLAROID OF MARTHA'S CHAIR, CLOSE-UP.

Bloody and spooky as an old electric chair, but empty. MIKE'S HANDS shuffle to the next photo of the chair. In this one, the chair is also empty.

146 STEPHEN KING

30 INTERIOR: MIKE, CLOSE-UP. Surprised and puzzled. Remembering.

31 INTERIOR: MARTHA'S LIVING ROOM, WITH MIKE (flashback).

He has just pulled the drapes across the broken window and anchored them with the table. He turns back to MARTHA'S chair, raises the Polaroid, and TRIGGERS IT.

32 INTERIOR: THE WOLF'S HEAD CANE, CLOSE-UP (flashback).

It stares at us with its bloody teeth and eyes like a ghost wolf in a stroke of lightning, then FADES.

33 INTERIOR: RESUME CONSTABLE'S OFFICE, FEATURES MIKE. He's got three two pictures of MARTHA'S chair, side by side.

MIKE It's gone.

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JACK What's gone?

MIKE doesn't answer. He shuffles a fourth photo out of the stack. This is the one featuring the message written in MARTHA'S blood, and the rudimentary drawing of the cane. MIKE looks slowly up at LINOGE.

34 INTERIOR: LINOGE.

He cocks his head and puts his forefinger beneath his chin, like a girl being coy. He smiles a little.

35 INTERIOR: RESUME CONSTABLE'S OFFICE.

MIKE walks toward the cell. As he goes, he hooks a chair to sit in, but his eyes never leave LINOGE'S face. He's still got the Polaroids.

JACK

(nervous) Thought you said to stay away.

STORM OF THE CENTURY 147

MIKE

If he grabs me, why don't you shoot him? Gun's there on the desk.

JACK glances that way, but makes no move for the pistol. The poor guy looks more nervous than ever.

36 EXTERIOR: THE ISLAND DOCKS NIGHT.

They have been pretty well erased by the POUNDING OCEAN.

37 EXTERIOR: THE HEADLAND LIGHTHOUSE NIGHT.

It stands straight and white in the SHEETING SNOW, its big light going round and round. WAVES

CRASH HIGH around it.

38 INTERIOR: LIGHTHOUSE CONTROL ROOM NIGHT.

It's completely automated, and empty. Lights BLINK and FLASH. The SOUND OF THE WIND

outside is very strong, and the anemometer is flickering between fifty and sixty-three MPH. We can hear the place CREAKING and GROANING. Wave-spume splatters the windows and beads up on the glass.

39 EXTERIOR: THE LIGHTHOUSE NIGHT.

A big wave a monster like the one that destroyed PETER GODSOE'S warehouse strikes the headland and all but inundates the lighthouse.

40 INTERIOR: LIGHTHOUSE CONTROL ROOM NIGHT.

Several windows shatter, and water SPRAYS ACROSS THE EQUIPMENT. The wave withdraws and everything continues working ... so far, at least.

41 EXTERIOR: THE SIDE OF THE FIREHOUSE NIGHT.

ROBBIE BEALS and HENRY BRIGHT come out, shoulders hunched against the storm. They're not the men they were when they went in ... ROBBIE is especially shaken. He takes out a huge ring of keys (ROBBIE has keys to almost everything on the island, town manager's perogative) and begins to fumble through them, meaning to lock the

148 STEPHEN KING

131

door. HENRY puts a tentative hand on his arm. Once again, both men SHOUT to be heard above the HOWL OF THE STORM.

HENRY

Shouldn't we at least check upstairs? See if anyone else ROBBIE

That's the constable's job.

He sees the look HENRY'S giving him, the one that says, "You sure changed your tune," but he won't back down; it would take a lot more man than HENRY BRIGHT to get ROBBIE upstairs after what they just saw downstairs. He finds the right key and turns it in the lock, securing the firehouse.

ROBBIE

We ascertained that the victim is dead, and we have secured the scene. That's enough. Now come on. I want to get back to the

HENRY

(pedantic, fussy)

We never really made sure he was dead, you know . . . never took his pulse, or anything . . .

ROBBIE

His brains were all over the running board of Pumper Number Two, why in God's name would we have to take his pulse?

HENRY

But there might be someone else upstairs. Jake Civiello . . . Duane Pulsifer, maybe . . .

ROBBIE

The only two names written on the duty board were "Ferd Andrews" and "Lloyd Wishman."

Anyone else in there would likely turn out to be a friend of that Linoge, and I don't want to meet any of his friends, if it's all the same to you. Now come on!

STORM OF THE CENTURY 149

He grabs HENRY by the coat and practically drags him back to the Sno-Cat. ROBBIE fires it up, guns it impatiently as he waits for HENRY to clamber in, then turns it in a circle and heads back for the street.

As he does, the Island Services four-wheel drive conies trudging out of the storm. ROBBIE

corrects his course, meaning to go around, but HATCH sees his intention and cuts him off neatly.

42 EXTERIOR: FEATURES SNO-CAT AND ISLAND SERVICES VEHICLE NIGHT.

HATCH gets out of his vehicle, flashlight in hand. ROBBIE opens the canvas-sided door of the Sno-Cat and leans out. He has recognized HATCH and has regained his previous hectoring authority.

Once again, EVERYONE SHOUTS to be heard over the SOUND OF THE WIND.

ROBBIE

Get out of my way, Hatcher! If you want to talk, follow us back to the town hall!

HATCH

Mike sent me! He wants you over at the constable's! Henry, you too!

132

ROBBIE

I'm afraid that's impossible. We have wives and children waiting at the town hall. If Mike Anderson wants either of us to stand a watch later, that's fine. But for the time being HENRY

Lloyd Wishman's dead . . . and there's something written on the side of one of the fire trucks. If it's a suicide note, it's the weirdest one I ever heard of.

KIRK comes around to the front of the Island Services truck, holding his hat down with both hands.

KIRK

Come on, let's get going! This ain't no place for a discussion!

150 STEPHEN KING

ROBBIE

(annoyed)

I agree. We can have our discussion back at the town hall, where it's still warm.

He starts to close the door of the Sno-Cat. HATCH grabs it.

HATCH

Peter Godsoe's dead, too. Hung himself, (pause) He also left a weird suicide note.

ROBBIE and HENRY are dumbfounded.

HATCH

Mike asked me to come get you, Robbie Beals, and that's what I'm doing. You come on and follow me back to the store. I don't want to hear any more sass about it.

HENRY (to ROBBIE) We better do it.

KIRK

Coss you better do it! Hurry up!

HENRY

Peter Godsoe . . . my God in heaven, why?

ROBBIE is being driven in a direction he doesn't want to go, and he hates it. He grins without humor at HATCH, who stands pudgy and determined behind his flashlight.

ROBBIE

You're the one who keeps putting that department store dummy on the porch of the store. Do you think I don't know that?

HATCH

We can talk about it later on, if you want. Right now the only thing matters is that we've got bad trouble tonight . . . and not just the storm. I can't make you pitch in and help if you don't want to, but I can make sure that when this is over, people know you were asked . . . and you said no.

STORM OF THE CENTURY 151

133

HENRY I'll come, Hatch.

KIRK

Good boy!

HENRY opens the door on his side preparatory to getting out and joining HATCH and KIRK.

ROBBIE grabs him by the jacket and hauls him back into his seat.

ROBBIE

All right . . . but I'll remember this.

HATCH You do that. Did you lock the place up?

ROBBIE

(contemptuously) Of course. Do you think I'm stupid?

HATCH won't touch that one with a ten-foot pole . . . although he probably could if he wasn't set on being as diplomatic as possible. He only nods and starts slogging back toward the Island Services vehicle, his flashlight cutting arcs through the falling snow. HENRY opens his door again to call after him.

HENRY

Can you raise the town hall on the CB? Tell Carla and Sandy we're okay?

