MOLLY
I think he's running out of ways to stay. Do you understand what I mean by that?
COUNSELOR
Tell me again what happened to Ralphie.
MOLLY
Why? What good will it do? For God's sake, what good can it do? He's gone!
The COUNSELOR makes no response. After a bit, MOLLY sighs and gives in.
MOLLY
It was the second day. We were in the town hall where we took shelter, you know. The storm . .
. you can't believe how bad it was.
STORM OF THE CENTURY 363
COUNSELOR I was here. I went through it.
MOLLY
Yes you were here, Lisa. On the mainland. It's different on the island, (pause) Everything's different on the island, (pause) Anyway, Johnny Harriman came rushing in while we were having breakfast and said the lighthouse was going over. Everyone wanted to see, of course . . . and Mike .
. .
263
154 EXTERIOR: THE ANDERSON HOUSE SUMMER MORNING.
There's a SMALL WHITE CAR at the curb with the trunk lid up. There are two or three suitcases in it. Now the door opens and MIKE comes out, carrying two more. He closes the door, descends the porch steps, and goes down the walk. Every motion and gesture, every look back, tells us that this is a man who is leaving for good.
MOLLY (voice-over)
Mike told us it was whiteout, and to stay close to the building. Ralphie wanted to see . . . Pippa and all the kids wanted to go out and see . . . and so we took them. God help us, we took them.
MIKE stops by the WEE FOLKS DAY-CARE sign. It's still chain-hung from a low branch of the yard maple, but now it looks dusty, somehow. Forgotten. Of no importance. MIKE yanks it down, looks at it, then turns and throws it back at the porch, momentarily FURIOUS.
MOLLY (voice-over)
It was a mistake for any of us to go out, especially the children. We underestimated the storm.
Several people wandered away and were lost. Ralphie was one of them. Angie Carver found her way back. None of the others did.
MIKE looks at the porch, where the sign has landed, then turns and walks down to his car. He puts the last couple of bags in and slams the trunk. As he starts around to the driver's side, digging the keys out of his pocket:
HATCH (voice) Mike?
364 STEPHEN KING
MIKE turns. HATCH, looking strange in a T-shirt and Bermuda shorts, walks up to where he stands. He looks painfully unhappy to be here. MIKE looks back at him coolly.
MIKE
If you've got something to say, best say it. Ferry leaves at 11:10, and I don't intend to miss it.
HATCH
Where you going?
(silence from MIKE) Don't, Michael. Don't leave.
(silence from MIKE)
Would it do you any good to tell you I haven't had a decent night's sleep since February?
(no answer from MIKE)
Would it do any good to tell you that . . . we might have been wrong?
MIKE Hatch, I have to get going.
HATCH
Robbie says to tell you the constable's job is yours again whenever you want it. All you have to do is ask.
MIKE
Tell him where he can park his job. I'm done here. I've tried until I can't try anymore.
He starts for the driver's door, and just before he swings in, HATCH touches his arm. MIKE whirls at that touch, eyes burning, as if he means to punch HATCH'S lights out. But HATCH doesn't flinch.
264
Maybe he thinks he deserves it.
HATCH
Molly needs you. Have you seen the way she is, now? Have you even looked?
MIKE You look for me. Okay?
STORM OF THE CENTURY 365
HATCH
(drops his eyes)
Melly isn't doing very well, either. She takes a lot of tranquil-izers. I think she might be hooked on them.
MIKE
Too bad. But . . . you've got your daughter, at least. You may not sleep so well, but you can go into Pippa's bedroom and watch her sleep any night you want. Can't you?
HATCH
You're as self-righteous as ever. Can't see it any way but your way.
MIKE swings behind the wheel and looks bleakly up at HATCH.
MIKE
I'm not anything. I'm empty scooped out as a gourd in November.
HATCH If you could just try to understand
MIKE
I understand that the ferry leaves at 11:10, and if I don't get moving now, I'm going to miss it.
Good luck, Hatch. Hope you catch up on your sleep.
He slams the car door, starts the engine, and pulls out onto Main Street. HATCH helplessly watches him go.
155 EXTERIOR: THE LAWN OF THE TOWN HALL MORNING.
THE CAMERA looks down toward Main Street and picks up MIKE'S car, heading toward the docks where the interisland ferry is backed up, ENGINE RUMBLING. We HOLD for a moment, then PAN
LEFT, to the cupola and the memorial bell. A second plaque has been added, to the right of the war dead. Heading it is this: THOSE LOST IN THE STORM OF THE CENTURY, 1989. Below are the names: MARTHA CLARENDON, PETER GODSOE, WILLIAM SOAMES, LLOYD WISHMAN, CORA STANHOPE, JANE KINGSBURY, WILLIAM TIMMONS, GEORGE KIRBY . . . and, at the very bottom, RALPH
