Storm of the Century

PART 3 The Reckoning

Act 1

1 EXTERIOR: THE ISLAND MARKET AFTERNOON.

The snow is falling as hard as ever. The porch is almost completely buried beneath one huge, dunelike drift from floor to roof overhang. Parked in front is the big Sno-Cat MIKE and the others took out on the reprovisioning expedition. From its side door to the door of the market, a notch almost like a tunnel has been dug. The four men MIKE ANDERSON, SONNY BRAUTIGAN, HENRY

BRIGHT, and KIRK FREEMAN are just entering.

2 INTERIOR: THE MARKET, BY THE CASH REGISTERS AFTERNOON.

198

The men make their way in, gasping and shedding snow. SONNY and HENRY have shovels. We can see their BREATH in the air, and the place is very dim.

SONNY

Gennie's out.

(MIKE nods) How long, do you think?

MIKE

Hard to tell. Since morning, anyway, from the way it feels. Snow probably piled up and blocked the exhaust.

He goes to the cash registers, bends beneath one, and begins to toss out big cardboard cartons.

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258 STEPHEN KING

MIKE

Sonny, Henry. You're Meat Patrol. Get the big cuts of beef, plus the turkeys and chicken. The best stuffs back in the freezer.

HENRY

Will it still be all right, do you think?

MIKE

Are you kidding? It won't even be thawed yet. Come on, let's go. Dark's gonna come early.

SONNY and HENRY start up toward the cooler and the freezer beyond. KIRK comes over to the checkout and takes one of the cartons.

MIKE

We'll stick to the canned goods, this trip. All of us'll come back for bread, potatoes, and vegetables. And milk. Little kids have to have milk.

KIRK

You gonna tell 'em about what the guy's name spells when you move the blocks around?

MIKE What good would it do?

KIRK I dunno. God, Mike, that gave me a chill.

MIKE

Me, too. And for the time being, maybe we better just . . . keep the chill to ourselves. We've still got at least one more night to get through.

KIRK But

MIKE Come on. Canned goods. Let's load up. ,

I

STORM OF THE CENTURY 259

He starts up the aisle containing the overturned card table, and after a moment or two's consideration, KIRK follows.

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3 EXTERIOR: THE TOWN HALL AFTERNOON.

We can barely see it in all the snow, but at regular intervals we can hear the BLARE OF A HORN.

4 EXTERIOR: THE PARKING LOT AFTERNOON.

The Island Services vehicle is idling here, not too far from the town hall's side door. It's not going to go anywhere not even a four-wheel drive can move in five feet of snow but the lights are on and we can see one man standing outside and another inside. The one behind the wheel is HATCH.

The one outside, wearing his V.F.D. parka and peering anxiously into the snow, is FERD ANDREWS.

The window between them is open. Snow is blowing into the cab of the truck, but at this point, neither man cares.

FERD cups his hands around his mouth and hollers into the SHRIEKING WIND as loud as he can.

FERD

Angle Carver! Billy Timmons!

HATCH

Any sign? Any at all?

FERD No! Wouldn't I tell you? Keep blowin' that thing!

HATCH continues to lay on the horn in long, measured beats. FERD peers anxiously into the snow, then turns and yanks open the door.

FERD

You watch and let me honk your eyes're better.

They change places.

HATCH

(squinting into the snow) George Kirby! Janie Kingsbury! Where are you guys?

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FERD keeps blowing the horn in long, measured BLASTS.

5 INTERIOR: THE TOWN HALL'S MAKESHIFT DAY-CARE AREA AFTERNOON.

SOUND, MUFFLED: THE HORN CONTINUES.

The KIDS have finished picking up and don't really know what to do with themselves now. No one has noticed that RALPHIE ANDERSON isn't among them. SANDRA has gotten CAT quieted down and now looks restless herself. CAT sees this and offers SANDRA a wan smile and a pat on the arm.

CAT I'm okay. Go on up. Find your husband and little boy.

SANDRA But ... the kids . . .

CAT gets up and approaches them. SANDRA watches apprehensively. This is the young woman who beat her boyfriend to death not long ago.

CAT

Who wants to play Giant Step?

HEIDI

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Yeah!

SALLY GODSOE Me! Yayy, I do!

The kids start to line up, facing CAT. Only BUSTER CARVER lags.

BUSTER Where's my mommy?

SANDRA

I'll just peek and see if she's upstairs, shall I? Or your daddy?

BUSTER

Yes, please, Missus Beals.

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PIPPA

And send Don down! He always forgets to say "May I"!

The others laugh gleefully, including BUSTER.

FRANK

(takes BUSTER'S arm) Come on, you play next to me we'll be partners.

BUSTER

(starts, then stops) Where's Ralphie?

There's a moment of nervousness as they all look around and realize RALPHIE isn't there. CAT

turns to SANDRA, an eyebrow raised in question.

SANDRA

He probably chased upstairs after Donnie, to see if he could get a doughnut, too. I'll send them both down.

She goes upstairs. The other kids are satisfied with this explanation, except for PIPPA, who's looking around with a frown.

PIPPA

He didn't go upstairs with Donnie Beals ... at least I don't think he did . . .

UPTON BELL conies over, grinning like the amiable fool he is.

SALLY GODSOE Who's blowing that horn, Mr. Bell?

UPTON

Someone tryin' to call the snowbirds, I guess.

FRANK

What're snowbirds?

UPTON

You never heard of snowbirds?

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KIDS

No ... no ... What are they? . . . Tell us!

(etc.)

UPTON

Oh, big as refrigerators, they are, white as snow and tasty as the devil . . . but they only fly around when there's a big blizzard. Only time there's wind enough to give 'em the lift. To them a horn's just like a birdcall, but they're cussed hard to catch, just the same. Can I play, too?

KIDS

Yeah! Yeah, all right!

(etc.)

PIPPA has been looking around for RALPHIE, but now she joins in, distracted from her concern by her delight at having a grown-up who's willing to play the game with them.

CAT

Get right in line, Upton Bell. Just don't be smart and don't forget to say, "May I." Now here we go. Frank Bright, take two helicopter steps.

FRANK takes two steps forward, whirling around, flapping his arms and making HELICOPTER

SOUNDS.

KIDS

You forgot to say, "May I"!

Grinning, shamefaced, FRANK goes back. THE CAMERA moves away from the game to the closed door marked CUSTODIAN.

6 INTERIOR: THE TOWN MEETING HALL AFTERNOON. SOUND, MUFFLED: THE HORN

CONTINUES.

In the foreground we see MOLLY ANDERSON sitting beside JACK CARVER on one of those hard meeting benches, trying to soothe him. In the background, at the rear of the long room, is the buffet, where people are coming and going, getting coffee and snacks. Some look toward MOLLY and JACK, troubled and sympathetic, but not ROBBIE

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DEALS and his son, DON. They are eating doughnuts with a remarkable lack of concern. ROBBIE

has coffee; DON is slurping a Coke.

JACK I got to find her!

He makes an effort to rise, and MOLLY puts a hand on his arm, holding him where he is for the time being.

MOLLY You know what it's like out there.

JACK

11 She could be wandering around, freezing to death in a whiteout fifty yards from the building!

MOLLY

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And if you go out there, you'll be lost, too. If they're there, they'll come to the horn. Same as in a fog, at sea. You know that.

JACK I'll go out spell Ferd.

MOLLY Hatch said

JACK

Alton Hatcher can't tell me what to do that's my wife out there!

She can't stop him this time, so she gets up with him. Behind them, SANDRA comes in from the town office area, looks around, spots her husband and son.

MOLLY

Go to the truck, then, but just to the truck. Don't go wandering off on your own.

But JACK can promise her no such thing. He's totally distracted. MOLLY watches sadly as he goes up the aisle, then follows herself. SANDRA, meanwhile, is looking around. She doesn't see MOLLY

yet.

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SANDRA (to DON) Where's Ralphie?

DON

(munching his doughnut) I dunno. !

SANDRA

But didn't he come upstairs with you?

MOLLY is in time to hear this and is of course immediately concerned.

DON

Nah, he 'us pickin up with the rest of 'em. Dad, can I have another doughnut?

MOLLY (to SANDRA)

He's not down there? What are you saying, that he's not with the others?

SANDRA

(flustered)

I didn't see . . . Cat started to cry . . . she dropped her cup and broke it ...

MOLLY You were supposed to be watching them!

SANDRA winces. She's been married to ROBBIE for ten years and is used to being blamed when things go wrong.

ROBBIE

(the usual bluster) I hardly think that tone is

MOLLY

(ignores him) You were supposed to be watching them!

(she breaks for the stairs) Ralphie! Ralphie!

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STORM OF THE CENTURY 265

7 EXTERIOR: THE ISLAND MARKET AFTERNOON.

The men are clustered at the Sno-Cat, handing loaded cartons to MIKE, who stows them in the back. MIKE SHOUTS TO BE HEARD over the storm as the last box goes in.

MIKE

One more trip! Sonny, you and Henry get the bread and rolls! Everything on the shelves! Kirk, you want to grab at least a hundred pounds of potatoes! I'll get the milk! Let's go I want to get back as soon as we can!

They go single file into the cut in the drift, SONNY and HENRY BRIGHT first, followed by MIKE and KIRK. SONNY and HENRY go inside. MIKE is about to follow, then stops so suddenly that KIRK just about runs into him.

KIRK

What the hell?

MIKE has stopped at the mannequin set up on the porch HATCH'S joke at ROBBIE BEALS'S

expense. The mannequin is now almost completely buried, and although the face is covered with wind-driven snow and the figure is still dressed in the lobsterman's slicker, we can see it's not the same figure.

266 STEPHEN KING

MIKE brushes FROZEN SNOW away from the face. It's MRS. KINGS-BURY. She's frozen solid.