HATCH gives him a thumbs-up and climbs into the truck. He revs the engine, then pulls slowly around so he's headed back toward the market, all four wheels whirring and spuming up snow. The Sno-Cat, with ROBBIE at the controls, follows.

43 INTERIOR: THE CAB OF THE ISLAND SERVICES VEHICLE, WITH HATCH.

HATCH (on the radio) Ursula? Are you there, Ursula? Come on back?

152 STEPHEN KING

44 INTERIOR: THE TOWN OFFICE.

There's a good-sized crowd, very anxious, grouped around URSULA. Among them is FERD

ANDREWS, now out of his coat, sipping a hot drink and wearing a blanket. Also prominent are MOLLY, CARLA, and SANDY, who now has DON with her, for comfort.

HATCH (staticky radio voice) . . . sala? . . . Come on ... ack . . .

URSULA ignores the voice for a moment, holding the mike against her shoulder and looking uneasily at the crowd, which is hemming her in even more closely now, eager to hear any fresh news. These are her neighbors, sure, but . . .

MOLLY sees the incipient agoraphobic reaction and turns to the crowd.

MOLLY

Come on, folks, give Ursula some room. Back off ... If we hear anything, you'll know.

TESS MARCHANT

(joining in)

Move back! Move back! If you don't have anything else to do, go on downstairs and watch the storm on the Weather Network!

UPTON BELL

134

Can't! The cable's out!

But they move back and give URSULA some room. She flashes MOLLY and TESS a look of thanks, then raises the microphone and pushes the transmit button.

URSULA

You're weak, but I've got you, Hatch. Talk slow and loud, come on back.

45 INTERIOR: THE ISLAND SERVICES VEHICLE, WITH HATCH.

STORM OF THE CENTURY 153

HATCH

Robbie and Henry are fine. Thought you'd want to know that, come back.

46 INTERIOR: THE TOWN HALL, FEATURING URSULA.

SANDRA BEALS and CARLA BRIGHT both register relief. DON, never one to rest for long when there are toys to be destroyed and peers to humiliate, tears free of his mother and hurtles back downstairs.

DON BEALS

My dad's okay! He's the town manager! He can pass a football nine miles! Last year he sold a billion-billion dollars of insurance! Who wants to play monkey?

URSULA Is Lloyd Wishman really dead, Hatch?

47 INTERIOR: THE ISLAND SERVICES VEHICLE, WITH HATCH.

He hesitates and exchanges a glance with KIRK FREEMAN. No help there. HATCH knows he must be careful; deciding what information to give out and what to sit on is really MIKE'S job. He checks the rearview, just to make sure the Sno-Cat's still behind him. It is.

HATCH

Uh . . . I don't know all the details yet, Urse. Just tell Sandy and Carla their boys'll be a while longer. Mike wants 'em over to the store for a little bit.

URSULA (very staticky voice) Why . . . ore? Is that . . . ocked up? Molly wants . . . know . . .

HATCH

Can't hear you very well, Urse you're breakin' up. I'll try you again in a little while. This is Island Services, 10-60 by.

He hangs up the mike with an expression of guilty relief, sees KIRK looking at him, and gives KIRK a little shrug.

HATCH

Hell, / don't know what to tell 'em! Let Mike do that part it's what they pay him for.

154 STEPHEN KING

KIRK

Yeah grocery money, with a few bucks left over for lottery tickets.

48 INTERIOR: MIKE AND LINOGE, IN THE CONSTABLE'S OFFICE NIGHT.

135

MIKE is sitting in the chair he dragged over. LINOGE is sitting on his bunk with his back to the wall and his knees apart. They look at each other through the bars. In the background, by the desk, JACK CARVER stands watching them.

MIKE

Where's your cane?

(no response from LINOGE) You had a cane I know you did where is it?

(no response from LINOGE) Sir, how did you get to Little Tall Island?

(no response)

MIKE holds up the Polaroid that shows the message over MARTHA'S living room door.

MIKE

"Give me what I want and I'll go away." Did you write that? You did, didn't you?

(no response) Just what is it you want, sir?

No response . . . but the prisoner's eyes gleam. The tips of his teeth show in that creepy little smile. MIKE gives him time, but there is no more.

MIKE

Andre Linoge. I take it you're French. There are a lot of people of French descent on the island.

We've got St. Pierres . . . Robichauxes . . . Bissonettes . . .

(no response)

What happened to Peter Godsoe? Did you have something to do with that?

(no response)

How did you happen to know he was running pot out of his warehouse? Always assuming that he was?

STORM OF THE CENTURY 155

LINOGE

I know a lot. Constable. I know, for instance, that when you were at the University of Maine, and in danger of losing your scholarship over a D in chemistry during your sophomore year, you cheated on the midterm exam. Not even your wife knows that, does she?

MIKE is rocked. He doesn't want LINOGE to see it, but he can't help it.

MIKE

I don't know where you get your information, but you're wrong on that one. I was going to I had a crib sheet, Mr. Linoge, and every intention of using it but I threw it away at the last minute.

LINOGE

I'm sure that over the years, you've convinced yourself that's the truth . . . but right now we both know better. You ought to tell Ralphie sometime. It would make a nice bedtime story, I think. "How Daddy Got Through College."

(shifts his attention to JACK)

You never cheated on an exam in college, did you? Never went to college, and nobody bothers you for pulling D's in high school.

136

156 STEPHEN KING

JACK is staring, wide-eyed.

LINOGE

They still put you in jail for assault, though ... if you get caught. You were lucky last year, weren't you? You and Lucien Fournier and Alex Haber. Lucky boys.

JACK Shut up!

LINOGE

That fella just rubbed you guys the wrong way, didn't he? Had kind of a lisp . . . and that blond hair, curly like a girl's hair . . . not to mention the way he walked . . . Still, three against one . . .

and pool cues . . . well . . . hardly sporting

LINOGE makes a tsk-tsk sound. JACK takes a step toward the desk, and his Ests CLENCH.

JACK

I'm warning you, mister!

LINOGE

(smiling)

The kid lost an eye how about that, huh? You could go and see for yourself. He lives in Lewiston.

He wears a paisley eye-patch his sister made him. He can't cry out of that eye the tear duct is toast. He lies in bed late at night and listens to the cars on Lisbon Street and the live bands from the bottle clubs, the ones that can play anything as long as it's "Louie Louie" or "Hang On Sloopy," and he prays to St. Andrew to bring back the sight in his left eye. He can't drive anymore; he lost his depth perception. That happens when you lose an eye. He can't even read for long, because it gives him headaches. Still, he had that swishy way of walking . . . and that lisp . . . and you guys kind of liked the way his hair looked, all around his face like it was, although you'd never say that to each other, would you? Kind of turned you on. Kind of wondered what it would feel like to run your hands through it

JACK grabs the gun off the desk and points it at the cell.

STORM OF THE CENTURY 157

JACK

Shut up or I'll shut you up! I swear!

MIKE

Jack, put that down!

LINOGE never moves, but his face has taken on a kind of DARK GLOW. No special contact lenses or special-effects tricks here; it's all in his face goading . . . hateful . . . powerful.

LINOGE

There's another bedtime story for a stormy night. I can see you in bed with your arm around your little boy's shoulders. "Buster, Daddy wants to tell you how he put the nasty queer man's eye out with the end of a pool cue, 'cause "

JACK pulls the trigger of the pistol. MIKE falls off the chair he's been sitting in. He utters a CRY

OF PAIN. LINOGE never budges from his place on the bunk, but now MIKE is on the floor, face down.

137

FADE TO BLACK. THIS ENDS ACT 1.

Act 2

49 EXTERIOR: THE ISLAND MARKET NIGHT.

The storm is HOWLING, the snow falling so thick and fast the store looks like a ghost.

SOUND: A RENDING, SPLINTERING CRACK. A tree falls, missing GODSOE'S truck but mashing the front end of MOLLY'S little car and pulverizing one end of the porch rail.

