through tomorrow and into tomorrow night, when things are finally supposed to start quieting down.
176 STEPHEN KING
148
Power's out from Kittery to Millinocket. Coastal communities are cut off. Us island guys . . . forget it.
She looks really dreadful. MOLLY sees it; she reacts with sympathy and some curiosity, as well.
MOLLY
What's wrong?
URSULA I don't know. I've just got a feeling. A really bad one.
MOLLY
Well, who wouldn't? Martha Clarendon murdered . . . Lloyd Wishman kills himself . . . the Storm of the Century right over our heads . . . who wouldn't?
URSULA I think it's more than that.
87 EXTERIOR: ANGLE ON THE SUPPLY SHED NIGHT.
For a moment or two the doorway is empty, and then CAT steps slowly into it and stops. Her eyes are wide and blank. On the strip of visible skin between the top of her scarf and the bottom of her hat, we can see SMALL STIPPLES OF BLOOD on her cheeks. They look almost like freckles. In one hand she still holds the cane. The wolf's head is once more CAKED WITH BLOOD.
THE CAMERA BEGINS TO MOVE IN as some comprehension of what she's done flickers in CAT'S
eyes. She looks down at the cane and drops it.
88 EXTERIOR: THE CANE, FROM CAT'S POINT OF VIEW.
It lies just outside the doorway in the snow, leering up at her. The silver wolfs eyes are full of blood.
89 EXTERIOR: RESUME CAT, IN THE SUPPLY SHED DOORWAY NIGHT.
She raises her gloved hands to her cheeks. Then, perhaps feeling something, she takes them away and looks at them. Her face is still blank, drugged-looking . . . she's in a state of shock.
STORM OF THE CENTURY 177
90 INTERIOR: THE BASEMENT, FEATURES MOLLY AND URSULA.
URSULA looks around to see if they're being overheard. They're not, but she leads MOLLY toward a relatively deserted area near the foot of the stairs anyway, just to be safe. MOLLY looks at her, concerned and worried. Outside, the WIND HOWLS BIG. The women, on the other hand, are very small.
URSULA
When I get these feelings, I trust them. Over the years, I've learned to trust them. I ... Molly, I think something's happened to Peter.
MOLLY
(instant concern) Why? Has anyone come back from the store? Has Mike URSULA
No one's come in from that end of town since eight o'clock, but Mike's okay.
She sees MOLLY isn't convinced, and smiles a little bitterly.
URSULA
149
Nothing psychic about that part of it I've picked up a couple of broken transmissions on the radio. Once it was Hatch; once I'm pretty sure it was Mike.
MOLLY Saying what? Talking to who?
URSULA
With the antennas blown down, it's impossible to tell, base unit to base unit; it's just voices. I imagine they're still trying to raise the statics in Machias.
MOLLY
So you haven't heard anything about Peter, and you can't know 178 STEPHEN KING
URSULA
No ... but somehow I do. If I can get Lucien Fournier to stop fiddling with that TV and take me down to the constable's on his snow machine, can you mind things here? Unless the roof falls in, all it amounts to is saying everything's fine, breakfast's at seven, and we still need folks on the serving crew and to do cleanup after. Work's mostly done for tonight, thank God. People've already started going to bed.
MOLLY
I'll come with you. Tavia can handle things here. I want to see Mike.
URSULA
No. Not with Ralphie here and a maybe dangerous prisoner down there.
MOLLY
You've got a kid to think about, too. Sally's here.
URSULA
It's Sally's Dad I'm worried about, not Ralphie's. As for Tavia Godsoe ... I'd never say this to her face because I love her, but she's got old maid's disease she worships her brother. If she gets the idea anything happened to Peter . . .
MOLLY
All right. But you tell Mike I want him to set a guard however many men he needs, none of
'em's doing anything else tonight, anyway and get back here. Tell him his wife wants to see him.
URSULA I'll give him the message.
She leaves MOLLY and makes her way through the crowd around the TV, aiming for LUCIEN.
91 EXTERIOR: ANGLE ON THE SUPPLY SHED NIGHT.
CAT is still looking at her hands, but now a kind of comprehension is starting to dawn in her eyes.
She looks from the bloody cane to her
STORM OF THE CENTURY 179
bloody gloves . . . back to the cane . . . back to the gloves ... up into the storm. Then she opens her mouth as wide as it can go, and SHRIEKS.
92 INTERIOR: THE TOWN HALL KITCHEN NIGHT.
150
JOANNA, who is washing pots in the sink and happens to be closest to the back door, looks up, frowning. The others continue on with their work.
JOANNA