KIRK stares in dismay as MIKE digs into the snow around the dummy's neck and pulls out a new joke sign . . . only now the joke is on them. "GIVE ME WHAT I WANT AND I'LL GO AWAY," it says.

The two men stare at each other in horror.

8 EXTERIOR: THE TOWN HALL AFTERNOON.

SOUND OF HORN CONTINUES EVEN, REGULAR BLASTS.

MOLLY (voice-over) Ralphie! Ralphie!

9 INTERIOR: THE DAY-CARE AREA OF THE BASEMENT AFTERNOON. SOUND OF HORN, MUFFLED.

MOLLY is frantic, looking everywhere for RALPHIE, who isn't here. CAT and UPTON BELL have drawn together in fright. ROBBIE, DON, TESS MARCHANT, and TAVIA GODSOE are on the stairs.

SALLY GODSOE sees her aunt and runs to her. The other children huddle, dismayed.

PIPPA

I said he didn't go with Don

All the other adults are gathering some from the seats around the now-useless TV, some from upstairs, some from the sleeping area. One is URSULA GODSOE, looking blasted with grief.

URSULA Oh, God, what now?

MOLLY ignores her. She goes to PIPPA, kneels in front of her, and grasps her gently by the arms.

She peers into PIPPA'S frightened face.

MOLLY Where was Ralphie when you saw him last, Pippa?

PIPPA thinks about it, then points to the area between the stairs and the wall. MOLLY looks in that direction, and sees the door marked CUSTODIAN. There is TOTAL SILENCE except for the 204

MUFFLED,

IL

STORM OF THE CENTURY 267

REGULAR BLASTS OF THE HORN as MOLLY goes toward that door, afraid of what she may find.

She reaches for the knob but can't bring herself to touch it, let alone turn it.

MOLLY

Ralphie? Ralphie, are you

RALPHIE (voice)

Mommy? Mom?

Oh, boy, the relief. It's as if somebody let the air out of everyone in the room, KIDS included.

MOLLY'S reserves of strength are gone. She begins to cry as she tears the door open.

RALPHIE is standing there in the custodian's closet, happy, excited, unhurt, and unaware there's been any fuss about him. His expression turns to one of puzzlement as his mother sweeps him up into her arms. In the general excitement we may or may not notice that RALPHIE has a SMALL

LEATHER BAG in one hand, the kind with a drawstring at the top.

RALPHIE

Hey, Mom wassup?

MOLLY What are you doing in there? You scared the life out of me!

.<- RALPHIE

The man was in there. He wanted to see me.

MOLLY

Man ?

RALPHIE

The one Daddy arrested. Except I don't think he's a bad man, Mom, because MOLLY sets RALPHIE down and sweeps him behind her so hard and fast that he almost falls over.

UPTON grabs the kid and hands him to JONAS STANHOPE and ANDY ROBICHAUX, who have pushed their way to the front of the semicircle of watching adults. MOLLY takes two steps into the doorway of the custodian's closet and looks at:

268 STEPHEN KING

10 INTERIOR: CUSTODIAN'S CLOSET, FROM MOLLY'S POINT OF VIEW.

There's plenty of cleaning gear on the shelves, plus the usual complement of brooms, mops, extra fluorescent lightbars, and there's no other exit. . . but there's no man.

11 INTERIOR: RESUME MOLLY.

She starts to turn back to RALPHIE, then stops as something catches her eye. She goes into the closet, instead.

12 INTERIOR: THE CUSTODIAN'S CLOSET, WITH MOLLY.

In the far corner is a piece of GREEN PAPER. It's a flyer for the Anderson's Market, advertising this week's specials. She picks it up and turns it over. Printed in red letters on the back is "GIVE ME

205

WHAT I WANT AND I'LL GO AWAY."

ANDY ROBICHAUX has stepped into the closet. She hands him the flyer.

MOLLY But what does he want?

ANDY can only shake his head. MOLLY leaves the closet.

13 INTERIOR: THE BASEMENT DAY-CARE AREA.

MOLLY goes to RALPHIE, who is standing with the other kids. They shrink back from him, thinking he's in trouble. RALPHIE looks up at his mom, clutching the little drawstring bag and hoping like mad that he's not in trouble.

MOLLY

Where did he go, Ralphie? Where did the man go?

RALPHIE peers past her, into the closet.

RALPHIE I

I don't know. He must have disappeared when I turned my I back. |

,*

DON

(from the stairs) There's no door in there for a guy to go out of, dumbkins.

STORM OF THE CENTURY 269 MOLLY

Shut up, Don Beals.

DON, unaccustomed to such real sharpness from MOLLY, shrinks back against his dad. ROBBIE

opens his mouth to say something reproving, then decides this might not be the best time.

MOLLY kneels in front of her son as she did in front of PIPPA and for the first time sees what he has a finely made little bag of chamois leather.

MOLLY What's this, Ralphie?

RALPHIE

It's a present. He gave me a present. That's why I don't think he can be a bad man like on TV, because bad men don't give kids presents.

MOLLY looks at the bag as if it might be a bomb, but she remains calm and soothing. She has to be. RALPHIE doesn't know what the deal is here, but he can see the faces surrounding him and feel the atmosphere in the room. The poor kid is on the verge of tears.

MOLLY (takes the bag) What is it? Let Mommy s

JOANNA STANHOPE

(near hysterics)

Don't open it! Don't open it, it might be a bomb, it could explode!

JONAS Be quiet, Joanie!

Too late. A couple of the kids HEIDI and SALLY, perhaps start to sniffle. All the adults take a 206

step backward. We are seeing the leading edge of an ugly, building hysteria here. But given all that's happened, who can blame these people for being a bit hysterical?

270 STEPHEN KING

CAT

Don't, Molly don't.

MOLLY looks at the bag. Its bottom hangs down in a teardrop shape, weighted by whatever is inside it. Perhaps she touches its lowest-hanging curve.

RALPHIE It's all right, Mom don't be scared.

MOLLY You know what this is, Ralphie? You've looked?

RALPHIE

Sure! We even had a game, me and Mr. Linoge. He says those are special, the most special in the world. And he said I should share them, because they're not just for me; they're for everyone.

Everyone on the island!

MOLLY takes the bag. As she starts to open the drawstring top, the man with the black shirt and turned-around collar under his sport coat steps forward and puts a hand on her shoulder. This is BOB RIGGINS, the minister.

REV. BOB RIGGINS

I don't think I'd open that, Mrs. Anderson. Given the dreams v we all had last night, and the possible nature of this . . . this

man . . .

MOLLY

No, I suppose you wouldn't, Reverend Riggins. But since he's had his filthy hands on my son twice . . .

She opens the bag and looks in. The others watch breathlessly. MOLLY sees a child's cap nearby and dumps the contents of the drawstring bag into it.

FRANK BRIGHT (coming closer to peek) Hey, neat!

STORM OF THE CENTURY 271

Not surprising he thinks so; it's a present any little kid would like. THE CAMERA MOVES IN for a closer look. In the hat are almost a dozen stones as smooth and round as marbles. All of them are white except for one. The odd one is BLACK shot through with TWISTS OF RED, and should remind us of LINOGE'S eyes.

MOLLY looks up and meets MELINDA HATCHER'S eyes. Neither of them know what RALPHIE'S

"present" means, but MELINDA pulls PIPPA closer to her, needing to be comforted by her daughter's presence.

14 EXTERIOR: THE INTERSECTION OF MAIN AND ATLANTIC AFTERNOON.

Slowly, fighting for every foot it makes through the storm, comes the Sno-Cat, bound back to the town hall from the market.

15 INTERIOR: THE SNO-CAT AFTERNOON.

The four men MIKE, SONNY, HENRY, and KIRK are wedged tightly into the cab. The groceries are in the cargo compartment behind them. The men are grim-faced, shaken by what they have seen. They ride in silence, jouncing through the drifts for a while. Then, at last: 207

SONNY

Just ole Mrs. K. None of the others. Where do you suppose they are? George and Angie and Bill Timmons?

(no one answers) How did he get her down there?

(no one answers) Where's the dummy? Anybody see that in the store?

(no answer) How'd he get her down there in this?

HENRY

Let it go, Sonny.

For a moment or two, SONNY does. Then he turns to MIKE.

SONNY

Why is this happening? You're lay reader for Reverend Riggins down at the Methodist church, always got a quote from the Good Book handy you must have some idea why this is happening.

272 STEPHEN KING

MIKE thinks about it, guiding the Sno-Cat through the desolate white driftscape that used to be Main Street.

MIKE

You know the story about Job? In the Bible? (SONNY and the others nod) Well, here's the part that never got written down. After the contest for Job's soul is over and God wins, Job gets down on his knees and says, "Why did you do this to me, God? All my life I worshipped you, but You destroyed my livestock, blighted my crops, killed my wife and my children, and gave me a hundred horrible diseases ... all because You had a bet going with the devil? Well, okay . . . but what I want to know, Lord all your humble servant wants to know is Why me? So he waits, and just when he's about made up his mind God isn't going to answer, a thunderhead forms in the sky, and lightning flashes, and this voice calls down: "Job! I guess there's just something about you that pisses me off."

SONNY, HENRY, and KIRK look at MIKE, not knowing what to think. SONNY actually looks dumbfounded.

MIKE Does that help you?

(no answer from the others) Me, either.

SOUND, FAINT: RHYTHMIC BLASTS OF THE HORN.

KIRK

Still lookin' for 'em.

SONNY

(thinking of Mrs. K.) Good luck.

16 EXTERIOR: MAIN STREET, WITH THE SNO-CAT AFTERNOON.

Slow but steady wins the race. They haven't reached the town hall yet, but it's starting to appear that they will make it.

SOUND: THE HORN.

