storefronts are graying out, starting to look like mirages, as THE STORM
INTENSIFIES.
119 EXTERIOR: BREAKWATER AND LIGHTHOUSE.
HUGE WAVES CRASH THE ROCKS. FOAM LEAPS INTO THE AIR. On this image, we:
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
FADE TO BLACK. THIS ENDS ACT 4.
Act 5
120 EXTERIOR: THE ISLAND MARKET--LATE AFTERNOON.
In worsening conditions that now make moving a serious problem, MIKE, HATCH, and LINOGE
come out of the alley and struggle toward the steps of the market. LINOGE has been made to walk in front of them, and now he LOOKS UPWARD, SMILING.
121 EXTERIOR: ISLAND MARKET’S ROOF.
Here is a little nest of radio antennas that serve the various two-ways inside the store. The tallest of these radio antennas SNAPS OFF and goes rolling down the backslant of the roof.
122 EXTERIOR: FOOT OF THE MARKET STEPS, WITH MIKE, HATCH, LINOGE.
HATCH
(with a flinch)
What was that?
MIKE
Antenna, I think. Never mind now. Go on.
HATCH heads up the steps, giving LINOGE a healthy berth.
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
123 EXTERIOR: THE TOWN HALL.
SOUND: That same TWANGING SNAP.
124 INTERIOR: TOWN OFFICE, WITH URSULA.
She’s at her radio, which is on a table below the STORM EMERGENCY/TAKE SHELTER poster. From the RADIO comes the LOUD SOUND OF STATIC.
URSULA
Come back? Rodney, are you there? Come back, Rodney!
Nothing. After another moment or two of twiddling, URSULA racks the mike and looks at the useless radio with disgust.
125 INTERIOR: THE MARKET.
HATCH, coated with snow, steps in. The SHOPPERS react to the shotgun. Before, it was under his arm and pointed at the floor. Now he’s holding it up against his shoulder and pointed at the ceiling, like Steve McQueen in Wanted: Dead or Alive. HATCH looks around at the SHOPPERS.
HATCH
Mike wants all you folks to move back on both sides, okay? No one in Aisle 2. We’ve got us a bad guy, and we can’t use the back door to bring him in like we’d like to, so just move back. Give us some room.
PETER GODSOE
Why’d he kill her?
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
HATCH
Just move back, Pete, okay? Mike’s standing out in the snow, and his feet must be pretty cold by now. Also, we’re all gonna feel better when this guy’s locked up. Move back, folks, give ‘em a clear way up that second aisle.
The customers move aside in two groups, leaving the center of the market clear. PETER GODSOE and ROBBIE BEALS are with one group (the one on the left, as you look toward the back of the market); MOLLY is in the other, standing with CAT and TESS MARCHANT, who has moved away from the cash register.
HATCH surveys this and decides it’ll do--it’ll have to. He goes to the door and opens it. He beckons.
126 EXTERIOR: THE PORCH, WITH MIKE AND LINOGE.
LINOGE walks ahead, cuffed hands at his waist. MIKE is alert for anything ... or so he no doubt hopes.
MIKE
Not one wrong move, Mr. Linoge. You mind me, now.
127 INTERIOR: THE MARKET, FEATURES HATCH.
He lowers the shotgun to port arms, one hand on the barrel and the other wrapped around the trigger. LINOGE, coated with snow, eyebrows crusted white, comes in. MIKE follows closely, the gun now raised and pointed at LINOGE’S back.
MIKE
Right down Aisle 2. Nowhere else.
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
But MARTHA’S killer stops for a moment and surveys the clusters of frightened islanders. Here is an enormously important moment. LINOGE is like a tiger that has been let out of its cage. The trainer is there (two of them, counting HATCH), but when it comes to tigers only bars--lots of them, strong and thick--are safe. And LINOGE doesn’t look like a prisoner, or act like one. He stares at the residents of Little Tall with shining eyes. The residents look back at him with fear and fascination.
MIKE
(prods him with the
INTENSIFIES.
