by Stephen King
159 INTERIOR: LOWER ATLANTIC STREET NIGHT.
Godsoe Fish & Lobster is totally gone, except for the ragged stump of the building. So is the town dock. The waves slap the rocks where the dock was. Splintered pieces of lobster traps float back and forth . . . and a single waterlogged bale of pot BOBS AND SURGES.
160 INTERIOR: THE TOWN OFFICE NIGHT.
URSULA is comforting SANDRA. MIKE is heading for the meeting hall section of the building, when JOANNA steams past him. He grabs her arm.
MIKE Slow down, Mrs. Stanhope easy does it.
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The door between the meeting hall and the office area opens. MOLLY and MELINDA HATCHER
come through. MOLLY'S distress turns to gladness when she sees MIKE, and she almost hurls herself into his arms. He hugs her hard. JOANNA, meanwhile, doesn't give a shit about "easy does it." She dodges past MELINDA and heads down the aisle that leads to the toilets. URSULA and SANDRA walk to where MIKE and MOLLY are drawing apart a little.
161 INTERIOR: TOWN MEETING HALL NIGHT.
ANDY and JILL are sitting on a bench about halfway down. ANDY has got an arm around his wife, offering what comfort he can, when JOANNA hurries past toward the ladies' room.
ANDY
Joanna, I wouldn't
She pays no attention, simply hurries on down the aisle.
210 STEPHEN KING
162 INTERIOR: LADIES' ROOM, FEATURES THE DOOR.
It opens. JOANNA stands there, eyes widening, mouth dropping open. After a moment, MIKE
joins her. He takes one look and then moves her away. As the bathroom door starts to close on its pneumatic hinge:
MIKE Moll. Help me.
163 INTERIOR: THE TOWN HALL.
MIKE gently passes the stunned JOANNA to his wife, who walks her up the aisle as far as ANDY
and JILL There JOANNA stumbles and utters a little CRY OF BEWILDERMENT AND GRIEF.
JILL Let me.
JILL sits her down and puts an arm around her. JOANNA begins to WEEP.
MOLLY starts back toward the ladies' room. MIKE comes out, his arms wet almost to the elbows.
MOLLY looks at him questioningly. MIKE shakes his head and puts his arm around her shoulders. As he leads her past the trio on the bench:
MIKE Andy? Can I borrow you a minute?
ANDY looks questioningly at JILL, who nods. She's busy comforting JOANNA.
164 INTERIOR: RESUME TOWN OFFICE AREA.
MIKE, MOLLY, and ANDY come in. URSULA and SANDRA stand nearby, looking the expected question at MIKE.
MIKE
She's dead, all right. Sandra, can you get me a couple of blankets to wrap her in?
T
STORM OF THE CENTURY 211
SANDRA
(making a big effort) Yes. I can do that. Two shakes of a lamb's tail.
MIKE is struggling hard to stay calm and do as many of the right things as he can. There's a sense of him making up the procedure as he goes along, but why not? What kind of procedure is 170
there for a situation like this?
SONNY BRAUTIGAN and UPTON BELL come up the stairs, curious about what's going on now.
MIKE spies them.
MIKE Billy Soames you're sure he's dead?
SONNY
Yeah. Now what?
MIKE Old Mrs. Stanhope is dead, too. In the ladies' room.
UPTON BELL Holy God! She have a heart attack? Stroke?
MOLLY
Suicide.
MIKE Is Billy still out there in the supply shed?
SONNY
Yeah. Seemed like the best place. We covered him up. What the hell SANDRA comes up the stairs with an armload of blankets. Someone else needs covering up now.
MIKE
Andy, you and Sonny cover Mrs. Stanhope. Take her out and put her with Billy. Use the back door of the meeting hall. I don't want folks to see a corpse going through, if I can help it.
212 STEPHEN KING
SONNY
What about Jonas? Her son? I seen him downstairs, gettin' ready to turn in MIKE
Let's hope he does. His wife can tell him in the morning. Upton Bell?
UPTON
Yessir.
MIKE
Go downstairs and pick out five or six men from those that are still up. Guys who can walk through half a mile of deep snow without having a heart attack, if it comes to that. Don't tell 'em anything except that I want to see 'em. Okay?