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STORM OF THE CENTURY 273

17 EXTERIOR: BESIDE THE TOWN HALL, WITH THE ISLAND SERVICES VEHICLE AFTERNOON.

FERD is now in the passenger seat, while HATCH hits the horn in those LONG BLASTS. JACK

CARVER is lurching in frantic circles around the truck, tumbling into drifts, picking himself up, peering into the HOWLING BLIZZARD.

JACK

Angle! Angle, over here!

He has screamed himself hoarse, but he can't give up. At last he stumbles back to the open driver's side window of the vehicle, doubled over and gasping for breath. His face is red and running with sweat that has already frozen to a cruel glaze from the corners of his lips all the way down to his chin.

HATCH Get in, Jack warm up.

JACK

No! She's out here someplace. Keep hitting that horn!

18 INTERIOR: ANGLE ON FERD, IN THE PASSENGER SEAT.

He sits up, eyes widening, as the conversation continues to his left. He can't believe what he's seeing.

HATCH

You better sit down before you fall down.

JACK

(snarling)

My wife's out there and she's alive I can feel it. So you just keep working that horn!

HATCH Jack, I really don't think

FERD raises a hand that trembles with excitement. His face is incredulous.

274 STEPHEN KING

FERD

Hatch . . . Jack! Look!

19 EXTERIOR: THE SNOWFIELD, FROM THE ISLAND SERVICES VEHICLE'S POINT OF VIEW.

It's a SCREAMING WHITEOUT ... but a FIGURE is LURCHING AND STUMBLING around in the flying murk. It could be the figure of a WOMAN.

20 EXTERIOR: RESUME ISLAND SERVICES VEHICLE, WITH JACK, HATCH, AND FERD. JL

HATCH Dear God. Oh, my dear God, is that one of 'em?

FERD

I can't tell.

209

JACK

(transported with hope) ANGIEU!

He begins to STUMBLE toward the looming, indistinct figure. He falls, rolls in the snow, and lunges to his feet again. Behind him, HATCH gets out of the truck. In the background, FERD is doing the same on his side.

HATCH

Jack! Wait! That might not be-But it's useless. JACK is already melting into the snow himself, closing in on that WAVERING, STUMBLING FIGURE. HATCH starts after him. So does FERD.

21 EXTERIOR: JACK CARVER AFTERNOON.

He somehow keeps moving forward, CRYING HIS WIFE'S NAME over and over. HATCH can't keep up, and FERD is running a dead last. But now we can see that figure is a woman. As JACK closes in, the WOMAN falls herself, going facedown in the snow.

STORM OF THE CENTURY 275 JACK

Angie! Honey!

The WOMAN works to get to her feet, moving with the mechanical determination of a clockwork figure. And as she finally makes it, we see that it really is ANGIE CARVER ... but what a change!

BUSTER'S pretty mom is a thing of the past. This lurching, blank-faced creature looks seventy instead of twenty-eight, and the hair flying out behind her has GONE GRAY. Her eyes stare straight ahead through the snow, taking no notice of her husband. Her snow-coated face is PALE AND LINED.

JACK

(embraces her)

Angie! Honey! Oh, Angie, we been looking for you! Buster's so worried, honey!

He covers her face with kisses as he talks, constantly giving her little strokes and pats and touches, the way a parent will do with a child who has just had a close call. At first, JACK is so relieved that he doesn't realize she isn't responding. Then it starts to get through to him.

JACK Angie? Honey?

He draws back, really seeing her for the first time seeing the glazed blankness in her eyes and seeing the gray hair that used to be black. He reacts with HORROR AND AMAZEMENT.

HATCH comes stumbling up, badly winded. FERD is bringing up the rear. And now we hear the RUMBLE of the Sno-Cat, returning from its marketing expedition.

JACK

J/\V^JV

Angie, what happened to you? What's wrong?

He looks at HATCH, but there's no help there. HATCH is also stunned by the change in her; so's FERD. JACK turns back to his wife and takes her by the shoulders.

JACK

What happened, Ange? What did he do to you? Where did he take you? Where are the others, do you know?

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210

A large YELLOW EYE looms out of the snow the headlamp of the Sno-Cat. ANGIE sees it, and as MIKE pulls up, it seems to break her loose from the deep daze she's been in. Her gaze moves to her husband and begins to fill with frantic FEAR.

ANGIE

We have to give him what he wants.

JACK What, honey? I couldn't hear you.

HATCH

(he heard just fine) Linoge?

The doors of the Sno-Cat open. MIKE and the others get out and begin floundering toward HATCH, FERD, and the CARVERS. ANGIE takes no notice. She stares only at JACK, and when she speaks, she does so with RISING HYSTERIA.

ANGIE

Linoge, yes, him. We have to give him what he wants, he sent me back to tell you. That's the only reason he didn't let me fall so I'd tell you. We have to give him what he wants! Do you understand? We have to give him what he wants!

MIKE takes her by the shoulder and turns her toward him.

MIKE What does he want, Angela? Did he tell you?

At first she doesn't answer. They cluster around her, waiting, anxious.

ANGIE

He said he'll tell us tonight. He said we're going to have a special town meeting, and he'll tell us then. He said that if some folks don't want to go along . . . don't want to do what's best for the town

. . . that they should be reminded of the dreams we had last night. That they should be reminded of what happened in Roanoke. That they should remember Croaton, whatever that is.

STORM OF THE CENTURY 277

MIKE

(perhaps to himself) His name, maybe. His real name.

ANGIE

(turns back to JACK) Take me inside. I'm freezing. And I want to see Buster.

JACK

Sure.

\

He puts an arm around her and leads her slowly back toward the town hall. MIKE goes to HATCH.

MIKE Any sign of Bill Timmons or George Kirby?

HATCH

No. Janie Kingsbury, either.

MIKE Jane Kingsbury's dead.

211

(to SONNY) Take it in, would you?

SONNY climbs up into the cab of the Sno-Cat and revs the engine. MIKE and HATCH start to walk toward the town hall, MIKE telling HATCH about MRS. K.

22 EXTERIOR: THE SIDE OF THE TOWN HALL, HIGH ANGLE AFTERNOON.

From here, we can barely see the line of ISLANDERS; trudging slowly back to the buildings through the drifts, they look like ants on safari across a desert of sugar. The Sno-Cat, piloted by SONNY BRAUTIGAN, drives slowly past them toward the building. We hold on this, then: FADE TO BLACK. THIS ENDS ACT 1.

Act 2

23 EXTERIOR: THE TOWN DOCK VERY LATE AFTERNOON.

Well . . . where the town dock used to be. The tide is rising again, and MONSTER WAVES pound at the shore. We see overturned boats, splintered lobster traps, shattered chunks of piling, tattered skeins of netting.

24 EXTERIOR: THE HEADLAND VERY LATE AFTERNOON.

The ocean ebbs and flows over the FALLEN LIGHTHOUSE. One wave ROLLS IN and deposits something beside the shattered circular window of the control room.

25 EXTERIOR: OUTSIDE THE CONTROL ROOM LATE AFTERNOON.

It's the waterlogged body of old GEORGE KIRBY. There's a GROWING ROAR as the next wave comes in and pulls the body away.

26 EXTERIOR: THE BUSINESS SECTION OF TOWN LATE AFTERNOON.

The storm is still howling away, and now the business buildings are buried halfway to the tops of their show windows.

27 INTERIOR: THE DRUGSTORE LATE AFTERNOON.

The show windows are all shattered, the holes filled with avalanches of snow that stretch halfway down the aisles.

28 INTERIOR: THE HARDWARD STORE LATE AFTERNOON.

Like the drugstore, the aisles are full of snow. Near the cash registers is a display of lawnmowers buried to their gas caps in snow. The sign in front of them is barely readable: LAWNMOWER SALE!

GEAR UP FOR

SUMMER NOW!

I

29 INTERIOR: THE ISLAND BEAUTY SHOP.

It's also full of snow. The hair dryers stand like frozen Martians.

1

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STORM OF THE CENTURY 279

Written across the mirror is "GIVE ME WHAT I WANT AND I'LL GO AWAY."

30 EXTERIOR: THE TOWN HALL LATE AFTERNOON.

212

We can barely see it, partially because of the SCREAMING BLIZZARD, but mostly because night is getting ready to fall.

31 INTERIOR: THE BASEMENT DAY-CARE AREA LATE AFTERNOON.

The KIDS are sitting in a circle. In the middle is CAT WITHERS, reading a book called The Little Puppy (a great favorite of DANNY TORRANCE'S, once upon a time).

CAT

So the little puppy said, "I know where my ball must be. That mean little boy put it in his pocket and took it away. But I can find it, because my nose is "

. SALLY GODSOE

(sings) "I'm a little teapot ..."

CAT

Sally, honey, you shouldn't be singing now. This is storytime.

CAT'S a little freaked, although she can't quite remember what it is about that nonsense ditty that is so unpleasant. SALLY pays no attention to her in any case, goes right on singing. RALPHIE

joins in. HEIDI adds her voice, then BUSTER and PIPPA, FRANK BRIGHT and HARRY ROBICHAUX do the same. Soon all the children are singing, even DON BEALS.

KIDS

". . . short and stout. . . ."

They stand up. They show their handles and spouts at the appropriate moments. CAT looks at them with growing unease. JOANNA STANHOPE, MOLLY, and MELINDA HATCHER join her.

MELINDA

What's going on?

280 STEPHEN KING

CAT I don't know ... I guess they want to sing.

KIDS

". . . 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."

MOLLY doesn't like it. There's a shelf with a few books on it to her right. Also on it is the chamois bag with the MARBLES in it. MOLLY glances at this, then goes quietly upstairs.

f

32 INTERIOR: THE TOWN MEETING HALL AFTERNOON.

ANGIE CARVER is sitting on one of the front benches. She has been bundled into a warm, quilted housecoat, and there's a towel over her wet hair. JACK sits solicitously beside her, helping her with a cup of steaming broth. She can't seem to manage it herself, because her hands are shaking badly.