JACK (voice-over) Mike! Mike, are you all right?

50 INTERIOR: THE CONSTABLE'S OFFICE.

MIKE is getting to his knees. His right hand is clapped to his left biceps, and a little blood is trickling through his fingers. JACK is overwhelmed with remorse and terror at what he's done ... or almost done. He drops the gun back on the desk and rushes forward. MIKE, meanwhile, is getting to his feet.

)

JACK

(babbling) Mike, I'm sorry ... I didn't mean . . . are you all r MIKE pushes him violently backward.

MIKE Keep a safe distance from him didn't I tell you that?

But that's not why MIKE pushed him; MIKE pushed him for being an asshole, and JACK knows it.

He stands between the cell and the desk, his mouth quivering and his eyes wet. MIKE takes his hand away from his arm to examine the damage. His shirt is torn, and blood is oozing out of the rip.

158

STORM OF THE CENTURY 159

SOUND: ENGINES. The four-wheel drive and the Sno-Cat, approaching.

MIKE Barely clipped the skin. Lucky.

(relief from JACK) But six inches to the left, I'm dead and he's laughing.

MIKE turns and looks at the cell. One of the bars has a scar of fresh, gleaming metal. MIKE

reaches out and touches this with the tip of one finger, his expression wondering.

MIKE Where

LINOGE Here.

He holds out one hand, curled into a fist. Like a man in a dream, MIKE puts his arm through the bars, his hand open and palm up.

JACK

Mike, no!

MIKE pays no attention. LINOGE'S curled hand hovers over his palm, then opens. Something small and black drops. MIKE withdraws his hand. JACK comes forward a step or two. MIKE tweezes the tiny object between his fingers and holds it up so they can both see it. It's the slug from the bullet JACK fired.

SOUND OF ENGINES IS LOUDER.

138

MIKE

(to LINOGE) You caught this? You did, didn't you?

LINOGE only looks at him, smiling, saying nothing.

51 EXTERIOR: THE MARKET NIGHT.

The Island Services four-wheel drive pulls into the parking area, and 160 STEPHEN KING

the Sno-Cat pulls in next to it. The four men get out and look at the downed tree that's mashed the car and the porch.

HATCH Will his insurance cover that, Robbie?

ROBBIE

(don't bother me with trivialities) Come on. Let's get out of this.

They start up the porch steps.

52 INTERIOR: THE CONSTABLE'S OFFICE.

MIKE'S shirtsleeve is rolled up, showing a shallow gash across his biceps. There's an open first-aid kit on the desk beside the handgun. JACK puts a folded-over gauze pad on the wound, then anchors it with a Band-Aid.

JACK

Mike, I'm really sorry.

MIKE takes a deep breath, holds it, lets it out, and stops being mad. It takes an effort, but he manages.

The market's main door opens. The bell above it TINKLES; there's the CLOMP OF BOOTS and the MURMUR OF APPROACHING VOICES.

MIKE That's Hatch!

JACK About the stuff that guy said . . .

JACK turns a hateful, bewildered look on LINOGE, who looks back at him calmly. MIKE holds up a hand to quiet JACK. The door opens. HATCH comes in, followed by HENRY BRIGHT and KIRK

FREEMAN. Last of all is ROBBIE BEALS, looking both truculent and scared. Not a good combination.

ROBBIE

All right, what's going on here?

STORM OF THE CENTURY 161 MIKE

Robbie, I wish I knew.

53 EXTERIOR: THE INTERSECTION OF MAIN AND ATLANTIC NIGHT.

The storm HOWLS. The drifts are deeper than ever now.

54 EXTERIOR: THE STORE WINDOW OF THE ISLAND DRUGSTORE NIGHT.

There's a mural showing winter scenes: folks sledding, skiing, and skating. Hanging in front of it on threads are bottles of vitamins. KEEP YOUR WINTER RESISTANCE UP WITH NU-U GLOW

139

VITAMINS! the legend at the top of the mural says. Standing by the wall to the left is a pendulum clock reading 8:30.

SOUND: Another of those RENDING, SPLINTERING crashes. A HUGE BRANCH crashes through the show window, SHATTERING IT and pulling down the mural. Snow goes flying into the drugstore.

55 EXTERIOR: THE TOWN HALL NIGHT.

We can barely see it for the thickly falling snow.

56 INTERIOR: A CORNER OF THE TOWN HALL BASEMENT.

This is kid country. PIPPA HATCHER, HARRY ROBICHAUX, HEIDI ST. PIERRE, and FRANK BRIGHT

are already asleep. MOLLY is sitting on the side of RALPHIE'S bed. RALPHIE is pretty sleepy.

Outside, THE WIND GUSTS NOISILY. The building, although brick, CREAKS. MOLLY looks up.

RALPHIE

We won't blow away, will we? Like the house of straw and the house of twigs?

MOLLY

No, because the town hall's made of bricks, just like the third little pig's house. The storm can huff and puff all night long, and we'll still be safe.

RALPHIE

(sleepy) Is Daddy safe?

162 STEPHEN KING

MOLLY Yes. Safe as can be.

She kisses the fairy-saddle birthmark on the bridge of his nose.

RALPHIE

He won't let the bad man get out and hurt us, will he?

MOLLY Nope. I promise.

DON BEALS

(angry, yelling voice) Put me down! Stop it! Leave me alone!

MOLLY turns toward:

57 INTERIOR: THE STAIRS TO THE BASEMENT NIGHT.

SANDRA BEALS is trudging down them, carrying a kicking, squealing DON in her arms. The expression on her face suggests that she is used to such tantrums . . . too used to them, perhaps.

As she reaches the foot of the stairs, MOLLY comes hurrying to help, and DON finally succeeds in squirming free of his mother's grasp. He's tired and furious, exhibiting the sort of behavior that causes young marrieds to resolve never to have children.

MOLLY Need some help?

SANDRA BEALS (with a tired smile) No . . . he's just a little scratchy . . .

DON BEALS My daddy puts me to bed, not you!

SANDRA Donnie, honey . . .

140

He kicks her. It's a child's kick, delivered by a sneaker, but it hurts.

STORM OF THE CENTURY 163

DON

(spits it) My daddy! Not you!

For a moment we see real loathing for this child on MOLLY'S face. She reaches out DON cringes away from her a little, eyes narrowing

SANDRA

Molly, no!

but MOLLY only turns him around and gives him a swat on the fanny.

MOLLY

(pleasant as pie) Go upstairs. Wait for your daddy.

DON BEALS, charming to the end, BLOWS A RASPBERRY at MOLLY, showering her with droplets of spittle. Then he scampers upstairs. The two women watch him go, SANDRA embarrassed over her son's behavior, MOLLY pulling herself back together. We should see that, good mom and day-care teacher or no, it at least crossed her mind to slap the little snothead's face for him, instead of swatting him lightly on the butt.

SANDRA

I'm sorry, Moll. I thought he might be ready. He's . . . he's used to having his dad tuck him in at night.

MOLLY

Better let him stay up I think Buster's still running around up there, too. They'll play tag for a while and then fall asleep in a corner somewhere.

During this, they walk back into the kiddie area, lowering their voices as they go.

SANDRA

As long as he didn't disturb anyone . . .

MOLLY Nah, they're out like lights.

164 STEPHEN KING

And that includes RALPHIE. MOLLY pulls the blanket up to his chin and kisses the corner of his mouth. SANDRA looks at this enviously.

SANDRA

I worry about Donnie sometimes. I love him, but I worry about him, too.

MOLLY

They go through stages, Sandy. Don may have his . . . his unlovely moments now, but in the end he'll be fine.

She's dubious, though, hoping what she says is true but not really believing it. Outside, the WIND

SCREAMS. The two women look up uneasily . . . and SANDRA gives in to a sudden urge to confide.