UPTON
Okay!
Hugely exited, UPTON heads back downstairs.
165 INTERIOR: THE ISLAND MARKET NIGHT.
HATCH, JACK CARVER, and KIRK FREEMAN are sitting at a card table they've set up in the canned goods aisle and are playing gin rummy. HATCH looks up at: 166 INTERIOR: THE SECURITY MIRROR, FROM HATCH'S POINT OF VIEW.
171
The mirror is now positioned in such a way that HATCH can see into the constable's office. HENRY
is behind MIKE'S desk, leaning back in the chair, chin down on his chest, arms crossed, dozing.
ROBBIE sits off to one side, watching LINOGE, who is back in his same old position heels up, knees apart, head down.
167 INTERIOR: RESUME CARD PLAYERS.
Satisfied, HATCH draws a card, smiles, and spreads them out faceup.
HATCH Gin!
r
STORM OF THE CENTURY 213 KIRK
Aw, boogersnot!
168 INTERIOR: THE CONVEX ANTITHEFT MIRROR, CLOSE-UP.
ROBBIE looks up into the mirror, trying to ascertain if he is being watched. He decides he isn't.
Now he reaches over to the corner of the desk, picks up the pistol that's still lying there, and GETS
UP.
169 INTERIOR: THE CONSTABLE'S OFFICE.
HENRY is dozing. The men in the market are playing cards. ROBBIE approaches the cell with the gun. LINOGE sits where he is, watching him come. When LINOGE speaks, he does so in the voice of an OLD WOMAN ROBBIE'S MOTHER.
LINOGE
Where's Robbie? I want to see my Robbie before I go. He said he'd be here. Where are you, Robbie? I don't want to die without someone to hold my hand.
HENRY stirs a bit in his doze, then sinks deeper. ROBBIE reacts with surprise, horror, shame . . .
and then his face hardens.
ROBBIE I think this town's had enough of you.
He raises the gun and points it through the bars.
170 EXTERIOR: THE TOWN HALL NIGHT.
A side door opens, and a number of MEN come out, ready to augment the crew already at the store. As promised, they're wide-bodies: UPTON, SONNY, JOHNNY HARRIMAN, ALEX HABER, and STAN HOPE-WELL, DAVEY'S father. STAN is a lobsterman we saw briefly in Part One, battening down for the storm on the now nonexistent town dock. They head for the Island Services vehicle, fighting their way through the snow. Two more figures linger in the doorway: MIKE and MOLLY.
MOLLY'S wearing a shawl and hugging it to her against the cold.
MOLLY
Is it that man? The one who grabbed Ralphie in the market? It is isn't it?
214 STEPHEN KING He doesn't answer.
MOLLY
(continues) You'll be all right, won't you?
MIKE Ayuh.
MOLLY
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That man ... if he is a man ... is never going to see the inside of a courtroom, Michael. I know it.
You do, too.
(beat)
Maybe you should get rid of him. Make him have an accident.
MIKE
Go on inside, before you freeze your tail off.
She kisses him again, a little more lingeringly.
MOLLY Come back to us.
MIKE I will.
She closes the door. MIKE starts down to the truck, walking in the tracks the others have made and bending forward against the RELENTLESS WIND.
171 INTERIOR: A SUNLIT BEDROOM DAY.
This is a beautiful room, full of light. The window is open and the curtains BELL OUT LAZILY
toward the bed in a summer breeze. HENRY BRIGHT comes
out of the bathroom, wearing only pajama bottoms, with a towel slung around his neck. As he crosses to the window, FRANK BRIGHT, his son, pokes his head around the side of the door.
FRANK
Mom says come downstairs and get breakfast, Daddy!
STORM OF THE CENTURY 215 Above FRANK'S head, CARLA'S now appears.
CARLA
No Mom says come downstairs and get breakfast sleepyhead Daddy!
FRANK puts his hands over his mouth and GIGGLES. HENRY smiles.
HENRY
I'll be there in a minute.
He goes to the window.
172 EXTERIOR: LITTLE TALL ISLAND, FROM HENRY'S POINT OF VIEW DAY.
It's beautiful as only a Maine island can be at the height of summer blue sky over long green meadows that slope down to blue whitecapped water. We can see a few fishing boats out there.
