GIFT OF Mrs. William Denman THE EMPEROR JONES DIFFRENT THE STRAW PLAYS BY EUGENE G. O NEILL 1. Beyond the Horizon 2. The Moon of the Caribbees And Six other plays of the Sea 3. The Emperor Jones; Different; The Straw 4. Gold 5. The Ole Davil Pre P arat THE EMPEROR JONES DIFF RENT THE STRAW BY EUGENE G. O NEILL BONI AND LIVERIGHT PUBLISHERS NEW YORK THE EMPEROR JONES DIFF RENT THE STRAW Copyright, 1921, by & LlVERIGHT, INC. All rights reserved Pint firtpling*. . ". I . Secx>rt& fainting?. . * . u, 1921 CAUTION All person* are hereby warned that the plays published in this volume are fully protected under the copyright laics of the United States and all foreign countries, and are subject to royalty, and any one presenting any of said plays without the con sent of the Author or h4s recognized agents, will be liable to the penalties by law provided. Applications for the acting rights must be made to the American Play Company, Inc., S3 West 4%d St., New 7ork City. The Bmperor Jones and Diff rent were first produced by The Provincetown Players, 133 Macdougal Street, New York City. s A/ 5- 1*1 21 fMfJ CONTENTS PAGE THE STRAW 1 THE EMPEROR JONES ...... 143 DIFF RENT . 199 THE STRAW his children CHARACTERS BILL CARMODY MARY NORA TOM BILLY DOCTOR GAYNOR, FRED NICHOLLS, EILEEN CARMODY, Bill s eldest child STEPHEN MURRAY, Miss HOWARD, a nurse in training Miss GILPIN, superintendent of the Infirmary DOCTOR STANTON, of the Hill Farm Sanatorium DOCTOR SIMMS, his assistant MR. SLOAN, PETERS, a patient MRS. TURNER, matron of the Sanatorium Miss BAILEY "I MRS. ABNER > Patients] FLYNN J OTHER PATIENTS OF THE SANATORIUM MRS. BRENNAN. (The characters are named in the order in which they appear) SCENES ACT I SCENE I The Kitchen of the Carmody Home Evening. SCENE II The Reception Room of the Infirmary, Hill Farm Sanatorium An Evening a Week Later. ACT II SCENE I Assembly Room of the Main Building at the Sanatorium A Morning Four Months Later. SCENE II A Crossroads Near the Sanatorium Midnight of the Same Day. ACT III An Isolation Room and Porch at the Sanatorium An Afternoon Four Months Later. TIME 1910 ACT I ACT I SCENE ONE SCENE 1 The kitchen of the Carmody home on the outskirts of a manufacturing town in Connect icut. On the left, forward, the sink. Farther back, two windows looking out on the yard. In the left corner, rear, the icebox. Immediately to the right of it, in the rear wall, a window opening on the side porch. To the right of this, a dish closet, and a door leading into the hall where the main front entrance to the house and the stairs to the floor above are situated On the right, to the rear, a door opening on the dining room. Farther forward, the kitchen range with scuttle, wood box, etc. In the center of the room, a table with a red and white cover. Four cane-bottomed chairs are pushed under the table. In front of the stove, two battered, wicker rocking chairs. The floor is partly cov ered by linoleum strips. The watts are papered a light cheerful color. Several old framed pic ture-supplement prints hang from nails. Every thing has a clean, neatly-kept appearance. The 1 : J : THE STRAW djisfieF are piled in the sink ready for "A "dish pan of water simmers on the stove. It is about eight o clock in the evening of a bitter cold day in late February of the year 1912. As the curtain rises, BILL CARMODY is discovered sitting in a rocker by the stove, read ing a newspaper and smoking a blackened clay pipe. He is a man of fifty, heavy-set and round- shouldered, with long muscular arms and swollen-veined, hairy hands. His face is bony and ponderous; his nose, short and squat; his mouth large, thick-lipped and harsh; his com plexion mottled red, purple-streaked, and freckled; his hair, short and stubby with a bald spot on the crown. The expression of his small, blue eyes is one of selfish cunning. His voice is loud and hoarse. He wears a flannel shirt, open at the neck, criss-crossed by red sus penders; black, baggy trousers grey with dust; muddy brogans. His youngest daughter, MARY, is sitting on a chair by the table, front, turning over the pages of a picture book. She is a