SANDRA

141

I'm leaving Robbie in the spring. I'm taking Donnie and going back to my folks' on Deer Isle. I didn't think I'd made up my mind for sure, but ... I guess I have.

MOLLY looks at her with a combination of sympathy and confusion. Doesn't know how to respond.

58 INTERIOR: THE TOWN HALL KITCHEN NIGHT.

This is a pretty well equipped place a lot of bean suppers and holiday meals have been prepared here. Now a number of WOMEN are bustling around, making ready for tomorrow's storm center breakfast. One of them is MRS. KINGSBURY; another is JOANNA STANHOPE. JOANNA'S mother-in-law sits by the door like a queen, overseeing the proceedings. CAT WITHERS comes into the room, dressed for outdoors.

MRS. KINGSBURY Going to help Billy?

CAT

Yes, ma'am.

MRS. KINGSBURY

See if there's any oatmeal on the very back shelf. And tell Billy to remember the juice.

STORM OF THE CENTURY 165

CORA

Oh, I imagine he don't have any problem in the juice department. Does he?

CORA, who has no idea of what happened when LINOGE was brought through the store, and consequently has no idea of the trouble that's now between CAT and BILLY, gives a nasty old woman's chuckle. CAT is not amused. She crosses to the back door. Her face what we can see of it between her pulled-up scarf and pulled-down hat is careworn and unhappy. Yet she's determined to talk to BILLY and to save the relationship if she can.

59 EXTERIOR: THE REAR OF THE TOWN HALL NIGHT.

Here is a snow-covered, drifted-in walk leading to a small brick annex the supply shed. The shed door is open, and the faint light of a Coleman lantern drifts out into the blowing snow, showing us a wide, flat track, which is already drifting over.

THE CAMERA moves into this shed, and we see BILLY SOAMES, also bundled up, putting supplies onto the toboggan he has pulled out here. Mostly they're the concentrates URSULA spoke of pour water over the powder and then gag it down but there are also cartons filled with packages of cereal, a basket of apples, and several bags of potatoes.

CAT (voice-over) Billy?

He turns.

60 INTERIOR: THE SUPPLY SHED NIGHT.

CAT is standing in the doorway. BILLY looks back at her. Their breath SMOKES in the uncertain light of the gas lantern. There is a vast gulf of distrust between them now.

CAT

Can I talk to you?

BILLY

I guess. Why not?

142

166 STEPHEN KING

CAT

Billy, I

BILLY

Is it true, what he said? Let's talk about that. Did you go up Derry and have an abortion?

She says nothing. It's answer enough.

BILLY

I guess that's all the talk we need, isn't it? I guess that says it all.

He deliberately turns away from her and starts rummaging on the shelves again. CAT reacts to this with frustrated anger and enters the shed, stepping over the half-loaded toboggan to get to him.

CAT Don't you want to know why?

BILLY

Not particularly. It was ours at least I guess it was and it's dead. Guess that's all I need to know.

CAT is angrier than ever. She's forgetting she came out here to save the village, not destroy it.

Given his attitude, that's maybe not surprising.

CAT

You asked me one; I'll ask you one. What about Jenna Freeman?

There's a challenging tone in her voice. BILLY'S hands freeze on the cans he's been sorting.

These are cafeteria-sized cans of apple juice. Each label reads "McCALL'S BRAND" above a picture of a ripe apple. Below the apple are the words "GRADE A FANCY." BILLY turns to CAT, chin pugnaciously forward.

BILLY Why do you ask, if you already know?

CAT

Maybe to get that Little Minister look off your face. Yeah, I STORM OF THE CENTURY 167

knew. The biggest tramp on the coast, and you chasing her like she was on fire and you wanted to put her out.

BILLY It wasn't like that.

CAT Then what was it like? Tell me.

No answer from BILLY. He's got his back to the shelves now; he's facing her, but he won't meet her eyes.

CAT

I don't understand it I never told you no. Never once did I tell you no. And still . . . Billy, how many times a day do you itch?

BILLY

143

What has that got to do with our baby? The one I had to hear about from a stranger, and in front of half the town?

CAT

I knew who you were running with, don't you get that? How was I supposed to trust you to do the right thing? How was I supposed to trust you at all?

BILLY doesn't reply. His jaw is set. If there is truth in what she's saying, he's not seeing it. Won't see it, likely.

CAT

Do you know what it's like to find out you're pregnant one week, and that your boyfriend is spending his afternoons with the town pump the next?

She's now right in his face, shouting up at him.

BILLY

(shouting back)

That baby was half mine! You went up to Deny and murdered it, and it was half mine!

168 STEPHEN KING

CAT

(jeering) Yeah, sure. Now that it's gone, it's half yours.

61 INTERIOR: THE CONSTABLE'S OFFICE, FEATURING LINOGE NIGHT.

The five men MIKE, HATCH, KIRK, JACK, and ROBBIE are gathered around the desk, while MIKE tries to reach the Machias state police on the radio. HATCH is watching MIKE, but the rest can't keep their eyes off LINOGE.

Suddenly the prisoner sits up, his eyes widening. JACK elbows MIKE to get his attention. MIKE

turns to look. As he does, LINOGE extends one hand with the forefinger pointed down. He revolves it once in the air.

62 INTERIOR: SUPPLY SHED, WITH CAT AND BILLY NIGHT.

BILLY turns back to the shelf, so his back is to her. This move exactly mimes the turning gesture LINOGE made with his finger.

BILLY

What's that supposed to mean?

CAT

That I'm not stupid. If I'd come to you when you were still chasing after Jenna, I know what you would have thought "Little bitch got herself pregnant just to make sure I wouldn't get away."

BILLY You did a whole lot of my thinking for me, didn't you?

CAT

You ought to thank me! You sure haven't been doing much for yourself!

BILLY

And what about the baby? The one you murdered? How much thinking did you do about the baby?

144

(no reply from CAT) Get out of here. I can't stand listening to you.

STORM OF THE CENTURY 169

CAT

Dear God. You're unfaithful, and that's bad, but you're a coward, and that's worse too chicken to own up to the part of this that belongs to you. I thought maybe I could save us, but there's nothing to save. You're only a stupid kid, after all.

She turns to go. BILLY'S face cramps with rage. He stands facing the shelves, and now he sees: 63 INTERIOR: THE CANS OF JUICE, FROM BILLY'S POINT OF VIEW.

"McCALL'S BRAND" at the top has been replaced by "McCANE'S BRAND." The ripe apple on the labels has been replaced by a black cane with a silver wolfs head. And instead of "GRADE A FANCY,"

each can reads "GRADE A BITCHY."

64 INTERIOR: THE CONSTABLE'S OFFICE, FEATURES LINOGE. LINOGE puts out his hand and MIMES GRIPPING AN OBJECT.

KIRK

What's he doing?

MIKE shakes his head. He doesn't know.

65 INTERIOR: THE STORAGE SHED, WITH BILLY AND CAT.

He takes one of the cans off the shelf, gripping it like a club as CAT, headed for the door, steps over the half-loaded toboggan behind him.

66 INTERIOR: THE CONSTABLE'S OFFICE, FEATURES LINOGE.

MIKE What's up, sir? Mind telling me?

LINOGE takes no notice. He's totally absorbed. He makes the twirling gesture with his forefinger again, then scissors his fingers in the air to mime WALKING.

67 INTERIOR: THE SHED, WITH BILLY AND CAT.

She's at the door, back to him, when BILLY turns with the big can of apple juice. He steps toward her

170 STEPHEN KING

68 INTERIOR: THE CONSTABLE'S OFFICE.

MIKE walks toward the cell as LINOGE gets to his feet and raises his arm above his head. His hand is cupped, as if holding an object that only he can see.

69 INTERIOR: THE SHED, WITH BILLY AND CAT.

As CAT steps out into the storm, BILLY raises the can over his head.