GULLS CRY AND SWOOP overhead.
173 INTERIOR: RESUME BEDROOM, WITH HENRY DAY. He takes a deep breath, holds it, then lets it out.
HENRY
Thank God for reality. I had a dream that it was winter . . . there was a storm . . . and this man came to town . . .
LINOGE (voice) This scary man . . .
Surprised, HENRY turns.
173
&
174 INTERIOR: LINOGE, FROM HENRY'S POINT OF VIEW.
Although it's summer in HENRY'S dream, LINOGE is dressed as he was when we first saw him on Atlantic Street, in front of MARTHA CLARENDON'S house: pea coat, watch cap, bright yellow gloves.
He GRIMACES INTO THE CAMERA, revealing A MOUTHFUL OF FANGS. His eyes GO BLACK. He thrusts the SILVER HEAD OF HIS CANE at HENRY, and the head COMES ALIVE, snapping and snarling.
216 STEPHEN KING
175 INTERIOR: THE SUMMER BEDROOM, WITH HENRY.
He steps backward to avoid the silver wolf. His knees hit the bottom of the window, and he tumbles out, SCREAMING.
176 EXTERIOR: HENRY, FALLING.
Only it's not his house he's falling out of, and not the ground of Little Tall Island he's falling toward, hard as that ground might be. He is falling toward a BOILING RED-BLACK PIT OF FIRE. It is a pit of hell; it is also the boiling red and black we've seen in LINOGE'S EYES from time to time.
HENRY falls, SHRIEKING, away from THE CAMERA.
177 INTERIOR: THE CONSTABLE'S OFFICE, FEATURES HENRY.
He twitches in the desk chair, falls out of it, and gives a STRANGLED YELL as he hits the floor. He opens his eyes and looks around, dazed.
178 INTERIOR: THE MARKET, FEATURING THE CARD PLAYERS.
They look up at the sound of HENRY'S YELL and see that ROBBIE is standing by the cell. And
¬
KIRK Hatch, Robbie's got a gun. I think he's gonna shoot that guy!
HATCH bolts to his feet, knocking over the card table.
HATCH Robbie! Get away from him! Put that down!
179 INTERIOR: THE CONSTABLE'S OFFICE, WITH HENRY.
HENRY
Robbie? What
HENRY gets to his feet. He's soupy, still half-lost in his dream.
180 INTERIOR: THE CELL, WITH ROBBIE AND ROBBIE'S FALSE MOTHER.
She is sitting on the bunk where LINOGE sat (naturally she is LINOGE). She is very old, about eighty, and very thin. She is dressed in
STORM OF THE CENTURY 217
a white hospital johnny; her hair is wild; her face is reproachful. ROBBIE looks at her, hypnotized.
FALSE MOTHER
Robbie, why didn't you come? After all I did for you, all I gave up for you Robbie, don't!
174
HATCH (voice)
FALSE MOTHER
Why did you leave me to die with strangers? Why did you leave me to die alone?
She holds out her thin, trembling hands to him.
181 INTERIOR: THE MARKET.
HATCH, JACK, and KIRK dash for the open door of the constable's office.
182 INTERIOR: THE CONSTABLE'S OFFICE.
HENRY, still hardly aware of what's happening, walks toward the cell. LINOGE is sitting on the bunk, holding out his hands to ROBBIE . . . and here, from HENRY'S perspective, it really is LINOGE.
LINOGE looks at the door leading into the market. It SLAMS SHUT in HATCH'S face.
183 INTERIOR: THE MARKET SIDE OF THE DOOR, WITH HATCH, JACK, KIRK.
HATCH actually strikes the door and BOUNCES OFF. He tries the handle, but it won't turn. He slams his shoulder against the door, then turns to the other two.
HATCH Don't just stand there; help me!
184 INTERIOR: RESUME CONSTABLE'S OFFICE.
We hear THUDS as the men outside try to break down the door. The 218 STEPHEN KING
FALSE MOTHER sits on the cot in her johnny, looking at her wayward son.
FALSE MOTHER
I waited for you, Robbie, and I'm still waiting for you. Down in hell, I'm waiting for you.
