Storm of the Century

by Stephen King

  75 EXTERIOR: RESUME DOCK, WITH SONNY, ALEX, AND CAL.

  ALEX HABER

  When you can't see over there no more, it's time to get in while you can. And when you can't even see the reach no more, it's time to head down to the town hall, whether you've heard the siren or not.

  CAL FREESE (to GEORGE) How bad do you think it'll be, Unc?

  51

  GEORGE KIRBY

  Maybe the worst we ever saw. Come on, help me with the last of these nets. (pause) I wonder if that fool Beals has any slight idear what he's doin up there?

  76 EXTERIOR: ATLANTIC STREET, IN FRONT OF MARTHA'S HOUSE.

  The fool BEALS is still being the good sentry, standing in front of his Lincoln with his .38 pointed at the open door of the CLARENDON house. Snow is coming down more thickly now; it's scattered across the shoulders of his topcoat like dandruff. He's been here for a while.

  Down below, a little gathering of WATCHERS (MRS. KINGSBURY and DAVEY HOPEWELL are back among them) moves aside to allow the Island Services vehicle through. It pulls up beside the Lincoln. MIKE gets out from behind the wheel, HATCH from the passenger seat.

  HATCH

  You want the shotgun?

  MIKE

  I guess we better have it. You just make sure the safety's on, Alton Hatcher.

  HATCH leans back into the truck, fumbles, and reappears with the shotgun that is ordinarily kept latched under the dash. HATCH ostentatiously checks the safety, and then they approach ROBBIE.

  ROBBIE'S attitude toward MIKE all through this is one of confrontation and contempt. The history of these feelings will never be fully explored, but its basis is undoubtedly ROBBIE'S desire to keep all the reins of power in his own hands.

  ROBBIE

  It's about time.

  MIKE Put that thing away, Robbie.

  ROBBIE

  No such thing, Constable Anderson. You do your job, I'll do mine.

  MIKE

  Your job is real estate. Would you at least lower it, please? (pause) Come on, Robbie it's in my face, and I know it's loaded.

  52

  ROBBIE grudgingly lowers the .38. HATCH, meanwhile, is looking nervously at the open door and the overturned walker.

  MIKE

  What happened?

  ROBBIE

  I was driving over to the town office when I saw Davey Hopewell running down the middle of the street.

  (points toward DAVEY)

  He said Martha Clarendon was dead murdered. I didn't believe him, but it's true. She's . . .

  awful.

  MIKE You said the person who did it was still inside.

  ROBBIE He spoke to me.

  HATCH

  And said what?

  ROBBIE (nervous, lying)

  Told me to get out. I think he said for me to get out or he'd kill me, too. I don't know. And this hardly seems like the right time for an interrogation.

  MIKE What did he look like?

  ROBBIE starts to reply, then stops, puzzled.

  ROBBIE I ... I barely got a look at him.

  He got a pretty good one, actually . . . but he doesn't remember.

  MIKE

  (to HATCH)

  53

  Stay on my right. Keep the barrel of that scattergun pointed down, and keep the safety on unless I tell you to take it off.

  (to ROBBIE) You stay exactly where you are, please.

  ROBBIE You're the constable.

  He watches MIKE and HATCH start for the gate, then calls.

  ROBBIE

  The TV's on. Tuned quite loud. If the guy starts moving around, I'm not sure you'll hear him.

  MIKE nods, then goes through the gate with HATCH on his right. The TOWNSPEOPLE have crept closer yet; we now see them in the background. The SNOW SWIRLS around them in the HIGH

  WIND. It's still light, but thickening up.

  77 EXTERIOR: MIKE AND HATCH, FROM THE PORCH.

  They come up the walk, MIKE tuned tightly (but in control), HATCH scared but trying not to show it.