70 INTERIOR: THE CELL, WITH LINOGE.

He raises his other hand, now MIMING A TWO-HANDED GRIP.

71 EXTERIOR: OUTSIDE THE SUPPLY SHED, WITH CAT NIGHT.

She stands just outside the door on the rapidly disappearing toboggan track. She wipes the tears from her cheeks with her gloved palms, then readjusts her scarf.

145

It gives BILLY plenty of time. He appears behind her in the doorway with the can raised over his head in both hands, his face twisted into a hateful grimace.

72 INTERIOR: THE CELL, WITH LINOGE.

MIKE stands outside the bars, looking at his prisoner with perplexity and fear. The other men huddle behind him. LINOGE ignores them all and BRINGS HIS HANDS DOWN.

73 EXTERIOR: THE SUPPLY SHED, WITH BILLY AND CAT.

BILLY almost does it. We see the heavy can of apple juice actually start an arc of descent that would mime the one described by LINOGE'S hands, and then it stops. The expression of BLIND

RAGE on BILLY'S face breaks up into one of bewilderment and horror my God, he's almost caved her skull in! *

CAT neither knows nor intuits any of this. She begins trudging back toward the town hall with her head lowered and the ends of her scarf blowing in the gale.

STORM OF THE CENTURY 171

74 INTERIOR: THE CELL, WITH LINOGE.

He's still bent over, his linked hands swinging by his knees, the picture of a man who has just delivered a hard blow with a heavy object. But he knows he's failed. His face is BEADED WITH

SWEAT, and his eyes are hot with fury.

LINOGE She's right. You are a coward.

MIKE

What in the hell are you

LINOGE

(roaring) Shut up!

On the table, one of the Coleman gas lamps BLOWS APART, glass spraying. The men by the desk CRINGE.

LINOGE wheels around, looking wild and distracted more like a tiger in a cage than ever and then throws himself facedown on the cot, with his arms wrapped around his head. He's MUTTERING.

MIKE leans as close as the cell bars will allow, listening.

LINOGE The back step . . . the back step ... by the back step . . .

75 EXTERIOR: THE BACK STEPS OF THE TOWN HALL NIGHT.

We're looking through the snow-filled panes into the kitchen, where CORA still sits, observing the bustle of JOANNA and MRS. KINGS-BURY. They have now been joined by CARLA ST. PIERRE and ROBERTA COIGN these two are loading the dishwasher. It all looks cozy and pleasant, especially given the HOWLING WIND and DRIVING SNOW just outside.

THE CAMERA PANS DOWN. Beside the snow-covered stoop is a milk storage box. And leaning against the milk box, buried to half its length in a snowdrift, is LINOGE'S CANE. The wolf's head glares.

172 STEPHEN KING

CAT'S GLOVED HAND comes down and touches the silver head. One finger runs over the wolfs snarling muzzle.

76 EXTERIOR: CAT, CLOSE-UP NIGHT. Wide-eyed. Fascinated.

146

77 INTERIOR: THE CELL, WITH LINOGE NIGHT.

Still facedown on his bunk, arms wrapped around his head, MUTTERING RAPIDLY. CHANTING.

MIKE doesn't know what's going on, but he knows it's bad news.

MIKE Stop it, Linoge!

LINOGE pays no attention. If anything, the RAPID MUMBLE of his words SPEEDS UP.

78 EXTERIOR: THE BACK STOOP OF THE TOWN HALL NIGHT.

CAT is gone, but we can see her tracks where she turned around and headed back to the supply shed again.

V

The cane is gone, too. Blowing snow is rapidly softening the edges of the hole where its barrel was shoved into the snowbank.

79 INTERIOR: THE SUPPLY SHED, FEATURING BILLY NIGHT.

He's squatting to one side of the toboggan, which is now completely loaded. He spreads a piece of tarp over the goods, then begins to secure this with a couple of pieces of elasticized cord.

We can't see the doorway from this angle, but we see the SHADOW SHAPE that falls over him . . .

and we also see the SHADOW OF THE CANE when it extends itself from the human shape and begins to rise. The movement attracts BILLY'S eye, as well. He shifts position . . . looks up ...

80 INTERIOR: CAT WITHERS, FROM BILLY'S POINT OF VIEW NIGHT. Transformed into an avenging harpy. Her lips are pulled back from her

STORM OF THE CENTURY 173

teeth in a snarl. She is holding the cane by its foot, with the wolf's head protruding.

She SCREAMS and brings the cane down.

81 INTERIOR: LINOGE, FACEDOWN ON THE CELL COT.

SCREAMING TRIUMPHANTLY into the pillow, with his arms still wrapped around his head.

82 INTERIOR: THE CONSTABLE'S OFFICE, WIDER.

MIKE backs away from the cell door, UNNERVED. The other four men are pressed together like sheep in a hailstorm. All of them are TERRIFIED. LINOGE CONTINUES SCREAMING.

83 EXTERIOR: ANGLE ON THE SUPPLY SHED NIGHT.

From out here, we can't see what's happening, and that's probably good. We can see CAT'S

SHADOW, however . . . and the shadow of the cane, rising and falling, rising and falling.

FADE TO BLACK. THIS ENDS ACT 2.

ActS

84 EXTERIOR: THE LIGHTHOUSE NIGHT.

The tide, now on the ebb, sends up explosions of FOAMY WATER, but the searchlight continues to swing around. Some of the windows at the top are broken out, but the lighthouse has won out over the storm. For now, anyway.

85 EXTERIOR: THE DISPLAY WINDOW OF THE ISLAND DRUGSTORE NIGHT.

The aisles of the store are filling up with snow, and it's started to coat the glass over the face of 147

the pendulum clock, but we can still read the time: 8:47.

86 INTERIOR: A CORNER OF THE TOWN HALL BASEMENT, WITH MOLLY.

She's in a wing chair in one corner, with a pair of Walkman earphones on. They're on crooked and slipping down further all the time. We can hear THE FAINT SOUND OF CLASSICAL MUSIC. MOLLY is fast asleep.

Hands reach into the frame and take off the headphones. When this happens, MOLLY opens her eyes. There's a girl of about seventeen standing beside her. ANNIE smiles, a bit embarrassed, and holds out the headphones.

ANNIE HUSTON Want 'em back? They were, like, slipping off.

MOLLY

No, thanks, Annie. With those things I always end up asleep and listening to Schubert on my fillings.

She gets up, stretches, then puts the Walkman on the seat of the chair. The part of the downstairs that serves as an activity area has been curtained off from the sleeping area, which we can see through the gap

174

f

STORM OF THE CENTURY 175

in the makeshift draw curtains. The KIDS are all sleeping, now, and a few adults have turned in, as well.

There's a TV against one wall of the activity area. About forty people are gathered around it, some sitting on the floor, some in folding wooden Bingo chairs, some standing at the back. The TV is broadcasting a FUZZY PICTURE that shows the weatherman from WVII, the Bangor ABC affiliate.

Standing beside the TV and turning the rabbit ears this way and that, hoping for a better picture (pretty much a lost cause, I'm afraid) is LUCIEN FOURNIER, a good-looking man of about thirty in a reindeer sweater. He's one of JACK CARVER'S gay-bashing buddies.

WEATHER GUY

At this time the storm is continuing to build, with the greatest concentrations of snow in the coastal and central areas. We here at Channel Seven find the numbers almost impossible to believe, but Machias is already reporting a fresh foot and a half . . . this is without the drift factor, remember, and zero visibility. No traffic is on the roads, (laughs) Hey, what roads, right? Conditions in Bangor are nearly as bad, with power outages reported all up and down the grid. Brewer is entirely dark, and in Southwest Harbor, a church steeple has reportedly blown over. It's bad out there, and we haven't seen the peak of the storm yet. This is one you'll be telling your grandchildren about . . . and they probably won't believe you. Every now and then I have to look out the newsroom window to believe it myself.

