No, honey, of course not.
But MOLLY doesn't look so sure.
143 EXTERIOR: THE CENTER OF TOWN, HIGH ANGLE.
The snow is coming down furiously. There are a few vehicles moving on Main and Atlantic, but they won't be moving much longer. Little Tall Island is effectively cut off from the outside world. The WIND SHRIEKS; the SNOW SHEETS; and we:
FADE TO BLACK. THIS ENDS ACT 5.
Act 6
144 EXTERIOR: THE TOWN, A HIGH ANGLE LATE AFTERNOON.
This is the same shot we went out on, but it's later, now there isn't much daylight left. The WIND SHRIEKS.
145 EXTERIOR: THE WOODED AREA SOUTH OF TOWN LATE AFTERNOON.
We're looking down at the SURGING OCEAN through a power-line cut. There's a CRACKING
SOUND and a HUGE OLD PINE topples on the lines. They go down in a SHOWER OF SPARKS.
146 EXTERIOR: MAIN STREET LATE AFTERNOON.
In a reprise of the first scene, all the lights, including the blinker at the intersection, GO OUT.
147 INTERIOR: THE CONSTABLE'S OFFICE, WITH HATCH AND PETER.
The LIGHTS GO OUT.
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HATCH
Aw, damn!
PETER makes no response. He's looking at:
148 INTERIOR: THE JAIL CELL, FROM PETER'S POINT OF VIEW.
LINOGE is just a dark hump . . . except for his eyes. They GLOW with a TROUBLED RED LIGHT . .
. like wolf's eyes.
149 INTERIOR: RESUME HATCH AND PETER.
HATCH is rummaging in the desk drawer. As he pulls out a flashlight, PETER seizes his arm.
PETER GODSOE Look at him!
HATCH, startled, wheels to look at LINOGE. The prisoner is still sitting just as before, but there's no WEIRD LIGHT shining out of his eyes. HATCH turns on the flashlight and hits LINOGE in the face with the beam. LINOGE looks back calmly.
HATCH (to PETER) What?
PETER GODSOE I ... nothing.
He looks back toward LINOGE, perplexed and a little afraid.
HATCH
Maybe you've been smokin' too much of what you're selling.
PETER GODSOE
(mixed shame and anger) Shut up, Hatch. Don't talk about what you don't understand.
150 INTERIOR: THE MARKET'S COUNTER, WITH MIKE AND TESS MARCHANT.
95
Looks like they're the only two left, now, and with the lights out, the market is very dim the front windows are big, but the light coming through them has started to fail. MIKE comes behind the counter and opens a UTILITY BOX built into the wall. Inside are circuit breakers and one larger switch. He flicks this one.
151 EXTERIOR: BEHIND THE MARKET LATE DAY.
There's a little shed marked GENERATOR to the left of the loading dock. An ENGINE STARTS UP
inside it, and blue smoke, immediately ripped away by the WIND, starts to chug from the exhaust stack.
152 INTERIOR: THE CONSTABLE'S OFFICE.
The lights come back on. HATCH SIGHS WITH RELIEF.
HATCH Hey . . . Pete.
He wants to apologize, and he wants PETER to help him with it a little, but PETER'S not in the mood. He walks away and looks at the bulletin board on the wall.
HATCH I was out of line.
PETER Yeah, way out.
PETER turns and gives LINOGE a look. LINOGE looks back at him, SMILING FAINTLY.
PETER
What are you looking at?
LINOGE doesn't reply, just goes on looking at PETER with that FAINT SMILE. PETER turns back to the bulletin board, troubled. HATCH looks at PETER, wishing he could take back his smart-ass comment.
153 EXTERIOR: THE STORE'S PORCH, WITH MIKE AND TESS.
TESS is wearing a parka, gloves, and a pair of high gum-rubber boots. Still, the WIND rocks her on her feet, and MIKE has to steady her before going to the display window on one side of the door.
Here, on either side of the window at the bottom, there are crank handles. MIKE grabs one, and TESS makes her way to the other. They crank as they talk (SHOUTING to be heard over the wind) 96
and lower the slatted wooden STORM SHUTTER over the glass.
MIKE Will you be all right? Because I can give you a lift TESS
It's the wrong direction! And I'm only six houses down ... as you well know. Don't baby me!
He nods and gives her a smile. They move to the window on the other side of the door and lower the other storm shutter.
TESS
Mike? Do you have any idea why he came here, or why he'd want to kill Martha?
MIKE No. Go on home, Tess. Make yourself a fire. I'll lock up.
They finish with the shutter and move to the steps. TESS winces and tightens her hood as another gust slams into them.
TESS
You mind him careful. We don't want him out and prowling around with this (lifts her chin into the blizzard) going on.
MIKE Don't worry.
She looks at him a moment longer and is reasonably comforted by what she sees. She nods and clumps down the snow-laden steps, holding tight to the railing as she goes. With her back to him, MIKE allows his face to show how worried he really is. Then he heads back inside and shuts the door. He turns the OPEN sign to CLOSED and pulls down the shade.
154 INTERIOR: THE CONSTABLE'S OFFICE.
MIKE comes in, still stamping the snow off his boots, and looks around. HATCH has found a second flashlight and has set out some candles, as well. PETER is still studying the litter of notices on the bulletin board. MIKE goes over to the bulletin board, taking a paper from his back pocket.
MIKE Everything okay back here?
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HATCH
Reasonably okay, but I can't raise the state police in Machias. I can't raise anybody.
MIKE Doesn't really surprise me.
He thumbtacks the scribbled duty roster to the bulletin board, where PETER immediately begins studying it. MIKE walks over to the desk and opens a bottom drawer.
MIKE (to HATCH)
You and Peter until eight, Kirk Freeman and Jack Carver from eight till midnight, Robbie Beals and Sonny Brautigan from midnight until four, Billy Soames and Johnny Harriman from four until eight tomorrow morning. After that, we'll figure some more.
MIKE finds a small attache case and a Polaroid camera. He takes them, shuts the drawer, and looks at the two men for comments. He gets only an awkward silence.
MIKE
You guys all right with this?
HATCH
(too hearty) Fine.
PETER Yeah, fine.
MIKE looks at them more closely and gets an idea of which way the wind is blowing. He opens the case we catch a glimpse of various items that might come in handy if you're a small-town police officer (big flashlight, bandages, first aid kit, etc.). He puts the Polaroid inside.
MIKE Stay alert. Both of you. Understand?
No reply. HATCH is embarrassed, PETER is sulky. MIKE looks back at LINOGE,
