down for the storm. The porch has already drifted in. The storm shutters RATTLE on their tracks. PETER GODSOE'S pickup truck and MOLLY'S little car are now little more than snow-covered humps, but in the case of the truck, it's no big deal; PETER'S driving days are over.
4 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.
HATCH is as we left him at the end of Part One, staring up at PETER'S dangling legs. Nearby is the overturned chair PETER stood on while he was putting the noose around his neck.
5 INTERIOR: THE SIGN AROUND PETER'S NECK, CLOSE-UP.
"GIVE ME WHAT I WANT" written all over it, helter-skelter, along with the dancing canes. And, at the top, like a title, is the complete thought in capital letters so big they almost scream: "GIVE ME WHAT I WANT AND I'LL GO AWAY."
6 INTERIOR: RESUME CONSTABLE'S OFFICE.
HATCH looks from the dangling legs to LINOGE, sitting there in the cell, his stocking feet cocked up on the cot's edge, his faintly smiling
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face peering out from between his spread knees. LINOGE'S eyes have gone back to normal, but he projects a terrible quality of hunger and predation, just the same. He's locked up, yes, but it's such a ridiculous sham of a cell, with its wood floor and home-welded bars. HATCH is getting the idea that he is the one in trouble, locked up with this tiger in human form. We can take it a step further: the whole town is in trouble.
Between the dangling body and the silent, staring LINOGE, HATCH starts to lose it.
HATCH What are you lookin' at?
(no reply from LINOGE)
Did you make him do it, somehow? Make him write that around his neck and then hang himself? Did you?
Nothing from LINOGE. He only sits there, looking at HATCH. HATCH has had enough and heads for the door. He tries to do it at a walk, but can't hold on to himself well enough to keep that pace. He begins to hurry . . . then simply BOLTS. He grabs the knob, turns it, yanks the door open . . . and there is a SHAPE out there by the meat counter. It GRABS HATCH. HATCH shrieks.
7 INTERIOR: TOWN HALL BASEMENT, FEATURING PIPPA HATCHER, CLOSE-UP.
In one hand PIPPA holds a tail (actually a rolled-up hankie) with a pin sticking out of it. She walks slowly toward a piece of paper that has been taped up to the wall. On the paper, MOLLY ANDERSON has drawn a smiling donkey. Gathered around PIPPA, calling "Warmer!" and "Colder!" are all but one of MOLLY'S day-care pupils: RALPHIE, DON BEALS, HARRY ROBICHAUX, HEIDI ST. PIERRE, BUSTER CARVER, and SALLY GODSOE (who has become fatherless but fortunately doesn't know it yet). FRANK BRIGHT is sleeping on a cot nearby.
Behind the children, we see CAT WITHERS, MELINDA HATCHER, and LINDA ST. PIERRE making beds. Standing nearby, holding piles of blankets, are GEORGE KIRBY, HENRY BRIGHT, and ROBBIE BEALS. ROBBIE doesn't look happy about it.
134 STEPHEN KING
CARLA BRIGHT comes up to MOLLY, who is monitoring the festivities.
CARLA
Evening sessions now?
MOLLY It's sort of fun. But . . .
PIPPA manages to plant the tail somewhere in the region of the donkey's ass.
MOLLY
(continues)
. . . when they all finally fall asleep, I intend to track down the nearest alcoholic beverage and make it disappear.
CARLA
I'll pour.
DON BEALS
I wanna be next!
MOLLY (to CARLA) Done deal.
She takes the blindfold off PIPPA and starts putting it on DON.
8 INTERIOR: THE TOWN HALL, UPSTAIRS NIGHT.
FERD ANDREWS bursts in, wild-eyed and covered with snow from top to tail.
FERD
(top of his lungs) Lloyd Wishman's dead!
All bustle and activity stops. Forty or fifty faces turn to FERD. Central to this group is URSULA GODSOE, with her clipboard.
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INTERIOR: THE TOWN HALL BASEMENT.
The KIDS are still having a good time, shouting "Warmer!" and "Colder!" to DON SEALS as he tries to pin the tail on the donkey, but all the ADULTS have turned toward the SOUND of that SHOUT. ROBBIE BEALS drops his pile of blankets and heads up the stairs.
10 INTERIOR: THE CONSTABLE'S OFFICE NIGHT.
HATCH grapples with the SHAPE, hysterical with fear, until
MIKE Stop it, Hatch! Whoa! Whoa!
HATCH stops it and looks up at MIKE, his terror becoming relief. He hugs MIKE tightly does everything but rain kisses on MIKE'S face.
MIKE
What's the-Then, without the distraction of being grappled by his rather overweight second-in-command, MIKE sees what the trouble is. His face fills with wonder. He walks slowly past HATCH to the dangling body. He looks at it