Standing near the back of the crowd, peering around the other standees, is URSULA GODSOE.

MOLLY taps her on the shoulder, and URSULA turns to her, unsmiling.

MOLLY

(nods toward the TV) What're they saying?

URSULA

Howl and blast followed by blast and howl. Such condition to continue through tomorrow and into tomorrow night, when things are finally supposed to start quieting down.

176 STEPHEN KING

148

Power's out from Kittery to Millinocket. Coastal communities are cut off. Us island guys . . . forget it.

She looks really dreadful. MOLLY sees it; she reacts with sympathy and some curiosity, as well.

MOLLY

What's wrong?

URSULA I don't know. I've just got a feeling. A really bad one.

MOLLY

Well, who wouldn't? Martha Clarendon murdered . . . Lloyd Wishman kills himself . . . the Storm of the Century right over our heads . . . who wouldn't?

URSULA I think it's more than that.

87 EXTERIOR: ANGLE ON THE SUPPLY SHED NIGHT.

For a moment or two the doorway is empty, and then CAT steps slowly into it and stops. Her eyes are wide and blank. On the strip of visible skin between the top of her scarf and the bottom of her hat, we can see SMALL STIPPLES OF BLOOD on her cheeks. They look almost like freckles. In one hand she still holds the cane. The wolf's head is once more CAKED WITH BLOOD.

THE CAMERA BEGINS TO MOVE IN as some comprehension of what she's done flickers in CAT'S

eyes. She looks down at the cane and drops it.

88 EXTERIOR: THE CANE, FROM CAT'S POINT OF VIEW.

It lies just outside the doorway in the snow, leering up at her. The silver wolfs eyes are full of blood.

89 EXTERIOR: RESUME CAT, IN THE SUPPLY SHED DOORWAY NIGHT.

She raises her gloved hands to her cheeks. Then, perhaps feeling something, she takes them away and looks at them. Her face is still blank, drugged-looking . . . she's in a state of shock.

STORM OF THE CENTURY 177

90 INTERIOR: THE BASEMENT, FEATURES MOLLY AND URSULA.

URSULA looks around to see if they're being overheard. They're not, but she leads MOLLY toward a relatively deserted area near the foot of the stairs anyway, just to be safe. MOLLY looks at her, concerned and worried. Outside, the WIND HOWLS BIG. The women, on the other hand, are very small.

URSULA

When I get these feelings, I trust them. Over the years, I've learned to trust them. I ... Molly, I think something's happened to Peter.

MOLLY

(instant concern) Why? Has anyone come back from the store? Has Mike URSULA

No one's come in from that end of town since eight o'clock, but Mike's okay.

She sees MOLLY isn't convinced, and smiles a little bitterly.

URSULA

149

Nothing psychic about that part of it I've picked up a couple of broken transmissions on the radio. Once it was Hatch; once I'm pretty sure it was Mike.

MOLLY Saying what? Talking to who?

URSULA

With the antennas blown down, it's impossible to tell, base unit to base unit; it's just voices. I imagine they're still trying to raise the statics in Machias.

MOLLY

So you haven't heard anything about Peter, and you can't know 178 STEPHEN KING

URSULA

No ... but somehow I do. If I can get Lucien Fournier to stop fiddling with that TV and take me down to the constable's on his snow machine, can you mind things here? Unless the roof falls in, all it amounts to is saying everything's fine, breakfast's at seven, and we still need folks on the serving crew and to do cleanup after. Work's mostly done for tonight, thank God. People've already started going to bed.

MOLLY

I'll come with you. Tavia can handle things here. I want to see Mike.

URSULA

No. Not with Ralphie here and a maybe dangerous prisoner down there.

MOLLY

You've got a kid to think about, too. Sally's here.

URSULA

It's Sally's Dad I'm worried about, not Ralphie's. As for Tavia Godsoe ... I'd never say this to her face because I love her, but she's got old maid's disease she worships her brother. If she gets the idea anything happened to Peter . . .

MOLLY

All right. But you tell Mike I want him to set a guard however many men he needs, none of

'em's doing anything else tonight, anyway and get back here. Tell him his wife wants to see him.

URSULA I'll give him the message.

She leaves MOLLY and makes her way through the crowd around the TV, aiming for LUCIEN.

91 EXTERIOR: ANGLE ON THE SUPPLY SHED NIGHT.

CAT is still looking at her hands, but now a kind of comprehension is starting to dawn in her eyes.

She looks from the bloody cane to her

STORM OF THE CENTURY 179

bloody gloves . . . back to the cane . . . back to the gloves ... up into the storm. Then she opens her mouth as wide as it can go, and SHRIEKS.

92 INTERIOR: THE TOWN HALL KITCHEN NIGHT.

150

JOANNA, who is washing pots in the sink and happens to be closest to the back door, looks up, frowning. The others continue on with their work.

JOANNA

Did you hear something?

CORA

Just the wind.

JOANNA

It sounded like a scream.

CORA

(exaggerated patience) That's how the wind sounds tonight, deah.

JOANNA, who is just about fed up with her mother-in-law, looks at MRS. KINGSBURY.

JOANNA

Did that girl from the market come back in? She didn't, did she?

MRS. KINGSBURY

No, not this way

CORA

I imagine they had things to discuss, Joanna.

A sly look. Accompanying it, probably the dirtiest gesture we can get away with on network TV

(or maybe it's too dirty): the old lady makes a loose fist, then taps the forefinger of her other hand around the edge of the hole, smiling as she does so.

JOANNA looks at this with distaste, then grabs a parka from the coat tree in the corner. It's too big, but she zips it up.

180 STEPHEN KING

CORA

My mother always said, "Peep not at a keyhole, lest ye be vexed."

JOANNA

It sounded like a scream.

CORA I find that ridiculous.

JOANNA

Shut up. Mother.

CORA is stunned. MRS. KINGSBURY is surprised, but also pleased clearly restraining an impulse to yell, "You go, girl!" JOANNA, who knows a good exit line when she says one, flips up the fur-lined hood of the parka and slips out the back door into the HOWLING DARK.

93 INTERIOR: RESUME TOWN HALL BASEMENT, WITH MOLLY.

She watches URSULA speak to LUCIEN, who stops twiddling the rabbit ears and listens intently.

On the snowy TV screen, we see a map of Maine. Most has been colored in red, with the words 151

"SNOW EMERGENCY" displayed in big white letters. Also "3 TO 5 !!!FEET!!! + DRIFTING, BLOWING

SNOW." During this:

WEATHER GUY

If you are in an outlying area, you are advised to stay where you are even if you have lost power and have no heat. Tonight shelter is your prime necessity. If you are in a sheltered place, do not leave it. Keep warm, bundle up, share your food, and share your strength. If there was ever a night for good neighbors, this is it. There is a state of snow emergency in central and coastal Maine tonight repeat, there is a state of snow emergency on the coast and in the central regions of the state.

JOHNNY HARRIMAN and JONAS STANHOPE come downstairs, bearing big trays of cake and cookies. Behind them comes ANNIE HUSTON, with her arms wrapped around the shiny steel belly of an

STORM OF THE CENTURY 181

industrial-sized coffee urn. MOLLY, still very worried, stands aside to let them pass. She's intently watching URSULA'S conversation with LUCIEN.

JOHNNY

Everything all right, Molly Anderson?

MOLLY

Fine. Just fine.

JONAS STANHOPE

This is gonna be one to tell your grandchildren about.

MOLLY

It already is.

94 EXTERIOR: BETWEEN THE BACK OF THE TOWN HALL AND THE SHED

NIGHT.

Here comes JOANNA, struggling along. The parka she grabbed flaps around her like a sail, and the hood keeps flying back. At last, however, she approaches the supply shed. The door is still open, but CAT is no longer standing in it.

