Lloyd! Lloyd, you gotta see this!
214 INTERIOR: THE FIRE STATION GARAGE, WITH LLOYD WISHMAN NIGHT.
The two island pumpers are apple green. The passenger window of one is partly open. Hanging from it is the bloody wolfs head of LINOGE'S cane. Standing nearby, looking as blank as PETER
GODSOE, is LLOYD. In one hand he has a small can of red paint. In the other is a brush. He's working with the care of a Manet or van Gogh.
FERD ANDREWS (voice-over)
Lloyd! It's gonna take Godsoe's! It's gonna take the whole dock!
116
LLOYD WISHMAN pays no attention. Goes on painting.
215 INTERIOR: THE CONSTABLE'S OFFICE, A HIGH ANGLE.
The cane no longer hangs over the beam, but a coil of rope is flung up and over the place where it was. In the background, LINOGE sits in his cell, face predatory, eyes ROLLING WITH RED AND
BLACK.
216 EXTERIOR: GODSOE'S FISH & LOBSTER NIGHT.
Another HUGE WAVE smashes into the town dock, tearing a lot more of it away and capsizing a small boat someone foolishly left tied there. It also takes another huge bite out of the warehouse.
217 INTERIOR: GODSOE'S FISH & LOBSTER NIGHT.
We can see right outside through a RAGGED HOLE in the end of the building: the amputated dock and the heaving waves of the reach. Now another of these big ones ROLLS TOWARD THE CAMERA, inundating what's left of the dock and SMASHING INTO THE WAREHOUSE. Lobster traps are lifted and sucked away. The lobster tank is overturned, and lobsters are freed by the dozens, a sudden and unexpected commutation of their death sentence. And, as the big wave retreats, BALES OF POT
also float out of the hole at the end of the building.
218 EXTERIOR: OUTSIDE THE FIRE DEPARTMENT, WITH FERD ANDREWS.
FERD ANDREWS
(shouting)
You better come, Lloyd, if you want to see sumpin' you ain't never gonna see again! She's a-goin'! She's a-goin'!
219 INTERIOR: THE FIRE STATION, WITH LLOYD WISHMAN.
LLOYD is also a-goin', as it happens. As he finishes painting, THE CAMERA MOVES around, showing us what is written in big red capitals up the side of the green pumper. Overlaying the gold letters that read LITTLE TALL ISLAND V.F.D. is this message: 'GIVE ME WHAT I WANT AND I'LL GO
AWAY.'
FERD ANDREWS (voice-over) Git out here, Lloyd! The whole shebang's gain' into the drink!
117
Taking no notice, LLOYD sets the paint can down on the running board of the pumper and puts the brush neatly across the top. As he does these things, we see that the cane that was hanging from the partly open window is gone ... or maybe it was never there in the first place. Maybe it was just in LLOYD WISHMAN'S mind.
LLOYD moves to the side of the pumper and opens one of the tool storage compartments. He takes out a fire axe.
220 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.
PETER GODSOE, eyes blank, is standing on a chair. The end of the rope he threw over the beam has been fashioned into a noose, and the noose is around his neck. Pinned to his shirt is his
'homework': the sheet with 'GIVE ME WHAT I WANT' written all over it, plus the cane drawings.
Written in extra-big letters at the top, like a title, is 'GIVE ME WHAT I WANT AND I'LL GO AWAY.'
221 INTERIOR: LINOGE, CLOSE-UP.
Lips moving. Chanting silently. Eyes BIG BLACK HOLES shot through with RED FIRE.
222 INTERIOR: THE FIRE STATION NIGHT.
LLOYD stands with the keen blade of the axe pointing at the center of his face. He's gripping the handle far up on the shaft, the kind of grip you want if you're going to chop kindling out back of the house ... or your own face in two.
223 INTERIOR: LINOGE, CLOSE-UP.
Lips moving faster now. Weird eyes wider. Hands clenched into fists in front of him.
224 EXTERIOR: THE OCEAN SIDE OF THE FIRE STATION, WITH FERD.
His face is filled with awe and terror. His mouth hangs open.
FERD ANDREWS
My sainted hat!
225 EXTERIOR: THE TOWN DOCK, WITH WHAT REMAINS OF GODSOE'S.
Bearing down on it through the HOWLING SNOW is a huge wave almost a tidal wave.
118
226 INTERIOR: THE CONSTABLE'S OFFICE, WITH PETER'S FEET.
They kick away the chair with a CLATTER, then begin to JITTER.
227 EXTERIOR: THE ONCOMING WAVE NIGHT.
It dwarfs the dock and the warehouse.
228 INTERIOR: THE MARKET, WITH HATCH.
He stops pouring his coffee and turns toward the constable's office door, reacting to the CLATTER
OF THE CHAIR.
HATCH Peter?
229 INTERIOR: THE AXE, CLOSE-UP.
It swings out of the frame, and we hear an unpleasant SOUND it's like someone slapping mud with the flat of his hand. CHUMP!
230 INTERIOR: GODSOE FISH & LOBSTER NIGHT.
We're looking out at the reach . . . but suddenly the view is blotted out by the ONCOMING WAVE.
There's nothing to be seen through the broken-off stump of the warehouse but SURGING GRAY
WATER. It SMASHES INTO GODSOE'S, and suddenly THE CAMERA IS UNDERWATER. A SMASHED
TRAP, a BALE OF POT, and a LOBSTER with its claws still pegged go floating past in gusts of bubbles.
231 EXTERIOR: THE TOWN DOCK NIGHT.
What remains is inundated and torn completely away. The retreating wave carries off a tangle of boats, ropes, cleats, rubber boat-bumpers, and Godsoe's shingled roof. Maybe we see part of the sign GODSOE FISH & LOBSTER before it all disappears into the BELLOWING BLIZZARD.
232 INTERIOR: THE TOWN HALL, WITH URSULA, TAVIA, TESS, ETC.
119
All the bustle is momentarily silent. The CRACKLE AND HISS of the CB is very loud. Everyone has turned toward the door.
RALPHIE Mommy, what's wrong?
MOLLY
Nothing, hon.
JONAS
What in God's name was it?
CORA
The town dock, setting off to sea.
ROBBIE comes up the stairs, followed by GEORGE, HENRY BRIGHT, and BURT SOAMES. ROBBIE'S
bluster and swagger are gone.
ROBBIE Ursula. Blow the whistle.
233 EXTERIOR: OUTSIDE THE FIRE DEPARTMENT, WITH FERD NIGHT.
He's as excited and dismayed as a man who has just seen Satan peering at him from around a tree trunk. He turns and runs back to the door of the firehouse.
234 INTERIOR: THE CONSTABLE'S OFFICE, FEATURING THE DOOR.
HATCH comes through the door, Styrofoam cup of joe in one hand.
HATCH Pete? You okay? I heard
His face fills with startled horror. His eyes go upward, presumably to the face of the man who has hung himself
