in her husband's ear, and most of all, Linoge in the cell, heels up, hands dangling, orchestrating it all. It would be too long for a theatrical movie, but I thought I saw a way around that. I had developed a wonderful working relationship with ABC over the years, providing material (and sometimes tele-plays) for half a dozen so-called miniseries that had done quite well in the ratings. I got in touch with Mark Carliner (who produced the new version of The Shining) and Maura Dunbar (who has been my creative contact at ABC since the early nineties). Would either of them, I asked, be interested in a real novel for television, one that existed as its own thing rather than being based on a preexisting novel?
Both of them said yes with hardly a pause, and when I finished the three two-hour scripts that follow, the project went into preproduc-tion and then to film with no creative dithering or executive megrims at all. It is fashionable to shit on television if you're an intellectual (and for God's sake, never admit that you watch Frasier, let alone Jerry Springer), but I have worked as a writer in both TV and the movies, and I subscribe to the adage that in Hollywood, TV people want to make shows and movie people want to make lunch reservations. This isn't sour grapes; the movies have been pretty good to me, by and large (let's just ignore such films as Graveyard Shift and Silver Bullet). But in television, they let you work . . . plus if you have a history of some success with multipart dramas, they let you spread a little, too. And I like to spread. It's a beautiful thing.
ABC committed thirty-three million dollars to this project on the basis of three first-draft scripts, which were never significantly changed. That was also a beautiful thing.
I wrote Storm of the Century exactly as I would a novel, keeping a list of characters but no other notes, working a set schedule of three or four hours every day, hauling along my Mac PowerBook and working in hotel rooms when my wife and I went on our regular expeditions to watch the Maine women's basketball team play their away games in Boston, New York, and Philadelphia. The only real difference was that I used a Final Draft screenwriting program rather than the Word 6 program I use for ordinary prose (and every now and then the damned program would crash and the screen would freeze the new Final Draft program is blessedly bug-free). And I would argue that what 3
follows (and what you'll see on your TV screen if you watch Storm when it airs) isn't really a "TV
drama" or a "miniseries" at all. It is a genuine novel, one that exists in a different medium.
The work was not without its problems. The main drawback to doing network TV is the censorship question (ABC is the one major network that still maintains an actual Standards and Practices arm; they read scripts and tell you what you absolutely cannot show in the living rooms of America). I had struggled mightily with this issue in the course of developing The Stand (the world's population strangles to death on its own snot) and The Shining (talented but clearly troubled young writer beats wife within an inch of her life with a croquet mallet, then attempts to bludgeon son to death with the same implement), and it was the absolute worst part of the process, the creative equivalent of Chinese foot-binding.
Happily for me (the self-appointed guardians of America's morality are probably a lot less happy about it), network television has broadened its spectrum of acceptability quite a bit since the days when the producers of The Dick Van Dyke Show were forbidden to show a double bed in the master bedroom (dear God, what if the youth of America began indulging fantasies of Dick and Mary lying there at night with their legs touching?). In the last ten years the changes have been even more sweeping. A good deal of this has been in response to the cable-TV revolution, but much of it is the result of general viewer attrition, particularly in the coveted eighteen to twenty-five age group.
I have been asked why bother with network TV at all when there are cable outlets like Home Box Office and Showtime, where the censorship issue is negligible. There are two reasons. The first is that, for all the critical sound and fury surrounding such original cable shows as Oz and The Real World, the potential cable-TV audience is still pretty small. Doing a mini on HBO would be like publishing a major novel with a small press. I have nothing at all against either small presses or cable TV, but if I work hard over a long period of time, I'd like a shot at the largest possible audience. Part of that audience may elect to switch away on Thursday night to watch ER, but that's the chance you take. If I do my job and people want to see how matters turn out, they'll tape ER
and hang in there with me. "The exciting part is when you've got some competish," my mother used to say.
The second reason to stick with a major network is that a little foot-binding can be good for you.
When you know your story is going under the gaze of people who are watching for dead folks with open eyes (a no-no on network TV), children who utter bad words (another no-no), or large amounts of spilled blood (a gigantic no-no), you begin to think of alternative ways of getting your point across. In the horror and the suspense genres, laziness almost always translates into some graphic crudity: the popped eyeball, the slashed throat, the decaying zombie. When the TV censor takes those easy scares away it becomes necessary to think of other routes to the same goal. The filmmaker becomes subversive, and sometimes the filmmaker becomes actually elegant, as Val (Cat People) Lewton's films are often elegant.
The above probably sounds like a justification, but it's not. I am, after all, the guy who once said I wanted to terrify my audience, but would horrify it if I couldn't achieve terror . . . and if I couldn't achieve horror, I'd go for the gross-out. What the fuck, I'd say, I'm not proud. Network TV has, in a manner of speaking, taken away that ultimate fallback position.
There are some visceral moments in Storm of the Century Lloyd Wishman with the axe and Peter Godsoe with his rope are just two examples but we had to fight for every one of them, and some (where five-year-old Pippa scratches her mother's face and screams "Let me go, you bitch!"
for example) are still under strenuous discussion. I'm not the most popular person at Standards and Practices these days I keep calling people and whining, threatening to tell my big brother if they don't stop teasing me (in this case the part of my big brother is most frequently played by Bob Iger, who is ABC's top guy). Working with Standards and Practices on such a level is okay, I think; to get along really well with them would make me feel like Tokyo Rose. If you want to know who ends up winning most of the battles, compare the original teleplay (which is what I'm publishing here), with the finished TV program (which is in edit as I write this).
And remember, please, that not all the changes which take place between original script and final film are made to satisfy Standards and Practices. Them you can argue with; TV timing is beyond argument. Each finished segment must run ninety-one minutes, give or take a few seconds, and be divided into seven "acts," in order to allow all those wonderful commercials which pay the bills.
There are tricks that can get you a little extra time in that time one is a form of electronic compression I don't understand but mostly you just whittle your stick until it fits in the hole. It's a pain in the ass but not a gigantic one; no worse, say, than having to wear a school uniform or a tie to work.
Struggling with network TV's arbitrary rules was often annoying and sometimes dispiriting with The Stand and The Shining (and what the producers of It must have gone through I shudder to think of, since one stringent Standards and Practices rule is that TV dramas must not be built upon the premise of children in mortal jeopardy, let alone dying), but both of those shows were based on novels that were written with no regard for network TV's rules of propriety. And that's the way 4