Still, JOANNA stops perhaps six feet outside the door. Something is wrong here, and like URSULA, she feels it.

JOANNA Katrina? Cat?

Nothing. She comes forward another two steps, into the hard, flickery light thrown by the gas lamp. She looks down at:

95 EXTERIOR: THE SNOW OUTSIDE THE DOOR, FROM JOANNA'S POINT OF VIEW NIGHT.

Most of the evidence has either been blown away or covered over by the SHRIEKING WIND, but there is still some PINKISH STAIN where CAT dropped LINOGE'S cane, although the cane itself is gone. And, beyond it, is a BRIGHTER STAIN on the shed's doorsill, where CAT stood.

182 STEPHEN KING

96 EXTERIOR: RESUME JOANNA NIGHT.

JOANNA

152

Cat. . . ?

She would like to go back now it's scary out here in the blizzard but she's come too far. She steps very slowly toward the shed door, holding the parka's hood pinched shut at the base of her throat like an old woman's shawl.

97 INTERIOR: THE SHED DOORWAY, LOOKING OUT NIGHT.

JOANNA comes to the doorway and stands, eyes slowly widening with horror.

98 INTERIOR: THE SUPPLY SHED, FROM JOANNA'S POINT OF VIEW NIGHT.

There's blood everywhere on the industrial-sized boxes of cereal and powdered milk, the bags of rice and flour and sugar, the large plastic bottles labeled COLA, ORANGE DRINK, and FRUIT PUNCH.

There's blood SIZZLING on the side of the lantern, blood on the wall calendar, and BLOODY

GLOVEPRINTS on the bare boards and beams (this is a pretty utilitarian place). There's blood on the goods BILLY piled onto the toboggan, too. We can see this stuff because the tarp is gone.

99 INTERIOR: RESUME JOANNA, IN THE SHED DOORWAY.

Looks at:

100 INTERIOR: A CORNER OF THE SUPPLY SHED, FROM JOANNA'S POINT OF VIEW.

Here's the tarp. It's been used to cover BILLY'S body, but his feet stick out.

THE CAMERA PANS across the back of the shed. Here, in the other corner, CAT WITHERS is crouched in a fetal position, her knees drawn up to her chest and the fingers of one hand crammed into her mouth. She looks up at JOANNA THE CAMERA with wide, dazed eyes.

101 INTERIOR: RESUME JOANNA, IN THE SHED DOORWAY.

JOANNA

Cat . . . what happened?

STORM OF THE CENTURY 183

102 INTERIOR: RESUME CAT, CROUCHED IN THE CORNER.

CAT

I covered him up. He wouldn't want people to see him the way he is now, so I covered him up.

(pause) I covered him up because I loved him.

103 INTERIOR: RESUME JOANNA, IN THE SHED DOORWAY. Utter horror.

104 INTERIOR: RESUME CAT, CROUCHED IN THE CORNER.

CAT

I think it was the cane with the wolf's head that made me do it. I wouldn't touch it, if I were you.

(looks around)

So much blood. I loved him, and now look. I went and I killed him.

Slowly, she puts her fingers back into her mouth.

105 INTERIOR: RESUME JOANNA, IN THE SHED DOORWAY.

JOANNA Oh, Cat. Oh, my God.

153

She turns and blunders away into the dark, headed back in the direction of the town hall.

106 INTERIOR: RESUME CAT, CROUCHED IN THE CORNER.

She's huddled, looking around with big eyes. Then she begins to sing in a lilting little-girl's voice.

The words are muffled by her fingers, but we can make them out: CAT

(sings)

"I'm a little teapot, short and stout. . . . Here is my handle, here is my spout. You can pick me up and pour me out. . . . I'm a little teapot, short and stout."

107 EXTERIOR: JOANNA NIGHT.

She's struggling back toward the town hall. The hood of the parka has 184 STEPHEN KING

been flipped back by the wind once more, but this time she makes no effort to pull it back up.

She stops, seeing:

108 EXTERIOR: THE TOWN HALL PARKING LOT, FROM JOANNA'S POINT OF VIEW NIGHT.

Two figures are fighting their way through the snow toward a rank of snowmobiles near the side of the building.

109 EXTERIOR: RESUME JOANNA NIGHT.

JOANNA

Hey! Help! Help!

110 EXTERIOR: RESUME PARKING LOT NIGHT.

The two figures keep on moving. They haven't heard JOANNA over the HOWL OF THE WIND.

n

111 EXTERIOR: RESUME JOANNA NIGHT.

She changes course, heading for the parking lot instead of the kitchen door, and tries to run. She throws one terrified glance back over her shoulder at the open door of the supply shed.

112 EXTERIOR: THE PARKING LOT, WITH URSULA AND LUCIEN. They reach one of the snowmobiles. LUCIEN gets on the front.

URSULA

(shouts to be heard) Don't you dump me in a snowbank, Lucien Fournier!

LUCIEN

No, ma'am.

URSULA studies him for a moment, as if to make sure he is telling the truth, then gets on the snowmobile. LUCIEN turns the key. The headlight and the rudimentary dashboard lights come on.

He pushes the starter. The ENGINE CRANKS but does not immediately start.

URSULA What's wrong?

STORM OF THE CENTURY 185

154

LUCIEN Nothing, she's just bein' grumpy.

He yanks the choke and prepares to start again.

JOANNA (faint voice) Hey! Help! HELP!

URSULA puts her hand over LUCIEN's before he can punch the starter, and now they both hear.

They turn toward:

113 EXTERIOR: JOANNA, FROM URSULA AND LUCIEN'S POINT OF VIEW NIGHT.

She conies struggling and floundering through the drifts, reaching the parking lot, waving one hand like a drowning woman. She is snow-covered (has taken at least one tumble, I'd guess) and GASPING FOR BREATH.

114 EXTERIOR: AN ANGLE ON THE PARKING LOT NIGHT.

LUCIEN gets off the snowmobile and makes his way to JOANNA. He's just in time to catch her before she can fall again. He helps her back toward the snowmobile and URSULA joins them, very concerned.

URSULA Jo, what's wrong?

JOANNA

Billy . . . dead . . . back there!

(points) Katrina Withers killed him.

URSULA Cat?

JOANNA

She's sitting in the corner ... I think she tried to tell me she hit him with a cane . . . but there's so much blood . . . When I left, I think she was singing . . .

186 STEPHEN KING

Shocked and bewildered reactions from URSULA and LUCIEN. URSULA recovers a little more quickly.

URSULA Are you really saying Cat Withers killed Billy Soames?

(JOANNA nods violently) Are you sure? Jo, are you sure he's dead?

JOANNA

(nodding)

She covered him with a tarp, but I'm sure ... so much blood . . .

LUCIEN

We better go back and look.

JOANNA

(terror)

I'm not going back there! I'm not going anywhere near there! She's in the corner ... if you'd seen her . . . the look on her face . . .

URSULA Lucien, can I drive this thing?

155

LUCIEN

If you take it slow, sure, I guess. But

URSULA

I'll take it slow, believe me. Jo and I are going to drive downstreet and talk to Mike Anderson.

Aren't we, Jo?

JOANNA nods with pitiful eagerness and climbs on the back of LUCIEN'S snow machine. She'll agree to go anywhere before she agrees to go back to the supply shed.

URSULA (to LUCIEN)

Get a couple of guys, go out to the supply shed, and see what's what, okay? But don't broadcast it ... and play it smart.

STORM OF THE CENTURY 187

LUCIEN

What's going on here, Ursula?

She goes to the snowmobile, gets on the front, and thumbs the starter button. Now that the engine's been choked, it starts easily. She guns the throttle, then settles her gloved hands on the handgrips.

URSULA I have no clue.

She drops the snowmobile in gear and drives away in a spume of snow, with JOANNA clinging to her. LUCIEN stands and watches them go, a picture of bewilderment.

