MOLLY
(continues) You'll be all right, won't you?
MIKE Ayuh.
MOLLY
172
That man ... if he is a man ... is never going to see the inside of a courtroom, Michael. I know it.
You do, too.
(beat)
Maybe you should get rid of him. Make him have an accident.
MIKE
Go on inside, before you freeze your tail off.
She kisses him again, a little more lingeringly.
MOLLY Come back to us.
MIKE I will.
She closes the door. MIKE starts down to the truck, walking in the tracks the others have made and bending forward against the RELENTLESS WIND.
171 INTERIOR: A SUNLIT BEDROOM DAY.
This is a beautiful room, full of light. The window is open and the curtains BELL OUT LAZILY
toward the bed in a summer breeze. HENRY BRIGHT comes out of the bathroom, wearing only pajama bottoms, with a towel slung around his neck. As he crosses to the window, FRANK BRIGHT, his son, pokes his head around the side of the door.
FRANK
Mom says come downstairs and get breakfast, Daddy!
STORM OF THE CENTURY 215 Above FRANK'S head, CARLA'S now appears.
CARLA
No Mom says come downstairs and get breakfast sleepyhead Daddy!
FRANK puts his hands over his mouth and GIGGLES. HENRY smiles.
HENRY
I'll be there in a minute.
He goes to the window.
172 EXTERIOR: LITTLE TALL ISLAND, FROM HENRY'S POINT OF VIEW DAY.
It's beautiful as only a Maine island can be at the height of summer blue sky over long green meadows that slope down to blue whitecapped water. We can see a few fishing boats out there.
GULLS CRY AND SWOOP overhead.
173 INTERIOR: RESUME BEDROOM, WITH HENRY DAY. He takes a deep breath, holds it, then lets it out.
HENRY
Thank God for reality. I had a dream that it was winter . . . there was a storm . . . and this man came to town . . .
LINOGE (voice) This scary man . . .
Surprised, HENRY turns.
173
&
174 INTERIOR: LINOGE, FROM HENRY'S POINT OF VIEW.
Although it's summer in HENRY'S dream, LINOGE is dressed as he was when we first saw him on Atlantic Street, in front of MARTHA CLARENDON'S house: pea coat, watch cap, bright yellow gloves.
He GRIMACES INTO THE CAMERA, revealing A MOUTHFUL OF FANGS. His eyes GO BLACK. He thrusts the SILVER HEAD OF HIS CANE at HENRY, and the head COMES ALIVE, snapping and snarling.
216 STEPHEN KING
175 INTERIOR: THE SUMMER BEDROOM, WITH HENRY.
He steps backward to avoid the silver wolf. His knees hit the bottom of the window, and he tumbles out, SCREAMING.
176 EXTERIOR: HENRY, FALLING.
Only it's not his house he's falling out of, and not the ground of Little Tall Island he's falling toward, hard as that ground might be. He is falling toward a BOILING RED-BLACK PIT OF FIRE. It is a pit of hell; it is also the boiling red and black we've seen in LINOGE'S EYES from time to time.
HENRY falls, SHRIEKING, away from THE CAMERA.
177 INTERIOR: THE CONSTABLE'S OFFICE, FEATURES HENRY.
He twitches in the desk chair, falls out of it, and gives a STRANGLED YELL as he hits the floor. He opens his eyes and looks around, dazed.
178 INTERIOR: THE MARKET, FEATURING THE CARD PLAYERS.
They look up at the sound of HENRY'S YELL and see that ROBBIE is standing by the cell. And
¬
KIRK Hatch, Robbie's got a gun. I think he's gonna shoot that guy!
HATCH bolts to his feet, knocking over the card table.
HATCH Robbie! Get away from him! Put that down!
179 INTERIOR: THE CONSTABLE'S OFFICE, WITH HENRY.
HENRY
Robbie? What
HENRY gets to his feet. He's soupy, still half-lost in his dream.
180 INTERIOR: THE CELL, WITH ROBBIE AND ROBBIE'S FALSE MOTHER.
She is sitting on the bunk where LINOGE sat (naturally she is LINOGE). She is very old, about eighty, and very thin. She is dressed in
STORM OF THE CENTURY 217
a white hospital johnny; her hair is wild; her face is reproachful. ROBBIE looks at her, hypnotized.
FALSE MOTHER
