He ... said something about my mother. You don't need to know.
His eyes turn mistrustfully to LINOGE, who sits watching. LINOGE shouldn't be able to hear what they're saying their voices are low-pitched, and they're most of the way across the room but ROBBIE thinks (almost knows) that he can. He knows something else, as well. LINOGE could tell the others what he told ROBBIE: that ROBBIE was rolling around with a prostitute when his mother died.
HATCH I don't think he's human.
He looks at MIKE almost pleadingly, as if asking him to contradict this. But MIKE doesn't.
MIKE Neither do I. I don't know what he is.
JACK God help us all.
121 INTERIOR: LINOGE, CLOSE-UP.
Watching them with wide-eyed intensity while the STORM HOWLS outside.
FADE TO BLACK. THIS ENDS ACT 3.
Act 4
122 EXTERIOR: THE TOWN STORE NIGHT.
157
We are looking up Main Street toward the center of town. A headlight appears, and we hear the WASP WHINE of an approaching snowmobile. It's URSULA, with JOANNA hanging on for dear life.
123 INTERIOR: THE DOORWAY OF THE SUPPLY SHED NIGHT.
CAT (voice)
'I'm a little teapot, short and stout. . . . Here is my handle, here is my spout. . . .
LUCIEN FOURNIER stands in the doorway. Behind him are UPTON BELL, JOHNNY HARRIMAN, old GEORGE KIRBY, and SONNY BRAUTIGAN. All of the men wear similar expressions of SHOCKED
HORROR.
124 INTERIOR: CAT, IN THE CORNER OF THE SUPPLY SHED NIGHT.
She's rocking back and forth, fingers in her mouth, blood-spattered face blank.
CAT
'You can pick me up and pour me out. . . . I'm a little teapot, short and stout.'
125 INTERIOR: RESUME THE MEN IN THE DOORWAY.
LUCIEN (with an effort) Come on. Help me get her inside.
126 INTERIOR: THE CONSTABLE'S OFFICE, WITH MIKE AND THE OTHERS.
KIRK That fit he threw . . . what was that about?
MIKE shakes his head. Doesn't know. Turns to ROBBIE.
190
STORM OF THE CENTURY 191
MIKE Did he have a cane when you saw him?
ROBBIE
You bet. It had a big silver wolfs head on top. It was bloody. I had an idea that was what he used to ... to ...
SOUND: The snowmobile. LIGHT FLASHES across the barred window high up in the cell. URSULA is driving down the alley to the back. MIKE returns his attention to LINOGE. As always, he addresses LINOGE with the calm of a police officer, although we can tell this is getting harder and harder to maintain.
MIKE Where's your cane, sir? Where is it now? > (no response) What is it you want?
LINOGE still won't say. JACK CARVER and KIRK FREEMAN move toward the back door to see who's coming. HATCH has done an admirable job of handling himself, but he's getting more and more scared all the time, and we can see it. Now he turns to MIKE.
HATCH
We didn't take him out of Martha's . . . did we? He let himself be taken. Maybe he wanted to be taken.
ROBBIE We could kill him.
HATCH is shocked, wide-eyed. MIKE looks less surprised.
158
ROBBIE
Nobody would have to know. Island business is island business, always has been and always will be. Like whatever Dolores Claiborne did to her husband during the eclipse. Or Peter and his marijuana.
MIKE We'd know.
192 STEPHEN KING
ROBBIE
I'm just saying we could . . . and maybe we should. Tell me the idea hasn't already crossed your mind, Michael An-derson.
127 EXTERIOR: BEHIND THE STORE NIGHT.
LUCIEN'S snowmobile pulls up beside the half-buried one JACK and KIRK came on. URSULA gets off and helps JOANNA off. Above them, the door between the constable's office and the loading dock is open. JACK CARVER stands in the light.
JACK
Who's there?
URSULA
Ursula Godsoe and Joanna Stanhope. We have to talk to Mike. Something's happened at the . . .
She's climbing the steps to the loading dock, and now she sees the WRAPPED SHAPE that has been put out here where it's cold. JACK and KIRK exchange a dismayed 'Ah, shit' look. JACK
reaches forward, attempting to take her arm and help her in before she gets too good a look.
JACK Ursula, I wouldn't look at that, if I were you . . .
She pulls free and sinks to her knees beside the wrapped corpse of her husband.
KIRK
(back over his shoulder) Mike! You better come here!
URSULA pays no mind. PETER'S green rubber boots are still sticking out, boots she knows well and may have patched herself. She touches one of them and begins CRYING SOUNDLESSLY.
JOANNA stands behind her in the BLOWING, SWIRLING SNOW, not knowing what to do.
MIKE appears in the doorway, with HATCH behind him. MIKE understands the situation at once, and speaks with great gentleness.
STORM OF THE CENTURY 193 MIKE
Ursula. I'm sorry.
She takes no notice, only kneels in the snow, holding the patched boot and crying. MIKE bends, gets his arm around her shoulders, and helps her to her feet.
MIKE
Come on in, Urse. Come on in where there's light and it's warm.
He leads her in past JACK and KIRK. JOANNA follows, with one quick, shying look down at