119 EXTERIOR: BREAKWATER AND LIGHTHOUSE.
HUGE WAVES CRASH THE ROCKS. FOAM LEAPS INTO THE AIR. On this image, we:
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
FADE TO BLACK. THIS ENDS ACT 4.
Act 5
120 EXTERIOR: THE ISLAND MARKET--LATE AFTERNOON.
In worsening conditions that now make moving a serious problem, MIKE, HATCH, and LINOGE
come out of the alley and struggle toward the steps of the market. LINOGE has been made to walk in front of them, and now he LOOKS UPWARD, SMILING.
121 EXTERIOR: ISLAND MARKET’S ROOF.
Here is a little nest of radio antennas that serve the various two-ways inside the store. The tallest of these radio antennas SNAPS OFF and goes rolling down the backslant of the roof.
122 EXTERIOR: FOOT OF THE MARKET STEPS, WITH MIKE, HATCH, LINOGE.
HATCH
(with a flinch)
What was that?
MIKE
Antenna, I think. Never mind now. Go on.
HATCH heads up the steps, giving LINOGE a healthy berth.
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
123 EXTERIOR: THE TOWN HALL.
SOUND: That same TWANGING SNAP.
124 INTERIOR: TOWN OFFICE, WITH URSULA.
She’s at her radio, which is on a table below the STORM EMERGENCY/TAKE SHELTER poster. From the RADIO comes the LOUD SOUND OF STATIC.
URSULA
Come back? Rodney, are you there? Come back, Rodney!
Nothing. After another moment or two of twiddling, URSULA racks the mike and looks at the useless radio with disgust.
125 INTERIOR: THE MARKET.
HATCH, coated with snow, steps in. The SHOPPERS react to the shotgun. Before, it was under his arm and pointed at the floor. Now he’s holding it up against his shoulder and pointed at the ceiling, like Steve McQueen in Wanted: Dead or Alive. HATCH looks around at the SHOPPERS.
HATCH
Mike wants all you folks to move back on both sides, okay? No one in Aisle 2. We’ve got us a bad guy, and we can’t use the back door to bring him in like we’d like to, so just move back. Give us some room.
PETER GODSOE
Why’d he kill her?
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
HATCH
Just move back, Pete, okay? Mike’s standing out in the snow, and his feet must be pretty cold by now. Also, we’re all gonna feel better when this guy’s locked up. Move back, folks, give ‘em a clear way up that second aisle.
The customers move aside in two groups, leaving the center of the market clear. PETER GODSOE and ROBBIE BEALS are with one group (the one on the left, as you look toward the back of the market); MOLLY is in the other, standing with CAT and TESS MARCHANT, who has moved away from the cash register.
HATCH surveys this and decides it’ll do--it’ll have to. He goes to the door and opens it. He beckons.
126 EXTERIOR: THE PORCH, WITH MIKE AND LINOGE.
LINOGE walks ahead, cuffed hands at his waist. MIKE is alert for anything ... or so he no doubt hopes.
MIKE
Not one wrong move, Mr. Linoge. You mind me, now.
127 INTERIOR: THE MARKET, FEATURES HATCH.
He lowers the shotgun to port arms, one hand on the barrel and the other wrapped around the trigger. LINOGE, coated with snow, eyebrows crusted white, comes in. MIKE follows closely, the gun now raised and pointed at LINOGE’S back.
MIKE
Right down Aisle 2. Nowhere else.
Generated by ABC Amber LIT Conv erter, http://www.processtext.com/abclit.html
But MARTHA’S killer stops for a moment and surveys the clusters of frightened islanders. Here is an enormously important moment. LINOGE is like a tiger that has been let out of its cage. The trainer is there (two of them, counting HATCH), but when it comes to tigers only bars--lots of them, strong and thick--are safe. And LINOGE doesn’t look like a prisoner, or act like one. He stares at the residents of Little Tall with shining eyes. The residents look back at him with fear and fascination.
MIKE
(prods him with the
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