Sitting on the edge of the stage, facing her, is MIKE ANDERSON. Behind them, on the other benches (and on the edge of their seats, you could say) are most of Little Tail's storm refugees.

HATCH weaves his way to the front among them, and sits down next to MIKE. HATCH looks pretty well exhausted.

HATCH

213

(eyeing the onlookers) You want me to move them out?

MIKE

Think you could?

He's got a point, and HATCH knows it. MOLLY comes in, slips through the crowd, goes to MIKE, and sits beside him on the stage, attempting to have a private moment in a very public place.

MOLLY

(low) The kids're acting funny.

STORM OF THE CENTURY 281

MIKE (also low) Funny how?

MOLLY

Singing. Cat was reading them a story, and they just stood up and started singing.

(sees MIKE'S puzzlement) I know it doesn't sound like much . . .

MIKE

If you say it's funny, it's funny. I'll come and take a look as soon as I finish here.

He tips his eyes in ANGIE'S direction. ANGIE speaks . . . but not to MIKE or JACK or anyone in particular.

ANGIE

Now I know how easy it is to just get. . . yanked out of the world. I wish I didn't, but I do.

JACK offers her the cup of broth again, but when ANGIE puts her hands on it, they're shaking so badly she spills it and CRIES OUT when the liquid scalds her. MOLLY takes a handkerchief from her pocket, sits down beside her, and wipes the hot broth from her fingers. ANGIE looks at her gratefully and takes MOLLY'S hand. She grips it hard. It's comfort she needs, not a cleanup.

ANGIE

I was just standing there, you see, watching the lighthouse. And then ... I was his.

MOLLY

Shhh. It's over.

ANGIE

I feel like I'll never be warm again. I've burned my fingers . . . see, they're red . . . but they're still cold. I feel like he turned me to snow.

MOLLY Mike's got to ask you some questions, but it doesn't have to 282 STEPHEN KING

be here do you want to go somewhere more private? Because you can, if you want to.

She looks to MIKE for confirmation, and MIKE nods. ANGIE, meanwhile, gathers herself with an effort.

ANGIE

214

No . . . this is for everyone. Everyone should hear.

Fascinated and frightened at the same time, the ISLANDERS move in closer.

REV. BOB RIGGINS What happened to you, Angie Carver?

During what follows, THE CAMERA PUSHES SLOWLY IN ON ANGIE, moving to CLOSE-UP. Intercut with this, let us see as many ISLANDER FACES as possible. On each we see the horror, the terror, and the growing belief in what she's saying, strange as it is. There are supposedly no atheists in the foxholes, and maybe no disbelievers when the Storm of the Century is huffing and puffing and threatening to blow the house down. This is a quasi-religious experience, and by the end we see one solidified idea that really doesn't need verbal expression: when LINOGE shows up, they'll give it to him. Whatever it is he wants, they will give it to him. "Ayuh, deah shoah!" as the ISLANDERS

themselves might say.

ANGIE

We were watching the lighthouse fall down, and then I went flying backward into the snow. At first I thought it was somebody's idea of a joke, but then I turned around and what had me ... it wasn't a man. It wore a man's clothes and had a man's face, but there was just blackness where its eyes should have been blackness and little red twisting things, like snakes on fire. And when it smiled at me and I saw its teeth ... I fainted. First time in my life. I fainted.

She sips from the cup. The room is completely silent. MOLLY and JACK sit with their arms around her. ANGIE is still clutching MOLLY'S hand.

STORM OF THE CENTURY 283

ANGIE

When I came to, I was flying. I know that sounds crazy, but it's true. Me and George Kirby, we were both flying. It was like Peter Pan, with me as Wendy and old George as John. That . . . that thing had us, one under each arm. And right ahead of us, as if it was leading us or holding us up, there was a cane. A black cane with a silver wolfs head. As fast as we flew, that cane always stayed ahead of us.

MIKE and HATCH lock eyes.

ANGIE (continues)

It was the island we saw. The storm was over and the sun was out, but there were cops on snowmobiles everywhere. Mainland cops, state cops, even game wardens. News people, too, from the local stations and the networks. They were all looking for us. Only we were gone . . . gone where nobody could ever find us ...

ORV BOUCHER

Like in the dreams . . .

ANGIE

Yes, like that. Then it got dark again. At first I thought it was night, but it wasn't. It was the storm clouds. They were back and the sunshine was gone. Pretty soon it started snowing again, and I understood what was happening. I said, "You showed us the future, didn't you? Like the last ghost showed Mr. Scrooge the future in A Christmas Carol." And he said, "Yessum, that's very smart of you. Now you best hang on tight." We started to go up, and the snow got thicker, and old George started to cry and talk about how he couldn't stand it because of his arthritis, he had to get down . .

. although it wasn't cold a bit; at least it didn't seem that way to me. And then the man laughed and said that was fine, George could go down right away if he wanted to, and by the express route, too .

. . because he only needed one of us, really, to come back and tell. We were just going into the clouds by then

JONAS STANHOPE It was a dream, Angie; it must have been.

215

284 STEPHEN KING

ANGIE

I tell you it wasn't. I could feel the clouds, not cold the way you'd think snow clouds would be, but damp, like wet cotton. And George saw what it meant to do, and he screamed, but the thing that had us opened its right arm ... it had me in its left . . . and . . .

33 EXTERIOR: OLD GEORGE KIRBY NIGHT.

He FALLS AWAY FROM THE CAMERA, SCREAMING and waving his arms. He disappears into the dark and the snow.

34 EXTERIOR: RESUME ANGIE AND THE GATHERED ISLANDERS LATE AFTERNOON.

JACK Then what happened?

ANGIE

He told me he was bringing me back. Back through time, and back through the storm. He was letting me live to tell you to tell everyone that we have to give him what he wants when he comes tonight.

ROBBIE

If we have something this man Linoge wants, why doesn't he just take it?

ANGIE

I don't think he can. I think we have to give it to him. (pause) He told me to tell you that he'll only ask once. He asked me if I'd remember Roanoke, and Croaton, and that he'll only ask once.

And I said yes. Because I knew if I said no, or even asked him to explain anything, he'd drop me the way he dropped George. He didn't have to tell me. I just knew. Then we stopped going up. We did a rollover in the air, and my stomach went way up in my throat, like it was a county fair carnival ride we were on instead of being way up in the air . . . and I fainted again, I guess. Or maybe he did something to me. I don't know. The next thing I was sure of, I was stumbling around in the snow . .

. the whiteout . . . and I could hear a horn ... I thought, "The lighthouse must not have blown down after all, because I can hear the

STORM OF THE CENTURY 285

foghorn ..." I tried to go toward it ... and I saw someone coming out of the snow . . . and I thought it was him . . . him again, meaning to take me back into the air again . . . only this time he'd drop me . . . and I tried to run . . . but it was you, Jack. It was you.

She puts her head against his shoulder, exhausted by the effort this has taken. There is a beat of silence. Then:

JILL ROBICHAUX

(shrill) Why us? Why us?

Several beats of silence. Then:

4

TAVIA GODSOE Maybe because he knows we can keep a secret.

35 INTERIOR: THE BASEMENT DAY-CARE AREA LATE AFTERNOON.

KIDS

(sing) "I'm a little teapot, short and stout "

216

CAT WITHERS is still standing in the middle of the circle, holding her place in The Little Puppy.

We can see that she's freaked but is trying to hide this from the KIDS. MELINDA and JOANNA are still on the stairs. Now, joining them, is KIRK FREEMAN, still dressed for outdoors and with a pile of the toys and puzzles he and MIKE picked up at Wee Folks.

CAT

If you want to sing, kids, maybe we could sing something else for a change? "London Bridge" or

"The Farmer in the Dell" or ...

She gives up. They're not listening. They hardly seem there. Once normal, happy preschool children, they have become spookily distant.

KIDS

(sing) " Here is my handle, here is my spout. You can pick "

286 STEPHEN KING

They stop on the word "pick," and they do it all at the same time, as neat as a lock of hair snipped by a barber's shears. Now they just stand in a circle around CAT.

KIRK

I brought these games and What? What's going on?

36 INTERIOR: CAT AND THE CHILDREN, CLOSER LATE AFTERNOON.

Oh, this is freaky. She looks from one to the next, and the normal vivacity of young children has left their faces; they are Cult City. Eyes like big zeros. Just standing there.

CAT

Buster?

(no answer) Heidi?

(no answer) Pippa?

(no answer) Ralphie? Are you all right?

(no answer)

STORM OF THE CENTURY 287

MELINDA HATCHER hurries into the circle, almost knocking SALLY GODSOE and HARRY

ROBICHAUX over. She kneels by PIPPA and grabs her arms.

MELINDA Pippa, what's wrong, honey?

CAT bursts out of the circle. She's had enough.

37 INTERIOR: ON THE STAIRS, WITH CAT, JOANNA, AND KIRK FREEMAN.

KIRK

What is it? What's wrong with them?

CAT

(starting to cry)

I don't know . . . but their eyes . . . oh, God, there's nothing there.

217

38 INTERIOR: MELINDA AND PIPPA, CLOSE-UP.

CAT is right PIPPA'S eyes are scary in their emptiness, and although her mother shakes her harder and harder this is panic, not anger there is no result.

MELINDA

Pippa, wake up! Wake up!

She tries chafing PIPPA'S hands. No result. She looks around wildly.

MELINDA All of you, wake up!

39 INTERIOR: RALPHIE, CLOSE-UP.

His head turns a little, and the life comes back into his eyes. He smiles. It's almost as if he's heard her and is responding . . . except he's not even looking in MELINDA'S direction.

RALPHIE Look!