  HATCH

  Even if there was a guy, he's probably gone out the back by now, don't you think? She ain't got but a five-foot garden fence

  MIKE shakes his head to indicate he doesn't know, then taps his lips with a forefinger, indicating that HATCH should keep quiet. They stop at the foot of the steps. MIKE pulls gloves out of his coat pockets and puts them on. He also takes out his own pistol. He indicates for HATCH to put on gloves, and HATCH hands him the shotgun so he can comply. MIKE takes the opportunity to double-check the safety (still on), then hands it back.

  They go up the steps and examine the walker. Then they cross the porch. They see the feet, clad in their old-lady shoes, poking out from the shadows of the hallway, and exchange a dismayed glance. They go in.

  78 INTERIOR: THE HALL OF MARTHA'S HOUSE.

  Behind them, the WEATHER LADY runs on endlessly.

  WEATHER LADY (voice)

  54

  Conditions along the New England coast are expected to worsen dramatically toward sunset not that our Down East friends are going to see the sun go down tonight, I'm afraid.

  We are expecting gale force winds along the Massachusetts and New Hampshire coasts, and hurricane-force wind gusts along the Maine coast and offshore islands. There's going to be significant beach erosion, and once the snow starts to fall, amounts will increase dramatically until .

  . . well . . . until it's over. At this point it is literally impossible to talk about accumulations. Let's just say that the total fall is going to be enormous. Three feet? That's probable. Five feet? Even that is possible. You'll want to stay tuned for updates, and be assured we'll break into our programming if conditions warrant doing so.

  The two men ignore her they have more immediate problems. They kneel on either side of the dead woman. MIKE ANDERSON is grim shocked, but holding it in. Already focusing on the job at hand and the ramifications to follow. HATCH, on the other hand, is close to losing it. He looks up at MIKE, face pale, eyes full of tears. He speaks in a BARE WHISPER.

  HATCH

  Mike . . . oh, my God, Mike . . . she got no face left! She MIKE reaches out and puts a gloved finger across HATCH'S lips. He inclines his head toward the SOUND of the BABBLING TV. Someone might be listening. MIKE leans toward his shaking DEPUTY

  over the body of the dead woman.

  MIKE

  (very low)

  Are you going to be all right? Because if you're not, I want you to hand me the twelve-gauge and go back to Robbie.

  HATCH

  (low) I'm all right.

  MIKE Sure?

  HATCH nods. MIKE considers him, then decides to believe him. He gets to his feet. HATCH does the same, then sways a little. He puts a hand on the wall to catch his balance, and smears some of that fine

  blood-spatter. He looks at his gloved hand with amazement and dismay.

  MIKE points up the hall to the living room door and the SOUND of the TV. HATCH gathers his courage and nods. Very slowly, the two men slip up the hallway. (All played for maximum suspense, of course.)

  55

  They are three-quarters of the way up the hall when the SOUND OF THE TV ABRUPTLY CUTS OFF.

  HATCH'S shoulder brushes one of the pictures on the wall and knocks it off. MIKE catches it before it can clatter to the floor . . . mostly by good luck and fast reflexes. He and HATCH exchange a strained glance, then go on.

  79 INTERIOR: THE DOORWAY BETWEEN HALL AND LIVING ROOM.

  The two men come into the doorway. Looking at them from the living room, as we are, HATCH is on the left and MIKE on the right. They look at:

  80 INTERIOR: THE LIVING ROOM, FROM MIKE AND HATCH'S POINT OF VIEW.

  We see the BLOWN-OUT TV and MARTHA'S wing chair. Over the top of the chair, we see the top of LINOGE'S head. Very still. It's probably a man's head, but it's impossible to tell if the guy is alive.

  81 INTERIOR: RESUME HALL DOORWAY, WITH MIKE AND HATCH.

  They exchange a glance, and MIKE nods them forward. C
AMERA FOLLOWS as they move in on the back of the chair, very slowly. Three steps into the room, MIKE gestures for HATCH to move out wider. HATCH does so. MIKE moves in a step closer to the chair (we can see it now, as well as the MEN), then stops as a BLOODSTAINED HAND appears. It goes to the table beside the chair and takes a cookie.

  MIKE

  (levels his gun) Freeze!