115 EXTERIOR: THE ISLAND MARKET NIGHT.

It's now little more than a drifted-in shape in the blizzard. The few lights seem feeble and forlorn.

116 EXTERIOR: THE LOADING DOCK BEHIND THE STORE NIGHT.

The snowmobile on which JACK CARVER and KIRK FREEMAN arrived is almost buried in snow. On the loading dock itself, we see a shape that is PETER GODSOE. His body has been wrapped in a blanket and then secured with rope. He looks like a corpse that's ready for burial at sea.

117 INTERIOR: LINOGE, CLOSE.

His face is wolfish, intent. The eyes are bright and interested.

THE CAMERA DRAWS SLOWLY BACK through the bars. As our view of LINOGE widens, we see he has resumed his favorite position back to the wall, heels on the edge of the cot, peering through his slightly spread knees.

118 INTERIOR: THE CONSTABLE'S OFFICE, ANGLE ON THE DESK.

Here are MIKE, HATCH, ROBBIE, HENRY BRIGHT, KIRK FREEMAN, and JACK CARVER. The latter five look at LINOGE with a mixture of distrust and fear. MIKE is looking at him with perplexity.

188 STEPHEN KING

KIRK I never seen anyone throw a fit like that in my life.

HENRY

(to MIKE) No ID of any kind?

MIKE

156

No ID, no wallet, no money, no keys. No clothing tags, either, not even on his blue jeans. He's just . . . here. And that's not all.

(to ROBBIE)

Did he tell you anything? When you went into Martha's house, Robbie, did he tell you anything he had no business knowing?

ROBBIE is immediately nervous. He does not, as they say, want to go there. But: LINOGE (voice)

You were with a whore in Boston when your mother died in Machias.

MIKE Robbie?

119 INTERIOR: MARTHA CLARENDON'S LIVING ROOM (flashback).

LINOGE PEEPS ROGUISHLY around one wing of MARTHA'S chair, his face streaked with MARTHA'S

blood.

LINOGE

She's waiting for you in hell. And she's turned cannibal. Hell is repetition, Robbie. Isn't it? Born in sin, come on in ... CATCH!

DAVEY HOPEWELL'S bloodstained basketball FLIES AT THE CAMERA.

120 INTERIOR: RESUME CONSTABLE'S OFFICE NIGHT.

ROBBIE flinches as if the basketball were flying at his head; that's how strong the memory is.

STORM OF THE CENTURY 189 MIKE

He did, didn't he?

ROBBIE

He ... said something about my mother. You don't need to know.

His eyes turn mistrustfully to LINOGE, who sits watching. LINOGE shouldn't be able to hear what they're saying their voices are low-pitched, and they're most of the way across the room but ROBBIE thinks (almost knows) that he can. He knows something else, as well. LINOGE could tell the others what he told ROBBIE: that ROBBIE was rolling around with a prostitute when his mother died.

HATCH I don't think he's human.

He looks at MIKE almost pleadingly, as if asking him to contradict this. But MIKE doesn't.

MIKE Neither do I. I don't know what he is.

JACK God help us all.

121 INTERIOR: LINOGE, CLOSE-UP.

Watching them with wide-eyed intensity while the STORM HOWLS outside.

FADE TO BLACK. THIS ENDS ACT 3.

Act 4

122 EXTERIOR: THE TOWN STORE NIGHT.

157

We are looking up Main Street toward the center of town. A headlight appears, and we hear the WASP WHINE of an approaching snowmobile. It's URSULA, with JOANNA hanging on for dear life.

123 INTERIOR: THE DOORWAY OF THE SUPPLY SHED NIGHT.

CAT (voice)

"I'm a little teapot, short and stout. . . . Here is my handle, here is my spout. . . .

LUCIEN FOURNIER stands in the doorway. Behind him are UPTON BELL, JOHNNY HARRIMAN, old GEORGE KIRBY, and SONNY BRAUTIGAN. All of the men wear similar expressions of SHOCKED

HORROR.

124 INTERIOR: CAT, IN THE CORNER OF THE SUPPLY SHED NIGHT.

She's rocking back and forth, fingers in her mouth, blood-spattered face blank.

CAT

"You can pick me up and pour me out. . . . I'm a little teapot, short and stout."

125 INTERIOR: RESUME THE MEN IN THE DOORWAY.

LUCIEN (with an effort) Come on. Help me get her inside.

126 INTERIOR: THE CONSTABLE'S OFFICE, WITH MIKE AND THE OTHERS.

KIRK That fit he threw . . . what was that about?

MIKE shakes his head. Doesn't know. Turns to ROBBIE.

190

STORM OF THE CENTURY 191

MIKE Did he have a cane when you saw him?

ROBBIE

You bet. It had a big silver wolfs head on top. It was bloody. I had an idea that was what he used to ... to ...

SOUND: The snowmobile. LIGHT FLASHES across the barred window high up in the cell. URSULA is driving down the alley to the back. MIKE returns his attention to LINOGE. As always, he addresses LINOGE with the calm of a police officer, although we can tell this is getting harder and harder to maintain.

MIKE Where's your cane, sir? Where is it now? > (no response) What is it you want?

LINOGE still won't say. JACK CARVER and KIRK FREEMAN move toward the back door to see who's coming. HATCH has done an admirable job of handling himself, but he's getting more and more scared all the time, and we can see it. Now he turns to MIKE.

HATCH

We didn't take him out of Martha's . . . did we? He let himself be taken. Maybe he wanted to be taken.

ROBBIE We could kill him.

HATCH is shocked, wide-eyed. MIKE looks less surprised.

158

ROBBIE

Nobody would have to know. Island business is island business, always has been and always will be. Like whatever Dolores Claiborne did to her husband during the eclipse. Or Peter and his marijuana.

MIKE We'd know.

192 STEPHEN KING

ROBBIE

I'm just saying we could . . . and maybe we should. Tell me the idea hasn't already crossed your mind, Michael An-derson.

127 EXTERIOR: BEHIND THE STORE NIGHT.

LUCIEN'S snowmobile pulls up beside the half-buried one JACK and KIRK came on. URSULA gets off and helps JOANNA off. Above them, the door between the constable's office and the loading dock is open. JACK CARVER stands in the light.

JACK

Who's there?

URSULA

Ursula Godsoe and Joanna Stanhope. We have to talk to Mike. Something's happened at the . . .

She's climbing the steps to the loading dock, and now she sees the WRAPPED SHAPE that has been put out here where it's cold. JACK and KIRK exchange a dismayed "Ah, shit" look. JACK

reaches forward, attempting to take her arm and help her in before she gets too good a look.

JACK Ursula, I wouldn't look at that, if I were you . . .

She pulls free and sinks to her knees beside the wrapped corpse of her husband.

KIRK

(back over his shoulder) Mike! You better come here!

URSULA pays no mind. PETER'S green rubber boots are still sticking out, boots she knows well and may have patched herself. She touches one of them and begins CRYING SOUNDLESSLY.

JOANNA stands behind her in the BLOWING, SWIRLING SNOW, not knowing what to do.

MIKE appears in the doorway, with HATCH behind him. MIKE understands the situation at once, and speaks with great gentleness.

STORM OF THE CENTURY 193 MIKE

Ursula. I'm sorry.

She takes no notice, only kneels in the snow, holding the patched boot and crying. MIKE bends, gets his arm around her shoulders, and helps her to her feet.

MIKE

Come on in, Urse. Come on in where there's light and it's warm.

He leads her in past JACK and KIRK. JOANNA follows, with one quick, shying look down at the bundle with the boots sticking out of it. JACK and KIRK follow, and KIRK closes the door behind him against the night and the storm.

159

128 EXTERIOR: THE TOWN HALL NIGHT.

Wrapped in thick clouds of BLOWING SNOW.

129 INTERIOR: THE TOWN HALL KITCHEN, WITH CAT WITHERS.