288 STEPHEN KING

He points toward the shelf with the bag of marbles on it.

40 INTERIOR: THE BASEMENT DAY-CARE CENTER LATE AFTERNOON.

Everyone looks. The KIDS light up, just as RALPHIE did. What are they looking at that pleases them so? The marbles? No, that doesn't seem to be it. Their eyes are fixed a little lower . . . but there's nothing there.

HEIDI

(delighted) It's got a doggy head! A silver doggy head! How cool!

CAT suddenly understands and is horrified.

CAT

(to KIRK) Go get Mike.

JOANNA STANHOPE I don't understand what

CAT Right now.

KIRK turns and does what she says, dropping the games and puzzles heedlessly on the stairs.

41 INTERIOR: DON REALS, CLOSE-UP.

DON

A doggy head! Yeah!

42 INTERIOR: THE SHELF, FROM DON'S POINT OF VIEW.

Hanging from the shelf is LINOGE'S cane. The SILVER SNARLING WOLF'S HEAD is now a FRIENDLY, GRINNING SAINT BERNARD.

43 INTERIOR: RESUME THE CIRCLE OF KIDS.

MELINDA still kneels in front of PIPPA, but PIPPA is looking over her head, like the others.

STORM OF THE CENTURY 289

PIPPA

218

A doggy! A doggy!

Bewildered and afraid, MELINDA turns to look. Nothing there.

44 INTERIOR: THE TOWN MEETING HALL LATE AFTERNOON.

MIKE is just getting up from the stage. The interview with ANGELA is over.

f.

MIKE (to JACK)

Why don't you see if you can get her to lie down for a little while?

JACK That's a good

KIRK comes bursting through the clustered ISLANDERS.

KIRK Mike! Mike, there's somethin' wrong with the kids!

FRIGHTENED MURMURS from the ISLANDERS ... but some do more than just MURMUR JILL and ANDY, MIKE and MOLLY, ROBBIE and SANDY, the BRIGHTS, HATCH, URSULA ... the parents BOLT

FOR THE STAIRS.

ANGIE

(as if waking up) Buster? Is something wrong with Buster? Buster! Buster!

She is up in a flash, knocking the cup of broth from JACK'S HAND.

JACK Honey, wait

ANGIE

(ignores him) Buster!

290 STEPHEN KING

45 INTERIOR: BUSTER, CLOSE-UP.

He breaks from the circle and runs to the shelf, where the cane hangs by the crook of its neck.

He touches it ... and crumples to the floor as if shot.

46 INTERIOR: THE DAY-CARE AREA, WIDER LATE AFTERNOON.

The rest of the children follow BUSTER'S lead. They are laughing and excited, like kids who have just been given free all-day passes to Disneyland. They reach out to thin air ... or to something only they can see ... and one by one CRUMPLE TO THE FLOOR, joining BUSTER.

CAT

No! Don't let them

A gaggle of FRIGHTENED PARENTS, led by JILL and ANDY, appear at the head of the stairs.

ROBBIE

Get out of my way!

He shoves JILL aside would have knocked her right downstairs, if not for ANDY'S last-second grab and goes pelting down to the basement.

CAT ignores all this and runs across the room. HARRY ROBICHAUX touches thin air and falls down 219

with the others. Now there's only RALPHIE ANDERSON and PIPPA, who is back where the circle was.

PIPPA is struggling in her mother's grip. CAT grabs RALPHIE and pulls him back as he reaches up to touch . . . well, to touch whatever it is he sees.

PIPPA

Let me go! Wanna see doggy! Wanna see DOGGY!!

47 INTERIOR: CAT AND RALPHIE, CLOSE-UP.

CAT doesn't see the cane hanging down from the shelf, but in this shot we do ... and RALPHIE

does, too. He reaches for it ... almost touches it ... and CAT pulls him back out of reach.

CAT

Ralphie, what do you see?

STORM OF THE CENTURY 291

RALPHIE

(struggling wildly) Let me go! Let me go!

He reaches again . . . CAT pulls him back again . . . and then ROBBIE BEALS comes cannonading into her, wanting only to reach DON, who is lying in the pile of tangled limbs with his eyes closed and doughnut crumbs still on his mouth. CAT, meanwhile, loses her grip on RALPHIE and goes sprawling.

ROBBIE

(to his knees) Donnie!

RALPHIE is free. He lunges forward and touches the cane. For a moment we see a DEEP AND

PERFECT BLISS on his face.

RALPHIE

Neat!

His eyes roll up to whites, and he sprawls with the others.

48 INTERIOR: PIPPA AND MELINDA, CLOSE-UP.

PIPPA is now the only child left-. She struggles furiously with her mother, tearing her shirt in her efforts to get free, her eyes continually turning to the area above the tangle of KIDS.

MELINDA Pippa . . . Pippa, no ...

PIPPA Let me go!

HATCH comes pelting down the stairs and runs toward his wife and his daughter.

HATCH

Pippa! What's wr

MELINDA turns some of her attention toward her husband. A bad 292 STEPHEN KING

mistake. PIPPA'S sweet little face twists into an expression of rage, and she claws at her mother's cheek, drawing blood in three lines.

PIPPA

220

Let me go you BITCH!

Stunned both by the pain and by the word her daughter has used, MELINDA loosens her grip.

Only a little, and only for a moment, but it's enough. PIPPA tears out of her grasp and races across the room.

HATCH

Honey, no!

He goes after her.

49 INTERIOR: PIPPA, CLOSE-UP.

HATCH loses the race. PIPPA touches the cane an instant before he can grab her around the waist. We see that same BLISSFUL EXPRESSION on her face, and then she SWOONS AWAY with the others.

HATCH

No! No! NO!

He picks her up in his arms, looks at the place where her hand touched, and sees nothing but thin air. He turns around with her, unbelieving.

50 INTERIOR: THE BASEMENT OF THE TOWN HALL LATE AFTERNOON.

Total pandemonium as choreographed by our fearless director reigns as ISLANDERS continue to push down the stairs and crowd into the makeshift day-care space. The dominant note is CONFUSED TERROR.

ROBBIE is shaking DONNIE, trying to wake him up. HATCH stands up with PIPPA in his arms, beginning to WEEP. MIKE pushes through the cluster of people at the foot of the stairs and looks with unbelief at the TANGLE OF TINY BODIES.

DELLA BISSONETTE They're dead! He's killed them!

STORM OF THE CENTURY 293

URSULA No! Oh, God, please no! Not Sally! Not my Sally!

She pushes her way through the people in her way, actually knocking a couple of them over. She is maddened with grief and terror . . . this lady lost her husband just the day before, remember.

Shoving down the stairs almost masking down the stairs comes ANDY ROBICHAUX, dragging JILL by the hand. ANDY knocks old BURT SOAMES down on the stairs. There's a CRUNCH as BURT'S

ARM BREAKS. The old guy SCREAMS WITH PAIN.

BETTY SOAMES

(shrieking) You're trampling him! Stop! You're killing him!

ANDY and JILL take no notice. They don't care about BURT SOAMES; they care about HARRY, who is lying with the others.

Meanwhile, DELLA'S hysterical cry has been picked up by the others, and it jumps from person to person like a virulent flu germ: they're dead; the kids are dead; LINOGE has somehow killed the children.

51 INTERIOR: MIKE, MOLLY, RALPHIE.

As MOLLY arrives, CRYING WITH TERROR, MIKE is gently lifting RALPHIE into a sitting position and dropping one ear to the boy's face and chest.

221

MOLLY

Is he

MIKE takes her hand and holds it in front of RALPHIE'S nose and mouth. She feels his breath going in and out. An expression of deep relief comes over her face. Her shoulders sag.

MOLLY Thank God. Is he asleep, or

MIKE I don't know.

He scoops RALPH into his arms and stands up.

294 STEPHEN KING

52 INTERIOR: THE BASEMENT DAY-CARE AREA, ANGLE ON THE STAIRS.

ROBBIE has DONNIE in his arms now. He runs for the stairs, with his BEWILDERED, TERRIFIED

wife tumbling along in his wake. His way is blocked by the SOAMESES; BETTY is just helping BURT

to his feet. Also nearby are JOHNNY HARRIMAN, SONNY BRAUTIGAN, and UPTON BELL. But the SOAMESES, unlucky parents of the late BILLY, are ROBBIE'S first obstacle.

ROBBIE

(no great diplomat he) Outta my way!

He shoves BURT, whose broken arm smashes against the side of the stairs. BURT SCREAMS

AGAIN, and BETTY grabs him again. JOHNNY, outraged, blocks ROBBIE'S path.

JOHNNY HARRIMAN

Here, here, now! That's an old man you're pushing around! Where do you think you're going, anyway?

ROBBIE Let me by! I have to get him to a doctor!

SONNY

Good luck to you, Robbie Beals closest one's across the reach in Machias, and the wind's blowin'

a hurricane.

ROBBIE looks at him, wide-eyed, some semblance of sanity dawning. SONNY is right, of course.

SANDRA joins ROBBIE and brushes DONNIE'S hair gently back from his brow. BETTY SOAMES, hugging her WEEPING HUSBAND, glares at them.

53 INTERIOR: THE BASEMENT DAY-CARE AREA, ANGLE ON THE ANDERSONS.

MIKE is aware of the panic in the parents, which is bad, and the panic of the ISLANDERS in general, which could be even worse. He draws in a deep breath, and lets loose the LOUDEST SHOUT

he can manage.

MIKE

Everybody JUST. . . SHUT. . . UP!!!

STORM OF THE CENTURY 295

Some people in their immediate vicinity quiet down . . . and that quiet SPREADS OUTWARD. Only ROBBIE BEALS doesn't turn toward the constable, and by now that shouldn't much surprise us.

ROBBIE

Where's Ferd? He's got EMT training, at least . . . Ferd Andrews, where the hell are you?

