two men exchange an uneasy glance. FERD left BLOODY TRACKS when he fled.
ROBBIE and HENRY are both reluctant now, but as ROBBIE pointed out, they're on the scene. They walk around the back of the pumper.
24 INTERIOR: ROBBIE AND HENRY.
As they come around the pumper, their eyes widen and their faces KNOT WITH REVULSION. HENRY claps both hands over his mouth, but that isn't going to keep it in. He bends out of the frame, and we hear the SOUND OF VOMITING. (Sort of like the SOUND OF MUSIC, only louder.)
ROBBIE looks at:
25 INTERIOR: THE BLOODY AXE, FROM ROBBIE'S POINT OF VIEW.
It lies on the floor, beside one of LLOYD WISHMAN'S boots. THE CAMERA TRAVELS UP the side of the pumper to the words printed there in paint as red as blood: "GIVE ME WHAT I WANT AND I'LL GO AWAY."
26 INTERIOR: ROBBIE BEALS, CLOSE-UP.
Wide-eyed. Beginning to pass fear and perplexity and into the land where panic dwells and really bad decisions are made.
144 STEPHEN KING
27 EXTERIOR: ANGLE ON ATLANTIC STREET NIGHT.
The STORM IS HOWLING. We hear a LOUD, RENDING CRACK, and a tree branch falls into the street, crushing the snow-covered roof of a parked car. Conditions are still getting worse.
28 INTERIOR: THE CONSTABLE'S OFFICE.
JACK CARVER and KIRK FREEMAN are looking at LINOGE, fascinated. MIKE is still standing by the desk, looking at the weird crossword puzzle on the PowerBook. He's still got the Polaroids in his hand. When JACK takes a step toward the cell, MIKE speaks without looking up.
MIKE
Don't go over there.
JACK stops moving at once, looking guilty. HATCH comes in through the market, shedding snow at every step.
HATCH Ursula says Lloyd Wishman's dead over at the firehouse.
KIRK FREEMAN
Dead! What about Ferd?
STORM OF THE CENTURY 145
HATCH
Ferd's the one who found him. He says it's suicide. I think Ursula's afraid it might be murder. Mike . . . Robbie Beals took Henry Bright over there. To investigate, I guess.
JACK CARVER claps his hand to his face. MIKE, however, hardly reacts. He's holding on to his cool, and thinking furiously.
MIKE
Streets still passable? What do you think?
HATCH
In a four-wheel drive? Yeah. Probably until midnight. After that
HATCH shrugs, indicating "Who knows."
MIKE
You take Kirk and go on over to the fire station. Find Robbie and Henry. Keep your eyes open and be careful. Lock the place up, then bring them back here.
(long look at LINOGE)
We can keep an eye on our new pal while you do that. Can't we, Jack?
I dunno as that's such a good idea
MIKE
Maybe not, but right now it's the only idea. I'm sorry, but it is.
None of them look really happy, but MIKE is the boss. HATCH and KIRK FREEMAN head out, zipping up their coats. JACK has gone back to looking at LINOGE.
When the door is closed, MIKE starts shuffling through the Polaroids again. Suddenly he stops, looking at:
29 INTERIOR: THE POLAROID OF MARTHA'S CHAIR, CLOSE-UP.
Bloody and spooky as an old electric chair, but empty. MIKE'S HANDS shuffle to the next photo of the chair. In this one, the chair is also empty.
146 STEPHEN KING
30 INTERIOR: MIKE, CLOSE-UP. Surprised and puzzled. Remembering.
31 INTERIOR: MARTHA'S LIVING ROOM, WITH MIKE (flashback).
He has just pulled the drapes across the broken window and anchored them with the table. He turns back to MARTHA'S chair, raises the Polaroid, and TRIGGERS IT.
32 INTERIOR: THE WOLF'S HEAD CANE, CLOSE-UP (flashback).
It stares at us with its bloody teeth and eyes like a ghost wolf in a stroke of lightning, then FADES.
33 INTERIOR: RESUME CONSTABLE'S OFFICE, FEATURES MIKE. He's got three two pictures of MARTHA'S chair, side by side.
MIKE It's gone.
JACK What's gone?
MIKE doesn't answer. He shuffles a fourth photo out of the stack. This is the one featuring the message written in MARTHA'S blood, and the rudimentary drawing of the cane. MIKE looks slowly up at LINOGE.
34 INTERIOR: LINOGE.
He cocks his head and puts his forefinger beneath his chin, like a girl being coy. He smiles a little.
35 INTERIOR: RESUME CONSTABLE'S OFFICE.
MIKE walks toward the cell. As he goes, he hooks a chair to sit in, but his eyes never leave LINOGE'S face. He's still got the Polaroids.
(nervous) Thought you said to stay away.
STORM OF THE CENTURY 147
MIKE
If he grabs me, why don't you shoot him? Gun's there on the desk.
JACK glances that way, but makes no move for the pistol. The poor guy looks more nervous than ever.
36 EXTERIOR: THE ISLAND DOCKS NIGHT.
They have been pretty well erased by the POUNDING OCEAN.
37 EXTERIOR: THE HEADLAND LIGHTHOUSE NIGHT.
It stands straight and white in the SHEETING