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. CAMERA 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