222

FERD

(lost in the back of the crowd) Here

We see him struggling to get through.

ROBBIE Get your ass down here! Folks, let him pass! My boy HATCH That's enough. Shut up.

ROBBIE

Don't you tell me to shut up, fatso. I've had all the crap out of you I'm going to take.

The two men face each other, each with an UNCONSCIOUS CHILD in his arms, but ready to brawl, just the same.

MIKE

Stop it. Both of you. Robbie, I don't think Don's in any immediate danger. Or Pippa, or Ralphie, or any of them.

URSULA has been kneeling over SALLY, keening to her. Now MOLLY whispers something in her ear, and URSULA stands up.

MARY HOPEWELL Then . . . they're not dead?

The ISLANDERS are all quiet now, watching and hoping. ANDY has got his son HARRY in his arms.

JILL is standing next to them. Nearby, JACK is holding BUSTER while his wife the haggard, newly gray-haired ANGIE kisses the boy's cheek and whispers in his ear.

296 STEPHEN KING

ANDY

I think . . . he's sleeping.

URSULA This isn't sleep. If they were asleep, we could wake them up.

FERD

(finally at the front of the crowd) Then what is it?

MIKE I don't know.

He looks down into RALPHIE'S serene face, as if trying to read whatever is happening behind the boy's closed eyes. THE CAMERA FOLLOWS HIS GAZE, moving in and in on RALPHIE'S face, from MEDIUM SHOT to CLOSE-UP, from CLOSE-UP to EXTREME CLOSE-UP. And as it does, we: SLOWLY DISSOLVE TO:

54 EXTERIOR: BLUE SKY, WHITE CLOUDS DAY.

The sky above is that DEEP, PENETRATING BLUE that we see only from airplanes. We are at about 22,000 feet above the surface of the earth. Below us, at 21,000 or so, is a WIDE DECK OF

CLOUD an enormous ballroom floor in the sky. We can see tendrils of cloud smoking off the top of this deck and into the blue. Up where we are, all is sunlit and serene. Below, still driving like hell, is the Storm of the Century.

A V-SHAPE becomes visible through the clouds, grayish against the white. It's like watching a submarine running just below the surface, or a plane about to break into the clear. You'd think

"plane," given our location, but it isn't.

223

The V-SHAPE rises out of the clouds. At the tip of the V is LINOGE, dressed in his watch cap, pea coat, blue jeans, and yellow gloves. Ahead of him, leading the way like a lodestar, is the CANE.

LINOGE holds his hands out to either side, slightly spread. Clinging to one is PIPPA HATCHER.

Clinging to the other is RALPHIE ANDERSON. Clinging to the hands of these two are HEIDI and BUSTER; clinging to HEIDI'S and BUSTER'S are SALLY and DON; clinging to their hands and STORM OF THE CENTURY 297

bringing up the rear are HARRY and little FRANK BRIGHT. Their hair flies back from their foreheads. Their clothes ripple. They are totally blissed out.

LINOGE (calls back) Having fun, kids?

KIDS

Yeah . . . yeah . . . Cool. . . This is great!

(etc.)

55 EXTERIOR: LINOGE, CLOSE-UP.

His eyes are BLACK, shot with TWISTING RED VEINS. When he smiles, he once more reveals those SHARPENED FANGS. The shadow of the CANE lies on his face like a scar. The KIDS think they have gone flying with a fabulous friend. We know the truth: they are in the grip of a monster.

FADE TO BLACK. THIS ENDS ACT 2.

Act 3

56 EXTERIOR: THE TOWN HALL NIGHT.

It's still almost blotted out by the snowstorm, its few lights flickering bravely.

57 EXTERIOR: THE GENERATOR SHED BEHIND THE TOWN HALL NIGHT.

It's barely visible, almost buried by drifts, but it's impossible to mistake the ENGINE ROAR. Then the ENGINE COUGHS . . . SPUTTERS . . .

58 EXTERIOR: THE TOWN HALL NIGHT. The lights flicker on and off . . .

59 INTERIOR: THE TOWN HALL KITCHEN NIGHT.

TESS MARCHANT, TAVIA GODSOE, and JENNA FREEMAN are taking BOXES OF CANDLES out of the supply closet adjacent to the pantry and stacking them on the kitchen counter. The overhead lights CONTINUE TO FLICKER. TAVIA and JENNA look up, nervous.

TAVIA GODSOE (nervously, to TESS) Are we going to lose the generator, do you think?

TESS

Ayuh. It's a miracle it's run as long as 't 'as, with no one able to keep it dug out. Wind must have kept the exhaust pipe clear, but now it's shifted. In a way, that's good news. Means the storm's almost over.

She hands several stacked boxes of candles to JENNA and gives more to TAVIA. She takes a third stack for herself.

JENNA

Main meeting hall?

298

224

STORM OF THE CENTURY 299

TESS

Ayuh, shoah Mike wants that ready first. There's a couple of emergency lights in there, but that isn't enough for him. Let's get as much done as we can while we can still see to do it, ladies.

60 INTERIOR: A CORRIDOR LEADING TO THE FRONT OF THE TOWN HALL.

Up ahead are URSULA GODSOE'S glassed-in office and the stairs going down to the basement. To the right is the main meeting hall, visible through the corridor windows. Through these we can see perhaps a hundred and twenty ISLANDERS, some grazing the buffet (scant provisions there by now), most sitting on benches and talking as they drink coffee.

There are chairs lining the corridor; these are used in less disastrous times by people waiting their turn to do some bit of town business licensing a car, a dog, a boat; paying property tax; checking the voter rolls; perhaps renewing a commercial fishing or clamming permit. In these are sprawled another two dozen ISLANDERS, some talking quietly, some dozing. It's the storm they're waiting on now.

TESS, TAVIA, and JENNA come hurrying along with their bounty of candles. Up ahead, HATCH

comes out of URSULA'S office.

HATCH

I just caught a little bit of the latest NWS bulletin on the shortwave. They say we may see the moon tonight.

TAVIA GODSOE

That's wonderful.

Those sitting in the hall like patients in a doctor's waiting room think so, too MANY APPLAUD, waking the dozers, who look around and ask what's up.

TAVIA Where's Ursula, do you know?

HATCH

Downstairs, with Sally and the others. Sleeping, the last I saw. (pause) But not like the kids're sleeping. You know?

300 STEPHEN KING

TAVIA

Yes . . . but I'm sure they'll be all right. They'll wake up and be just fine.

HATCH

I hope you're right, Tavia Godsoe. Pray you're right.

He goes downstairs. The THREE WOMEN watch him with deep sympathy, then go on their way. As they reach the stairs and turn right to go into the meeting hall, JOANNA STANHOPE comes up the stairs.

JOANNA STANHOPE Can I help?

TAVIA

Go down to the kitchen and get the rest of the candles, if you want. I'm afraid we're going to lose the generator.

TAVIA, TESS, and JENNA go into the town meeting hall. JOANNA (who has gotten over the shock 225

of her unpleasant mother-in-law's death in record time) heads down to the kitchen.

The overheads FLICKER, go out, then COME BACK ON again. The ISLANDERS sitting in the chairs along the walls of the corridor look up and MURMUR QUIETLY.

61 INTERIOR: THE KIDS' SLEEPING AREA OF THE BASEMENT NIGHT.

Except now it looks like Intensive Care in a children's hospital; this could be the aftermath of some hideous tragedy, like the shooting of all those kids in Scotland.

URSULA has drawn a cot up next to SALLY'S and sleeps, holding both her daughter's hands in both of her own. MIKE and MOLLY are with RALPHIE, and MELINDA is with PIPPA, brushing her hair back from the child's brow. The ROBICHAUXES are with HARRY, the CARVERS are with BUSTER, the BRIGHTS are with FRANK, LINDA ST. PIERRE is with HEIDI. Next to her, also alone, is SANDRA BEALS. She's got a washcloth and is gently and lovingly wiping the doughnut crumbs from around DON'S mouth. Fast asleep as they are, you'd think them heaven's smallest angels. Even DON.

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Sitting in the corner, hands clasped and PRAYING UNOBTRUSIVELY, is REV. BOB RIGGINS.

HATCH slips through the makeshift draw curtains, then stops and looks up as the LIGHTS

FLICKER AGAIN. They come back, and he comes over to the KIDS and PARENTS.

HATCH (to MELINDA)

Any change?

(she shakes her head) Any change in any of them?

MELINDA

(soft, despairing)

No.

MOLLY

But their respiration is normal, reflexes are normal, and if you roll back an eyelid, their pupils react to light. All that's good.

HATCH sits next to MELINDA and looks closely into PIPPA'S face. He sees her eyelids TWITCH and MOVE.

HATCH

She's dreaming.

MIKE They all are.

MIKE and HATCH exchange a look, then HATCH glances toward SANDRA.

HATCH Where's Robbie, Sandra?

SANDRA Don't know.

"And don't care," her tone implies. She goes on wiping at DONNIE'S

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mouth. The crumbs are all gone now; she's only caressing him, loving him as best she can.

62 INTERIOR: A TOWN MEETING HALL BENCH, WITH ROBBIE SEALS NIGHT.

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He's sitting by himself elected official or not, few people care for ROBBIE on a personal level. In the background, people TALK TOGETHER. Some are helping TAVIA, TESS, and JENNA put up candles in the ornamental holders along the walls. ROBBIE is wearing a sport coat. Now he reaches into the right-hand pocket and brings out the PISTOL we saw in his possession in Part One. He holds it in his lap, looking at it thoughtfully.

The overhead lights FLICKER OFF. The emergency lights on the walls FLICKER ON in corresponding pulses. People LOOK UP NERVOUSLY. The three WOMEN go a little faster with their candle placement. More folks drift over to help.