  The hand does just that freezes in midair, holding the cookie.

  MIKE

  Raise your hands. Both hands, up over the chair. I want to see them clear as day. There are two guns pointed at you, and one of 'em's a scatter.

  LINOGE raises his hands. He's still holding the cookie in his left one.

  MIKE indicates that HATCH should circle the chair to the front on his side. As HATCH does, MIKE

  circles around on the right.

  82 INTERIOR: MARTHA'S LIVING ROOM, ANGLE ON THE CHAIR.

  56

  LINOGE sits there, hands raised, face composed. There's no sign of a weapon, but the men react to his bloodstained face and coat. LINOGE'S calm demeanor is in sharp contrast to MIKE and HATCH, who are wound as tight as guitar strings. Maybe we see here how suspects are sometimes shot by accident.

  MIKE Hands together.

  LINOGE puts his hands together, wrist to wrist and back to back.

  83 OMIT.

  84 EXTERIOR: IN FRONT OF MARTHA'S HOUSE.

  Several TOWNSFOLK hurry forward as far as the trunk of ROBBIE'S car. One is an older woman named ROBERTA COIGN.

  ROBERTA COIGN

  What's happened to Martha?

  ROBBIE

  (shrill, near hysteria) Just stay back! This is under control!

  He points his pistol at the house again, and I think we have a real question about what may happen when and if MIKE and HATCH bring their prisoner out. ROBBIE is on a hair trigger.

  85 INTERIOR: THE LIVING ROOM OF MARTHA'S HOUSE.

  Extreme close-up, cuffs

  MIKE (voice) If he moves, shoot him.

  CAMERA DRAWS BACK TO INCLUDE LINOGE, MIKE, HATCH

  LINOGE

  (low, pleasant, and composed)

  If he shoots, he'll get us both. That thing's still loaded with buckshot.

  57

  Both men react to this. Not because it's true, but because it could be true. Hell, HATCH might blow a hole through MIKE in any case; the two men are quite close together.

  LINOGE

  Also, he's still got the safety on.

  HATCH reacts with terrified realization: he has forgotten to take off the safety. While MIKE

  inexpertly fumbles the cuffs onto LINOGE'S wrists, HATCH fumbles the safety off. As he does, the gun leaves the vicinity of LINOGE completely. We need to see that LINOGE could take these two courageous but fumbling locals any time he wants . . . but chooses not to do so.

  The cuffs are on. MIKE steps back, very relieved. He and HATCH exchange a rather wild look.

  LINOGE But you remembered to wear gloves. That was good.

  He begins to eat the cookie, oblivious of his blood-streaked hand.

  MIKE On your feet.

  LINOGE finishes the last bite of cookie and gets obediently to his feet.

  86 EXTERIOR: MARTHA CLARENDON'S PORCH.

  Beyond it, the snow is now coming hard, with the wind driving it into slanting lines. The houses on the far side of the street are misty, as if seen through a veil.

  MIKE and LINOGE come out side by side, LINOGE with his hands cuffed at belt level, a look all of us are familier with from the evening news. HATCH is walking behind them, with the shotgun at port arms.

  In the street, there are now about a dozen people clustered by the rear bumper of ROBBIE'S

  Lincoln. When the men come out, ROBBIE crouches a little, and MIKE sees the man's little glove compartment gun pointed at them.

  MIKE

  Put that down!

  Looking slightly ashamed, ROBBIE does.

  58

  MIKE Hatch, close the door.

  HATCH

  Is that wise? I mean, aren't we supposed to leave stuff pretty much like it is? It being a crime scene, and all

  MIKE

  We leave the door open and the crime scene's going to be under six feet of fresh powder. Now close the door!

  HATCH tries. One of MARTHA'S shoes is in the way. He squats. Grimacing, he moves her foot with one gloved hand. Then he gets up and closes the door. He looks at MIKE, who nods.

  MIKE What's your name, mister?

  LINOGE looks at him. There's a beat when we're not sure he's going to answer. Then: LINOGE

  Andre Linoge.

