strictly temporary facility for 71
weekend drunks and part-time hell-raisers.
SOUND: HAMMERING ON THE DOOR.
HATCH (voice-over) Hey! Anybody in there? Anybody?
110 EXTERIOR: RESUME LOADING DOCK.
MIKE
Forget it. Go around and open it from the inside.
HATCH
You want me to leave you out here alone with him?
MIKE
(stress breaking through)
Unless you happen to see Lois or Superman hanging around in the alley.
HATCH We could take him
MIKE
Through the market? With half the island doing their storm shopping? I don't think so. Go on, now.
HATCH gives him a doubtful look, then starts back down the stairs.
111 EXTERIOR: IN FRONT OF THE MARKET.
In snow that's thicker than ever, ROBBIE BEALS'S Lincoln comes SPINNING AND SLEWING into the parking area, almost broadsiding MOLLY'S little car. ROBBIE gets out and goes up the porch steps just as PETER GODSOE comes out of the market. PETER is a ruggedly handsome man in his early forties, father of SALLY, the little girl with the jam on her shirt.
PETER GODSOE
What happened, Beals? Is Martha really dead?
72
ROBBIE
She's dead, all right.
ROBBIE sees the mannequin with the sign around its neck GENUINE 'ROBBIE BEALS BRAND'
LOBSTERIN' GEAH and yanks the sign off with a snarl. He SCOWLS at it. HATCH has slogged around from the back just in time to see and react to this. PETER GODSOE follows ROBBIE back inside, to monitor developments. HATCH follows them both.
112 INTERIOR: THE MARKET AFTERNOON.
Lots of people milling around. Prominent among them is MOLLY ANDERSON, talking to CAT but mostly worrying about MIKE. We see RALPHIE halfway down one of the aisles and mooning over the sugary cereals.
MOLLY
(as HATCH enters) Where's Mike? Is he all right?
HATCH Fine. Out back with the prisoner. I just have to let him in.
Other people move in on him.
PETER GODSOE Is he a local?
HATCH I never saw him before in my life.
Lots of relief at this. Others try to grab HATCH'S attention and ask questions, but MOLLY isn't among them the sooner HATCH does his job, the sooner she'll have her husband back. HATCH
fights his way up the center aisle, pausing to ruffle RALPHIE'S hair. RALPHIE gives him an AFFECTIONATE GRIN.
ROBBIE still has the sign; is tapping it angrily against his thigh. MOLLY sees it and winces a little.
113 EXTERIOR: ON THE LOADING DOCK, WITH MIKE AND LINOGE.
They stand facing each other in the DRIVING SNOW. There are several beats of silence. Then: 73
LINOGE
Give me what I want, and I'll go away.
MIKE
What is it you want?
That smile shakes MIKE in spite of himself.
114 INTERIOR: THE CONSTABLE'S OFFICE, WITH HATCH.
He comes bustling in and hurries to the loading door. He turns the dead-bolt knob and tries to open it. The door still won't open. He pushes hard, then harder. No luck. As a last resort, he SLAMS
HIS SHOULDER against the door. Nothing. The door might as well be dipped in concrete.
HATCH
Mike?
MIKE (voice-over) Come on, hurry up! It's freezing out here!
HATCH It won't open! It's stuck!
115 EXTERIOR: RESUME LOADING DOCK, WITH MIKE AND LINOGE.
MIKE is totally EXASPERATED everything has gone wrong with this piece of work; it's a complete Russian fire drill. LINOGE is still smiling his faint little smile. For him, everything's right on track.
MIKE Did you unlock it?
HATCH
(rather hurt by this) Course I did, Mike!
MIKE Then whale on it! There's probably ice in the jamb.
116 INTERIOR: RESUME CONSTABLE'S OFFICE, WITH HATCH.
74
ROBBIE is standing in the door behind HATCH, observing all this with HEAVY CONTEMPT. HATCH
rolls his eyes, knowing perfectly well the door isn't frozen; he already whaled on it. Nevertheless, he hits the door another couple of good shots. ROBBIE crosses the room, stopping on the way to drop the joke sign on MIKE'S constable's desk. HATCH turns toward him, startled. ROBBIE (who is a physically bigger man) moves HATCH aside, none too gently.
ROBBIE
Let me.
He hits the door several more good shots, his look of confidence gradually subsiding. HATCH
watches with subtle but understandable satisfaction. ROBBIE gives up, rubbing his shoulder.
ROBBIE
Anderson! You'll have to come around and take him through the store.
117 EXTERIOR: RESUME LOADING DOCK, WITH MIKE AND LINOGE.
MIKE ROLLS HIS EYES IN ANNOYANCE SEALS in the constable's office, still meddling. Oh, goody, better and better.
MIKE Hatch!
HATCH (voice-over) Yeah!
MIKE Come around. (pointedly) Alone.
HATCH (voice-over) Right there!
MIKE turns his attention back to LINOGE.
MIKE Be a little bit longer. Just stand quiet.
LINOGE
Remember what I said, Mr. Anderson. And when the time comes . . . we'll talk.
He smiles.
75
118 EXTERIOR: MAIN STREET, LITTLE TALL ISLAND LATE AFTERNOON.
The houses and storefronts are graying out, starting to look like mirages, as THE STORM
INTENSIFIES.
119 EXTERIOR: BREAKWATER AND LIGHTHOUSE.
HUGE WAVES CRASH THE ROCKS. FOAM LEAPS INTO THE AIR. On this image, we: FADE TO BLACK. THIS ENDS ACT 4.
Act 5
120 EXTERIOR: THE ISLAND MARKET LATE AFTERNOON.
In worsening conditions that now make moving a serious problem, MIKE, HATCH, and LINOGE
come out of the alley and struggle toward the steps of the market. LINOGE has been made to walk in front of them, and now he LOOKS UPWARD, SMILING.
121 EXTERIOR: ISLAND MARKET'S ROOF.
Here is a little nest of radio antennas that serve the various two-ways inside the store. The tallest of these radio antennas SNAPS OFF and goes rolling down the backslant of the roof.
122 EXTERIOR: FOOT OF THE MARKET STEPS, WITH MIKE, HATCH, LINOGE.
HATCH
(with a flinch) What was that?
MIKE Antenna, I think. Never mind now. Go on.
HATCH heads up the steps, giving LINOGE a healthy berth.
123 EXTERIOR: THE TOWN HALL.