ROBBIE isn't in a helpful mood and doesn't react to the imminent departure of the electric lights.

He's off in his own little world, where thoughts of revenge are all that matter. He looks at the little gun a second or two longer, then tucks it back into his jacket pocket, where it will be near to hand.

Then he goes on sitting and staring off into space. Just a pissed-off town manager waiting for LINOGE to show up.

63 INTERIOR: THE TOWN HALL KITCHEN.

JOANNA STANHOPE comes in and LOOKS UP UNEASILY as the LIGHTS FLICKER.

64 EXTERIOR: THE GENERATOR SHED NIGHT.

The engine COUGHS . . . SPUTTERS . . . and this time doesn't catch again. It CHOKES AWAY TO

SILENCE, leaving only the HOWL OF THE WIND.

65 INTERIOR: THE KIDS' SLEEPING AREA NIGHT.

The overhead LIGHTS GO OUT. After a moment of BLACK, one FEEBLE EMERGENCY LIGHT comes on, shining from a box mounted high up on the wall at the very back of the room.

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MIKE (to HATCH) Want to help with the candles?

HATCH

Honey?

MELINDA Go ahead.

MIKE and HATCH get up and leave.

66 INTERIOR: THE TV AREA OF THE TOWN HALL BASEMENT NIGHT.

MIKE and HATCH come out through the makeshift draw curtains and head for the stairs.

HATCH

Radio says the storm'll be pretty much over by midnight. If Linoge intends to do something MIKE

I think you can pretty much count on that.

67 INTERIOR: THE TOWN HALL KITCHEN, WITH JOANNA NIGHT.

The kitchen is VERY DIM: there are two battery-powered emergency lights, but one is not working at all and the other is putting out the thinnest possible thread of YELLOW GLOW. As JOANNA starts across the room, it goes out entirely.

JOANNA, now just a shadow among other shadows, makes her way past the table in the middle of the room to the counter. She bumps her hip and CRIES OUT SOFTLY more in impatience than in pain. She reaches the counter and takes one of the candles out of its box. There are also stacks of boxed wooden matches beside a cluster of candle-holders, and she uses a match to light her candle.

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When the flame is high, she takes a holder and sticks the base of the candle on the prong.

She takes the rest of the candles, stacking the boxes carefully in the crook of one arm, and turns.

Lying on the table, which was all cleaned up for the night and quite bare when she came into the room, is LINOGE'S wolf's head cane.

304 STEPHEN KING

JOANNA GASPS, TURNS . . . and LINOGE is standing right there, his smiling face underlit by her candle. It looks like the face of a goblin. She gasps, INHALING A SCREAM, and all the candles the lit one and the boxes of unlit ones drop from her hands. The lit one WHIFFS OUT, leaving her (and us) in SHADOWY DARKNESS once more.

LINOGE

Hello, Joanna Stanhope. Glad the old bitch is dead, aren't you? I did you a favor there, oh, ayuh.

You kept a straight face, but inside you were dancing a jig. I know; I can smell it on you like musk.

JOANNA begins to SCREAM this time the right way, with the breath going out. Then she claps both hands over her mouth before she can do more than get started. Above them, her eyes bulge in terror, and we know she didn't shut herself up of her own free will.

LINOGE

(tenderly) Shhhh . . . Shhh . . .

68 INTERIOR: THE TOWN HALL CORRIDOR, FEATURING MIKE AND HATCH.

The place is dim, lit by a couple of underpowered emergency lights on the wall, plus a few candles, flashlights . . . maybe even an upheld cigarette lighter or two. Through the windows, we can see the women lighting the meeting hall.

STAN HOPEWELL What about the generator, Mike?

FIRST ISLANDER Is the power off for the rest of the storm, do you think?

SECOND ISLANDER

What about heat? They took the damn woodstove out three years ago! I told 'em it was a mistake, they'd want it come blizzard season either one year or the next, but nobody listens to the old-timers no more

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MIKE

(not stopping)

We'll have plenty of light and heat, don't worry. And the worst of the storm will be over by midnight. Right, Hatch?

HATCH

Right.

REV. BOB RIGGINS has followed MIKE and HATCH, falling a little behind on the stairs (RIGGINS is a portly soul) but now catching up.

REV. BOB RIGGINS

It's not light or heat these good people are worried about, Michael, and you know it.

MIKE pauses in his march toward the kitchen and turns. All the WHISPERED CONVERSATIONS in the hallway cease. RIGGINS has touched a bare nerve, is speaking for everyone, saying what the 228

rest can't, and MIKE knows it.

REV. BOB RIGGINS

When this fellow conies, Michael, we must give him what he wants. I've prayed on it, and this is the guidance the Lord has

MIKE We'll listen and then decide ... all right?

A DISAPPROVING MURMUR greets this.

ORV BOUCHER

How can you say that when your own kid ?

MIKE Because I don't believe in blank checks.

He turns to go.

REV. BOB RIGGINS

There's a time to be stubborn, Michael . . . but there's also a time to let go of the reins and look toward the greater good, hard as that may be. "Pride goeth before destruction, and a haughty spirit before a fall." Book of Proverbs.

306 STEPHEN KING

MIKE

"Render therefore unto Caesar the things which are Caesar's, and unto God the things that are God's." Book of Matthew.

REV. BOB RIGGINS is angry that MIKE would try to outscripture him. When he moves to follow, and perhaps continue the argument, MIKE shakes his head.

MIKE Stay here, please we've got this under control.

REV. BOB RIGGINS I know you believe that . . . but not all of us are convinced.

ORV BOUCHER

You want to remember that this is still a democracy, Michael Anderson! Storm or no storm!

MURMURS OF APPROVAL.

MIKE

I'm sure that if my memory wavers, you'll refresh it, Orv. Come on, Hatch.

69 INTERIOR: THE KITCHEN DOORWAY, WITH MIKE AND HATCH NIGHT. They start inside, then stop, HORRIFIED AND AMAZED.

LINOGE (voice) Come in! Come in!

70 INTERIOR: THE KITCHEN NIGHT.

Lighted candles stand on the table and the counter. We can see LINOGE, looking dapper with his cane planted before him and his hands (the yellow gloves have disappeared again, for the time being) folded over the wolfs head. We can also see JOANNA STANHOPE. She is floating against the far wall, with her head almost touching the ceiling and her feet dangling down on thin air. Her arms are outstretched so that her hands are on a level with her hips a posture that does not quite mimic crucifixion but at least suggests it. In each fisted hand, JOANNA holds a LIGHTED CANDLE. The melting wax has run

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down over her fingers. Her eyes are wide open. She can't move, but she's aware . . . and she's terrified.

I ' Across the room, MIKE and HATCH stand right where they are.

LINOGE

Come in, boys. Do it now and do it quietly . . . unless you want me to make this bitch burn her face off.

He raises the cane slightly. When he does, JOANNA raises one of the candles in corresponding fashion toward her head.

LINOGE All that hair! Shall we watch it burn?

MIKE

No.

He comes into the room. HATCH follows, with a glance back down the hall. There, BOB RIGGINS

is talking to the ISLANDERS. Impossible to tell what he's saying, but he's got quite a few of them agreeing with him, from the look.

LINOGE

Having a little trouble with the local witch doctor, are you? Well, here's something you might want to file away for later, Constable . . . always assuming there is a later, of course. The Reverend Bobby Riggins has got a couple of nieces over in Castine. Eleven and nine they are, cute little blondies. He likes them a lot. Too much, probably. They run and hide when they see his car turn into the driveway. In fact

MIKE Let her down. Joanna, are you all right?

She doesn't answer, but her eyes ROLL IN TERROR. LINOGE frowns.

LINOGE

If you don't want to see Mrs. Stanhope's impression of the world's biggest birthday candle, I advise you not to speak again until you're invited to. Hatch, close the door.

308 STEPHEN KING

HATCH closes it. LINOGE watches, then turns his attention back to MIKE.

LINOGE

You don't like knowing, do you?

MIKE

Not your brand of it, no.

LINOGE

Well, that's too bad. A real shame. Perhaps you don't believe me?

MIKE

I believe you. The thing is, though, you know all the bad and none of the good.

LINOGE

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That's so inspirational it brings tears to my eyes. But by and large, Constable Anderson, the good's an illusion. Little fables folks tell themselves so they can get through their days without screaming too much.

MIKE

I don't believe that.

LINOGE

I know. A good boy to the end, that's you . . . but I think you're going to find yourself on the short end this time.

He looks at JOANNA. He raises his cane . . . then SLOWLY LOWERS IT. As he does, she SLIDES

down the wall. When her feet touch the floor, LINOGE purses his lips and makes a little PUFF. A wind STIRS THROUGH THE ROOM. The flames of the candles on the table and counter flicker; those in JOANNA'S hands WHIFF OUT. When they do, the spell holding her breaks. She drops the candles and runs to MIKE, SOBBING. She CRINGES AWAY from LINOGE when her cross takes her nearest to him. He smiles at her in fatherly fashion as MIKE puts an arm around her.

STORM OF THE CENTURY 309

LINOGE

Your town is full of adulterers, pedophiles, thieves, gluttons, murderers, bullies, scoundrels, and covetous morons. I know every one of them, too born in lust, turn to dust. Born in sin, come on in.

JOANNA

(sobbing)

He's the devil! He's the devil! Don't let him near me again, I'll do anything, just don't let him near me again!

MIKE What do you want, Mr. Linoge?

LINOGE

Everybody on those benches an hour from now that'll do to start with. We're going to have a little unscheduled town meeting, at nine o'clock PM, prompt. After that . . . well . . . we'll see.

MIKE

See what?

LINOGE crosses the room to the back door. He holds up his cane, and the door SWINGS OPEN.

