storeroom? Or aren't you far enough along with your politician' yet?
ROBBIE and HENRY walk over, ROBBIE with a contemptuous grin, HENRY looking ashamed that he hasn't been more help already.
ROBBIE
What's the matter, Ursula that time of the month, dear?
She gives him a look of utter contempt and brushes hair back from her face.
TESS
Don't you think it's about time to blow the whistle and bring 'em in, Robbie?
ROBBIE
Looks like enough of 'em are coming in on their own. As for the rest, they'll ride it out just fine.
All this is a bunch of foolishness, far's I'm concerned. Do you think our grandmothers and grandfathers all got together in the town hall when it stormed, like a bunch of cave people scared of lightning?
URSULA
No they used the Methodist church. I've got a picture I could show you. Storm of '27. I can point 112
out your granddad in it, if you want. He looks like he's stirring a pot of soup. Nice to know there was at least one fellow in your family knew how to pitch in.
ROBBIE looks ready to come back on her, but before he can: HENRY BRIGHT Come on, Robbie.
HENRY, still holding his sleeping child, heads downstairs. GEORGE KIRBY follows. ROBBIE'S
effectively shut up. GEORGE is easily twenty years older than he is, and if he's not above getting blankets, ROBBIE will at least have to go along and look busy.
URSULA, TAVIA, and TESS look at each other and kind of roll their eyes as the men leave.
Meanwhile, people continue to come in by twos and threes, and the storm continues to ROAR
outside.
URSULA
Sign in before you go downstairs, folks! Please! There's room for everybody, but we have to know who we have!
MOLLY ANDERSON comes in, brushing snow from her hair and holding RALPHIE by the hand.
MOLLY
Ursula, have you seen Mike?
URSULA No, but I'll be able to catch his car radio if he calls in, I think.
(points at the CB)
It's not good for much else tonight. Take off your coat, pitch in.
MOLLY How's it going?
URSULA Oh, we're having a ball. Hi, Ralphie.
RALPHIE Hi.
MOLLY kneels on the wet floor and begins the job of peeling RALPHIE out of his snowsuit. People continue to come in as she does so. Outside, the SNOW SWIRLS and the WIND HOWLS.
113
202 EXTERIOR: THE VOLUNTEER FIRE DEPARTMENT NIGHT.
The pumper we saw being washed at the top of the show has long since been put away, but now the fire station's side door opens and FERD ANDREWS struggles out, pulling up the hood of his coat.
He looks downhill at:
203 EXTERIOR: GODSOE FISH & LOBSTER NIGHT.
The tide is almost high. The mainland has disappeared in a curtain of gray and black. The reach is running with waves so big they're nightmarish. These slosh rhythmically over the end of the dock, pelting the long shed with spray.
204 INTERIOR: GODSOE FISH & LOBSTER NIGHT.
We're in a long, high storage area stacked with lobster traps, crates, and fishing gear. One entire wall is hung with slickers, waterproofs, high boots. The SOUND OF THE STORM is MUTED, but only a little. SPRAY PELTS THE WINDOWS.
THE CAMERA MOVES down an aisle of traps, then past a LONG TANK full of lobsters. THE CAMERA SWINGS around the end of the tank, and a few RATS scutter out of sight. Here, in a dusty little passage between the tank and the wall, is stored a LONG OBJECT covered with blankets.
THE WIND SHRIEKS. THE BUILDING CREAKS. A huge SPLASH OF SPRAY hits one of the windows and SHATTERS IT. Wind, water, and snow SWIRL IN. The wind strips the blanket back from the end of the long object, and we see STACKED BALES OF POT, all neatly wrapped in sheets of plastic.
The traps hung overhead CLACK BACK AND FORTH. SOUND of another window BREAKING.
205 EXTERIOR: THE LITTLE TALL MARKET.
We can hear the FAINT CHUG OF THE GENERATOR, and a few lights shine bravely. The only vehicles still parked in front are MOLLY'S little car and a snow-caked pickup with GODSOE FISH & LOBSTER on the side.
206 INTERIOR: CROSSWORD PUZZLE ON POWERBOOK SCREEN, CLOSE-UP.
It's mostly filled in. HATCH adds a word.
207 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.
114
HATCH stretches, then stands. In the cell, LINOGE sits as before, back to the wall and looking out from between his knees.
HATCH Got to use the can. You want a coffee or a cold drink, Pete?
PETE doesn't respond at first. The sheet of paper he pulled from the bulletin board is in his lap, but turned over so the print side, with its red-tide warning, is faceup. PETER'S eyes are wide and blank.
HATCH Peter Earth to Peter.
HATCH waves a hand in front of PETER'S face. PETER blinks, and awareness or a semblance of it seeps back into his eyes. He looks up at HATCH.
PETER What?
HATCH
Just asked if you wanted a soda or a coffee.
PETER
No. Thanks, though.
HATCH
(starts toward the door, then turns) You all right?
PETER
(after a beat)
Yeah. Spent all day battening down for the storm, and now I guess I'm almost asleep with my eyes open. Sorry.
HATCH
Well, hang in there. Jack Carver and Kirk Freeman should be along in twenty minutes or so.
HATCH grabs a magazine to read in the can and leaves.
115
208 INTERIOR: LINOGE, CLOSE-UP.
His eyes DARKEN. He looks at PETER. His lips move soundlessly.
209 INTERIOR: PETER, CLOSE-UP.
He's totally blank again. Hypnotized. Suddenly THE SHADOW OF LINOGE'S CANE appears on his face. PETER looks up at:
210 INTERIOR: AN OVERHEAD BEAM, FROM PETER'S POINT OF VIEW.
The cane is hooked over it. The bloody WOLF'S HEAD SNARLS.
211 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.
PETER gets up and slowly crosses the room, the notice he was writing on trailing from one hand.
He walks directly beneath the cane. LINOGE sits on the cell's cot, watching him, only his weird eyes moving. PETER stops at a wall-mounted cabinet and opens it. There are all sorts of tools inside.
There's also a COIL OF ROPE. He takes it.
212 EXTERIOR: GODSOE FISH & LOBSTER NIGHT.
A GIGANTIC WAVE rolls out of the reach, smashes the end of the town dock, and chews off the end of Peter Godsoe's building. We can hear the SNAP OF WOOD even above the storm.
213 EXTERIOR: FERD ANDREWS, BY THE FIRE DEPARTMENT SIDE DOOR.
FERD ANDREWS
Oh . . . my . . . God! (raises his voice)