  MIKE

  Well, come on, Andre Linoge. Let's get walking.

  87 EXTERIOR: LINOGE, CLOSE-UP.

  For just a moment, LINOGE'S eyes CHANGE. They SWIRL WITH BLACK, the blue irises and the whites disappearing. Then everything goes back to normal.

  88 EXTERIOR: RESUME PORCH, WITH MIKE, HATCH, AND LINOGE.

  MIKE blinks at the sight like a man trying to cope with a momentary attack of vertigo. HATCH

  hasn't seen it, but MIKE has. LINOGE smiles at him, as if to say "our little secret." Then we see MIKE'S rationality reasserting itself, and he gives LINOGE a poke.

  MIKE Come on. Move.

  59

  They go down the steps.

  89 EXTERIOR: ON THE CONCRETE PATH.

  The storm blows snow past them, smacking their faces, making them wince. HATCH'S hat BLOWS

  OFF. As he looks helplessly after it, LINOGE gives MIKE that look again, the one that says they have a secret. MIKE is less able to shake it off this time . . . but he gets LINOGE moving.

  FADE OUT. THIS ENDS ACT 3.

  Act 4

  90 EXTERIOR: THE LITTLE TALL LIGHTHOUSE LATE DAY.

  The snow flies past it so thickly we can only make out its shape . . . and of course its light, each time it swings around. The waves CRASH HIGH on the rocks of this promontory. THE WIND

  SHRIEKS.

  91 EXTERIOR: GODSOE FISH & LOBSTER LATE DAY.

  This long building part warehouse, part retail fish market is far out on the dock. Waves smash into the dock, and foam splatters high, wetting the sides and roof of the building. As we watch, the WIND tears a door free of its latch. It begins to BANG BACK AND FORTH. Nearby, a tarp blows free of the boat it's covering and WHIRLS OFF INTO THE SNOWY DAY.

  92 EXTERIOR: THE ANDERSON HOUSE LATE DAY.

  A four-wheel drive is parked at the curb, by the WEE FOLKS sign. Its windshield wipers are clapping back and forth rapidly, but the glass is still snowing up. Its headlights cut twin cones through the snow-choked air. The WEE FOLKS sign swings back and forth on its chain. On the porch, MOLLY ANDERSON is handing over a bundled-up BUSTER CARVER and an equally bundled-up PIPPA HATCHER to their moms, ANGELA and MELINDA. THE CAMERA MOVES IN on the porch. All three women have to shout in order to be heard over the HOWLING WIND.

  MELINDA

  Pip, you sure you're all right?

  PIPPA Yes. Don Beals hurt my feelings, but they're better now.

  60

  MOLLY I'm sorry I had to call you early, guys . . .

  ANGELA CARVER

  It's okay. The radio says they're going to keep the bigger kids over in Machias, at least tonight . .

  . the reach is too choppy to send them back on the water-bus.

  MOLLY Probably for the best.

  BUSTER Mommy, I'm cold.

  ANGELA CARVER Coss you are but you'll be warm in the car, honey.

  (to MOLLY) Are there more?

  MOLLY Buster and Pippa are the last.

  (to PIPPA) You had an adventure, didn't you?

  PIPPA

  Yes. Momma, I've got a smaller button!

  She honks her own nose. Neither MELINDA nor ANGELA understand, but they laugh. It's cute; they understand that much.

  ANGELA CARVER

  We'll see you Monday, if the roads are open. Wave a bye, Buster.

  BUSTER obediently waves a bye. MOLLY waves one back as the mothers ca
rry their babies down the steps and into the increasing fury of the storm. Then she goes back inside.

  93 INTERIOR: THE ANDERSON HOUSE FRONT HALL, WITH MOLLY AND RALPHIE.

  There's a mirror about halfway down, by the telephone table. RALPHIE has pulled a chair over and is standing on it so he can look at that red mark on the bridge of his nose. It's a birthmark, but actually more cute than disfiguring.