The storm's wind BLOWS IN, dousing all of the candles. The SHAPE that is LINOGE turns in the doorway. In the silhouette of his head, we can see the TWISTING RED LINES that light his eyes.

310 STEPHEN KING

LINOGE

If I'm through with this town ... or only just beginning. Nine o'clock, Constable. You . . . him . . .

her . . . Reverend Bobbie . . . Town Manager Robbie . . . everyone.

He goes out. The door SLAMS SHUT behind him.

71 INTERIOR: THE KITCHEN, WITH MIKE, HATCH, AND JOANNA NIGHT.

HATCH

What do we do?

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MIKE

What can we do? Listen to whatever else he wants. If there's another choice, I don't see it. Tell Robbie.

HATCH What about the kids?

JOANNA

111 watch them ... I don't want to be where he is, anyway. Not ever again.

MIKE ' No, that won't do. He wants everyone, and that includes you, Jo.

(thinks)

We'll bring them upstairs. Cots and all. Put them in the back of the meeting hall.

HATCH Yeah. That'll work.

(as MIKE opens the door again) I've never been so scared in my life.

MIKE Me, either.

They go out to tell the storm survivors about the meeting.

72 EXTERIOR: THE FRONT OF THE TOWN HALL NIGHT.

The little cupola with the memorial bell inside it is almost swallowed in STORM OF THE CENTURY 311

snowdrifts. Standing on one of those drifts a trick almost as miraculous as walking on water is ANDRE LINOGE. His cane is planted neatly between his feet. He is watching the town hall . . .

guarding it... biding his time.

FADE TO BLACK. THIS ENDS ACT 3.

Act 4

73 EXTERIOR: THE INTERSECTION OF MAIN AND ATLANTIC NIGHT.

The WIND is still blowing, sending sheets of snow down Main and continuing to build up the drifts, but the SNOW itself has almost stopped.

74 EXTERIOR: THE REMAINS OF THE TOWN DOCK NIGHT.

The waves continue CRASHING IN against the seawall, but not as hard as before. There's an overturned fishing boat lying at the foot of Atlantic Street, with its prow smashed through the display window of Little Tall Gifts and Antiques.

75 EXTERIOR: THE SKY NIGHT.

At first we see only BLACKNESS AND CLOUDS, but then there is a lightening, a silvering. We see the troubled, smoky shapes of the clouds more clearly in this light, and then, for just a moment or two, the FULL MOON shines through before disappearing again.

76 EXTERIOR: THE TOWN HALL NIGHT.

The building, visible through WHIRLING MEMBRANES OF SNOW, still looks a bit like a mirage. In the shelter of its cupola, the memorial bell swings back and forth, being GENTLY RUNG by the wind.

77 INTERIOR: OLD-FASHIONED REGULATOR CLOCK, CLOSE-UP.

232

It's TICKING LOUDLY. WHEN the minute hand reaches straight-up nine, the regulator begins to CHIME THE HOUR. As it does, THE CAMERA PULLS BACK AND TURNS, giving us the town meeting hall of Little Tall Island.

It is a spectral and beautiful sight. Every member of the community that we have met is sitting there, plus all the other ISLANDERS two hundred, in all. They look eerie by candlelight, like villagers from an earlier time . . . the time of Salem and Roanoke, let us say.

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STORM OF THE CENTURY 313

Sitting in the front row are MIKE and MOLLY; HATCH and ME-LINDA; REV. BOB RIGGINS and his wife, CATHY; URSULA GODSOE and SANDRA BEALS. ROBBIE BEALS is up on the stage, at a small wooden table to the left of the podium. Before him on the table is a little plaque that reads TOWN

MANAGER.

At the rear of the room, eight cots have been set up in one corner. On these, the children are sleeping. Sitting on folding chairs to either side of this little enclave are ANGIE CARVER, TAVIA GODSOE, JOANNA STANHOPE, ANDY ROBICHAUX, CAT WITHERS, and LUCIEN FOURNIER. They are trying as best they can to guard the children.

The last BONGS of the regulator clock die away to the SOUND OF THE WIND whining around outside the building. People look around nervously for any sign of LINOGE. After a moment or two, ROBBIE gets up from his little table and approaches the podium, tugging fussily at the hem of his sport coat.

ROBBIE

Ladies and gentlemen . . . like you, I'm not sure what we're waiting for, but JOHNNY HARRIMAN

Then why don't you sit down and wait like the rest of us, Robbie?

314 STEPHEN KING

NERVOUS LAUGHTER greets this. ROBBIE frowns at JOHNNY.

ROBBIE

I only wanted to say, Johnny, that I'm sure we'll find our way through this . . . situation ... if we stick together, as we have always stuck together on the island . . .

78 INTERIOR: THE TOWN HALL'S FRONT DOOR NIGHT.

It SMASHES OPEN with a LOUD, ECHOING BOOM. Outside, standing in the snow on the stoop, we see LINOGE'S boots and the black shaft of LINOGE'S cane.

79 INTERIOR: ROBBIE BEALS.

He stops talking and looks toward the door. His face is just pouring sweat.

80 INTERIOR: MONTAGE OF ISLANDERS.

TAVIA . . . JONAS STANHOPE . . . HATCH . . . MELINDA . . . ORV . . . REV. BOB RIGGINS . . .

LUCIEN . . . others. All looking toward the door.

81 INTERIOR: TOWN HALL CORRIDOR NIGHT.

The boots step onto the black-and-white-checked tiles. The cane keeps pace, coming down at regular intervals. We TRACK WITH THE BOOTS until they reach the door that gives upon the meeting hall. Then THE CAMERA BOOMS UP to the double doors with their glass panels. Written across them is LITTLE TALL ISLAND TOWN MEETING HALL. And, below that, LET US TRUST IN GOD

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AND EACH OTHER. We can see the ISLANDERS looking out toward the visitor, their eyes wide and AFRAID.

Hands clad in BRIGHT YELLOW GLOVES come up and grasp the two doorknobs. They open the doors toward THE CAMERA . . .

82 INTERIOR: THE TOWN MEETING HALL DOORWAY, REVERSE NIGHT.

LINOGE stands there in pea jacket and yellow gloves, his cane tucked beneath one arm. He is smiling, eyes more or less normal, his MONSTER TEETH prudently hidden. He strips off his gloves and tucks them into his jacket pockets.

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Slowly, and in a SILENCE so thick it's deafening, LINOGE enters the room. The only SOUND is the STEADY TICK of the regulator clock.

83 INTERIOR: THE TOWN MEETING HALL NIGHT.

LINOGE walks slowly along the aisle that runs behind the benches and in front of the crumb-strewn tables where the buffet was set up. All of the ISLANDERS, but especially those occupying the last two or three rows of benches (those closest to him, in other words) turn to look at him, their eyes distrustful and afraid.

When LINOGE nears the little grouping of cots and the SLEEPING CHILDREN, the self-appointed guardians draw together, creating a barrier between LINOGE and the KIDS.

LINOGE reaches the place where a right turn will take him down the center aisle to the stage. For a moment he stands there, SMILING BENIGNLY, obviously enjoying the FEAR AND DISTRUST

swirling in the silent room. Feeding on it, likely.

We INTERCUT this with all the ISLANDERS we have come to know. CAT is defiant: "you'll take these kids only over my dead and dismembered body," her face says. HATCH'S ROUND, HONEST

FACE is full of tension and determination; MELINDA'S, full of FEAR AND DISMAY. We see others, too: JACK CARVER . . . FERD ANDREWS . . . UPTON BELL ... all afraid, all awed by the presence of the supernatural . . . and he is supernatural; they feel it.

Last of all, we look at ROBBIE, whose face is DRENCHED WITH SWEAT and whose hand is plunged deeply into the coat pocket where he has hidden his gun.

LINOGE taps his cane first against the bench to his left and then the bench to his right, just as he tapped at the sides of MARTHA'S gate. There is a HISSING SOUND; smoke drifts up from the CHARRED SPOTS that are left by the cane's touch. Those sitting closest to the aisles on these two sides SHRINK AWAY. It's the HOPEWELL FAMILY on the right STAN, MARY, and DAVEY. LINOGE

SMILES at them, this time parting his lips enough to show the tips of his FANGS. All three HOPEWELLS see and react. MARY puts an arm around her son's shoulders and looks fearfully at LINOGE.

316 STEPHEN KING

LINOGE

Hello, Davey your day off from school would make quite an English composition, wouldn't it?

DAVEY doesn't reply. LINOGE looks at him a moment longer, still smiling.

LINOGE

Your father's a thief over the last six years or so he's stolen more than fourteen thousand dollars from that marine supply company he works for. He gambles with it. (And, confidentially:) He loses.

DAVEY turns and shoots a STARTLED, INCREDULOUS GLANCE at his father. "I don't believe it,"

234

that look says, not my dad, never my dad but for just an instant he sees NAKED GUILT and TRAPPED PANIC on STAN'S face. Only an instant, but enough to deeply shake a boy's trust in his previously idolized father.

DAVEY Dad ?

STAN HOPEWELL

I don't know who you are, mister, but you lie. (pause) You lie.

It's good, but not quite good enough. No one, including his own son and wife, believes him.

LINOGE grins.

LINOGE TH Born in vice, say it twice . . . eh, Davey? At least twice.

His work with the HOPEWELLS done, a family's lifetime of trust ruined in seconds, LINOGE starts slowly down the center aisle toward the stage. Every eye that attempts to meet his falters and turns away; every cheek grows pale; every heart recalls its mistakes and deceptions. When he reaches JOHNNY HARRIMAN, LINOGE stops and smiles.

LINOGE

Well, Johnny Harriman! The fellow who burned down the planing mill across the reach there in Machias!

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JOHNNY HARRIMAN I ... you ... I never did!

LINOGE

(smiling) Of course you did! Two years ago, right after they fired you!

(switches to KIRK FREEMAN)