253
MIKE is looking down between his legs at the floor. He doesn't want to look at her, doesn't want to look at any of it. She sees this and goes on, sorrowfully, up the steps.
The PARENTS range themselves in a line on the stage. LINOGE looks at them with the benign smile of a dentist assuring a child that this won't hurt, this won't hurt at all.
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STORM OF THE CENTURY 347
LINOGE
It's perfectly simple. You each draw a stone from the bag. The child whose parent draws the black stone comes with me. To live long . . . see far . . . and know much. Mrs. Robi-chaux? Jill?
Would you start us, please?
He offers her the bag. At first it seems she won't reach into it ... or can't.
ANDY
Go on, honey do it.
She gives him a haunted look, then reaches into the bag, feels around, and comes out with her hand tightly clasped around a stone. She looks as though she might faint.
LINOGE Mrs. Hatcher?
MELINDA takes a stone. SANDRA is next. She reaches toward the bag . . . then draws away.
SANDRA
Robbie, I can't! You!
But ROBBIE doesn't want to be that near LINOGE.
ROBBIE Go on! Draw!
She does, and stands back, little mouth quivering, her hand clasped so tightly around the stone that the fingers are white. Next is HENRY BRIGHT, feeling around a long time, rejecting one (or two) in favor of another. Then JACK. He chooses fast, then steps back and gives ANGIE a desperate, hopeful smile. LINDA ST. PIERRE draws one. That leaves URSULA and MOLLY.
LINOGE
Ladies?
URSULA You go first, Molly.
348 STEPHEN KING
MOLLY No. Please. You.
URSULA plunges her hand into the bag, takes one of the two remaining stones, then steps back, fist clenched. MOLLY steps forward, looks at LINOGE, and takes the last stone. LINOGE tosses the empty bag aside. It flutters toward the stage . . . then DISAPPEARS IN A DIM BLUE GLOW before it ever reaches the boards. No reaction from the ISLANDERS; their silence is so thick and tense you could cut it with a knife.
LINOGE
All right, my friends; so far it's done very well. Now, who has the courage to show first? To put fear aside and let sweet relief rush in to take its place?
No one responds. They stand, eight parents with their hands clenched before them, each in utter 254
white-faced terror.
LINOGE
(genial)
Come, come have you never heard that the gods punish the fainthearted?
JACK
(cries out) Buster! I love you!
He opens his hand. The marble he holds is WHITE. The AUDIENCE MURMURS.
URSULA steps forward. She holds out her closed, trembling fist. She nerves herself up, and her hand springs open. This marble is also WHITE. The AUDIENCE MURMURS AGAIN.
ROBBIE
Let's see, Sandra. Show it.
SANDRA
I ... I ... Robbie, I can't ... I know it's Donnie ... I know it is ... I've never been lucky . . .
STORM OF THE CENTURY 349
Impatient with her, contemptuous of her, in a frenzy to know one way or the other, he goes to her, seizes her hand, and pries the fingers open. We can't see, and at first we can read nothing from his face. Then he seizes what she holds, and lifts it up so they can all see. He's GRINNING
SAVAGELY; looks like Richard Nixon at a political rally.
ROBBIE
White!
He tries to embrace his wife, but SANDRA pushes him away with an expression beyond disgust this is outright revulsion.
Now it's LINDA ST. PIERRE's turn to step forward. She holds out her closed hand, looking down at it, then closes her eyes.
LINDA ST. PIERRE
Please, God, I beg of you, don't take my Heidi away.
She opens her hand, but not her eyes.
ANOTHER VOICE
White!
The AUDIENCE MURMURS. LINDA opens her eyes, sees the stone is indeed WHITE, and begins to WEEP, closing her hand again and holding the precious stone to her breasts.
LINOGE
Jill? Mrs. Robichaux?
JILL ROBICHAUX
I can't. I thought I could go through with it, but I can't. I'm sorry She heads for the stairs, still holding her clenched fist in front of her. Before she can get there, 255
LINOGE points his cane her way. She is driven back at once. LINOGE now dips the silver wolf's head at her hand. She tries to hold the fingers closed and can't. The stone drops to the stage, rolls like a marble (which is what the stones look like), and
350 STEPHEN KING
THE CAMERA TRACKS IT. It finally stops, resting against one of the legs of the town manager's table. It's WHITE.
JILL collapses to her knees, SOBBING. LINDA helps her to her feet and embraces her. Now there is only HENRY, MELINDA, and MOLLY. One of them has the black stone. We INTERCUT their spouses. CARLA BRIGHT and HATCH are watching the stage with passionate, terrorized fascination.
MIKE is still looking at the floor.
LINOGE
Mr. Bright? Henry? Will you favor us?
HENRY steps forward and slowly opens his hand. The stone is WHITE. He all but deflates in his relief. CARLA looks at him, smiling through her tears.
Now it's down to MOLLY and MELINDA, RALPHIE and PIPPA. The two mothers look at each other with LINOGE smiling in the background. One of them is about to cease being a mother, and both of them know it.
128 INTERIOR: MOLLY, CLOSE-UP.
She's imagining:
129 EXTERIOR: BLUE SKY DAY.
Flying high above the clouds is LINOGE, but now the V is very short. Of the eight children, only RALPHIE and PIPPA are left, each gripping one of LINOGE'S hands.
130 INTERIOR: RESUME STAGE NIGHT.
LINOGE
Ladies?
MOLLY looks a thought at MELINDA. MELINDA catches it and nods slightly. The women hold out their closed fists, hand to hand. They look at each other, frantic with love, hope, and fear.
MOLLY
(very soft) Now.
STORM OF THE CENTURY 351
131 INTERIOR: THE CLOSED HANDS, CLOSE-UP.
They open. In one is a white "marble"; in the other is a black. There are MURMURS, GASPS, and CRIES OF SURPRISE from the audience . . . but we can't tell not yet. We see only the stones lying on the open palms.
132 INTERIOR: MOLLY'S FACE, EXTREME CLOSE-UP.
Wide eyes.
133 INTERIOR: MELINDA'S FACE, EXTREME CLOSE-UP. Wide eyes.
134 INTERIOR: HATCH'S FACE, EXTREME CLOSE-UP. Wide eyes.
135 INTERIOR: MIKE, EXTREME CLOSE-UP.
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Head down . . . but he can't keep it that way, despite his intention not to participate in this, even passively. He raises his face and looks toward the stage. And we must read the loss of his son first on this man's face we see incredulity, then the dawn of a terrible understanding.
MIKE (to his feet)
NO!!! NO!!!
352 STEPHEN KING
SONNY, LUCIEN, and ALEX grab him when he tries to lunge forward, and wrestle him back to his seat.
136 INTERIOR: MOLLY AND MELINDA, ON STAGE.
They continue to face each other, almost forehead to forehead, frozen, their hands now open held out. In MELINDA'S is the seventh white stone. In MOLLY'S is the black one.
MELINDA'S face breaks in delayed reaction. She turns, blinded by tears, and walks toward the edge of the stage.
MELINDA
Pippa! Mummy's coming, love
She stumbles on the stairs and would go headlong, if not for HATCH, who is there to catch her.
MELINDA, hysterical with relief, doesn't even notice. She fights free of her husband's arms and runs up the center aisle.
MELINDA
Pippa, honey! It's all right! Mummy's coming, sweetheart, mummy's coming!