ROBBIE You stop. Or I'll shoot you.
FALSE MOTHER With that?
She looks at the gun contemptuously. ROBBIE follows her gaze.
185 INTERIOR: ROBBIE'S HAND, FROM ROBBIE'S POINT OF VIEW, CLOSE-UP.
The gun is gone. He's holding a WRITHING SNAKE. ROBBIE SCREAMS and opens his hand.
186 INTERIOR: THE CONSTABLE'S OFFICE.
We see the rest of this from HENRY BRIGHT'S POINT OF VIEW, which means we see things pretty much as they are. It's the gun ROBBIE drops, not a snake, and it's LINOGE in the cell, now off the bunk and walking toward the bars.
LINOGE
I'll be waiting for you in hell, Robbie, and when you get there, I'll have a spoon. I'm going to use it on your eyes. I'm going to eat your eyes, Robbie, over and over again, because hell is repetition.
Born in sin, come on in.
HENRY bends for the gun. LINOGE looks at it, and it slides all the way across the floor. LINOGE
looks back at ROBBIE, looks hard, and ROBBIE suddenly goes FLYING BACKWARD. He strikes the wall, rebounds, and goes to his knees.
175
HENRY
(horrified whisper) What are you?
STORM OF THE CENTURY 219
LINOGE
Your destiny.
He turns and lifts the mattress of the cot. Beneath it is the cane. He takes it and raises it. As he does, a BRILLIANT BLUE LIGHT begins to shine from it.
HENRY backs away, raising an arm to shield his eyes. ROBBIE, who has managed to get up, also shields his eyes. That GLOW becomes BRIGHT, BRIGHTER, BRIGHTEST. The constable's office now SCREAMS WITH LIGHT.
187 INTERIOR: THE MARKET SIDE OF THE DOOR.
LIGHT streams through the keyhole, around the hinges, and through the gap at the foot of the door. The three men step back, afraid.
JACK What is it? What's happening?
HATCH
I don't know.
INTERIOR: THE CONSTABLE'S OFFICE.
HENRY and ROBBIE stand on one side of the room, cringing against that BRILLIANT FLOOD OF
LIGHT. In it, we for the first time see LINOGE for what he is: an ancient wizard whose upraised cane is his chief instrument of magic an evil version of Aaron's staff. It is shedding that BRILLIANT
LIGHT in waves.
On the bulletin board, papers come loose and FLOAT in the air. MIKE'S blotter rises from his desk and also FLOATS. The desk drawers open, slowly, one after the other, and the objects inside rise up and begin to circle the desk: pens and paper clips, handcuffs and a forgotten half of ham sandwich.
The in/out basket waltzes with HATCH'S PowerBook in midair.
On the far side of the room, the pistol ROBBIE meant to use on LINOGE (what a foolish idea that seems now) rises, turns its muzzle to the wall, and discharges six times.
220 STEPHEN KING
189 INTERIOR: THE MARKET SIDE OF THE DOOR.
HATCH, KIRK, and JACK react to the shots. HATCH looks around, sees a display of hardware, and grabs a hatchet from it. He turns and begins hacking away at the area around the doorknob. JACK
grabs at him.
JACK Hatch! Maybe you shouldn't<
br />
HATCH shoves him backward and goes on hacking. Maybe he shouldn't, but he's going to do his duty if he can.
190 INTERIOR: THE CONSTABLE'S OFFICE.
The home-welded bars start FALLING AWAY from the cell door one by one, almost like falling leaves. ROBBIE and HENRY watch, numb with terror. The bars fall faster and faster, creating a man-shaped hole. When it's complete, LINOGE steps easily through. He looks at the two COWERING
MEN, then turns and raises his cane toward the door leading to the market.
191 INTERIOR: THE MARKET SIDE OF THE DOOR.
176
HATCH is raising the hatchet for another blow when the door suddenly OPENS ON ITS OWN.
BRIGHT BLUISH SILVER LIGHT streams out.
LINOGE (voice) Hatch.
HATCH steps into that FLOOD OF LIGHT. JACK grabs at him.
JACK Hatch, no!
HATCH ignores him. He goes into the light, the hatchet slipping from his fingers as he does.
