SNOW, its big light going round and round. WAVES CRASH HIGH around it.
38 INTERIOR: LIGHTHOUSE CONTROL ROOM NIGHT.
It's completely automated, and empty. Lights BLINK and FLASH. The SOUND OF THE WIND outside is very strong, and the anemometer is flickering between fifty and sixty-three MPH. We can hear the place CREAKING and GROANING. Wave-spume splatters the windows and beads up on the glass.
39 EXTERIOR: THE LIGHTHOUSE NIGHT.
A big wave a monster like the one that destroyed PETER GODSOE'S warehouse strikes the headland and all but inundates the lighthouse.
40 INTERIOR: LIGHTHOUSE CONTROL ROOM NIGHT.
Several windows shatter, and water SPRAYS ACROSS THE EQUIPMENT. The wave withdraws and everything continues working ... so far, at least.
41 EXTERIOR: THE SIDE OF THE FIREHOUSE NIGHT.
ROBBIE BEALS and HENRY BRIGHT come out, shoulders hunched against the storm. They're not the men they were when they went in ... ROBBIE is especially shaken. He takes out a huge ring of keys (ROBBIE has keys to almost everything on the island, town manager's perogative) and begins to fumble through them, meaning to lock the
148 STEPHEN KING
door. HENRY puts a tentative hand on his arm. Once again, both men SHOUT to be heard above the HOWL OF THE STORM.
HENRY
Shouldn't we at least check upstairs? See if anyone else
ROBBIE
That's the constable's job.
He sees the look HENRY'S giving him, the one that says, "You sure changed your tune," but he won't back down; it would take a lot more man than HENRY BRIGHT to get ROBBIE upstairs after what they just saw downstairs. He finds the right key and turns it in the lock, securing the firehouse.
ROBBIE
We ascertained that the victim is dead, and we have secured the scene. That's enough. Now come on. I want to get back to the
HENRY
(pedantic, fussy)
We never really made sure he was dead, you know . . . never took his pulse, or anything . . .
ROBBIE
His brains were all over the running board of Pumper Number Two, why in God's name would we have to take his pulse?
HENRY
But there might be someone else upstairs. Jake Civiello . . . Duane Pulsifer, maybe . . .
ROBBIE
The only two names written on the duty board were "Ferd Andrews" and "Lloyd Wishman." Anyone else in there would likely turn out to be a friend of that Linoge, and I don't want to meet any of his friends, if it's all the same to you. Now come on!
STORM OF THE CENTURY 149
He grabs HENRY by the coat and practically drags him back to the Sno-Cat. ROBBIE fires it up, guns it impatiently as he waits for HENRY to clamber in, then turns it in a circle and heads back for the street.
As he does, the Island Services four-wheel drive conies trudging out of the storm. ROBBIE corrects his course, meaning to go around, but HATCH sees his intention and cuts him off neatly.
42 EXTERIOR: FEATURES SNO-CAT AND ISLAND SERVICES VEHICLE NIGHT.
HATCH gets out of his vehicle, flashlight in hand. ROBBIE opens the canvas-sided door of the Sno-Cat and leans out. He has recognized HATCH and has regained his previous hectoring authority. Once again, EVERYONE SHOUTS to be heard over the SOUND OF THE WIND.
ROBBIE
Get out of my way, Hatcher! If you want to talk, follow us back to the town hall!
HATCH
Mike sent me! He wants you over at the constable's! Henry, you too!
ROBBIE
I'm afraid that's impossible. We have wives and children waiting at the town hall. If Mike Anderson wants either of us to stand a watch later, that's fine. But for the time being
HENRY
Lloyd Wishman's dead . . . and there's something written on the side of one of the fire trucks. If it's a suicide note, it's the weirdest one I ever heard of.
KIRK comes around to the front of the Island Services truck, holding his hat down with both hands.
KIRK
Come on, let's get going! This ain't no place for a discussion!
150 STEPHEN KING
ROBBIE
(annoyed)
I agree. We can have our discussion back at the town hall, where it's still warm.
He starts to close the door of the Sno-Cat. HATCH grabs it.
HATCH
Peter Godsoe's dead, too. Hung himself, (pause) He also left a weird suicide note.
ROBBIE and HENRY are dumbfounded.
HATCH
Mike asked me to come get you, Robbie Beals, and that's what I'm doing. You come on and follow me back to the store. I don't want to hear any more sass about it.
HENRY (to ROBBIE) We better do it.
KIRK
Coss you better do it! Hurry up!
HENRY
Peter Godsoe . . . my God in heaven, why?
ROBBIE is being driven in