delicate, dark- haired, blue-eyed, quiet little girl about eight years old. CARMODY \_After watching the child s preoccupa tion for a moment, in a tone of half -exasperated amusement.] Well, but you re the quiet one, surely! THE STRAW 3 [MARY looks up at him with a shy smile, her eyes still full of dreams.] Glory be to God, I d not know a soul was alive in the room, barrin myself. What is it you re at, Mary, that there s not a word out of you? MARY I m looking at the pictures. CARMODY It s the dead spit and image of your sister, Eileen, you are, with your nose always in a book ; and you re like your mother, too, God rest her soul. [He crosses himself with pious unction and MARY also does so.] It s Nora and Tom has the high spirits in them like their father ; and Billy, too, if he is a lazy shiftless divil has the fightin Car- mody blood like me. You re a Cullen like your mother s people. They always was dreamin* their lives out. [He lights his pipe and shakes his head with ponderous gravity.] There s no good in too many books, I ll tell you. It s out rompin and playin with your brother and sister you ought to be at your age, not carin a fig for books. [With a glance at the clock.] Is that auld fool of a doctor stayin the night? If he had his wits about him he d know in a jiffy tis only a cold has taken Eileen, and give her the medicine. Run out in the hall, Mary, and see if you hear him. He may have sneaked away by the front door. MARY [Goes out Into the hall, rear, and comes back.] He s upstairs. I heard him talking to Eileen. CARMODY Close the door, ye little divil 1 There s a freezin draught comin* in. [She does so and comes 4 THE STRAW back to her chair. CARMODY continues with a sneer."] It s mad I am to be thinkin he d go without gettin his money the like of a doctor! [Angrily] Rogues and thieves they are, the lot of them, robbin the poor like us! I ve no use for their drugs at all. They only keep you sick to pay more visits. I d not have sent for this bucko if Eileen didn t scare me by faintin . MARY [Anxiously.] Is Eileen very sick, Papa? CARMODY [Spitting roughly. ] If she is, it s her own fault entirely weakenin her health by readin here in the house. This ll be a lesson for her, and for you, too. [Irritably] Put down that book on the table and leave it be. I ll have no more readin in this house, or I ll take the strap to you! MARY [Laying the book on the table.] It s only pictures. CARMODY No back talk ! Pictures or not, it s all the same mopin and lazin in it. [After a pause morosely] It s the bad luck I ve been havin altogether this last year since your mother died. Who s to do the work and look after Nora and Tom and yourself, if Eileen is bad took and has to stay in her bed? I ll have to get Mrs. Brennan come look after the house. That means money, too, and where s it to come from? All that I ve saved from slavin and sweatin in the sun with a gang of lazy Dagoes ll be up the spout in no time. [Bitterly] What a fool a man is to be raisin* a raft of children and him not a millionaire ! THE STRAW 5 [With lugubrious self-pity.] Mary, dear, it s a black curse God put on me when he took your mother just when I needed her most. [MARY commences to sob. CARMODY starts and looks at her angrily.] What are you snifflin at? MARY [Tearfully.] I was thinking of Mama. CARMODY [Scornfully] It s late you are with your tears, and her cold in her grave for a year. Stop it, I m tellin you ! [MARY gulps back her sobs.] [There is a noise of childish laughter and screams from the street in front. The outside door is opened and slammed, footsteps pound along the hall. The door in the rear is shoved open, and NORA and TOM rush in breathlessly. NORA is a bright, vivacious, red- haired girl of eleven pretty after an elfish, mis chievous fashion light-hearted and robust.] [ToM resembles NORA in disposition and appear ance. A healthy, good-humored youngster with a shock of sandy hair. He is a year younger than NORA. They are followed into the room, a moment later, by their brother, BILLY, who is evidently loftily disgusted with their antics. BILLY is a fourteen-year- old replica of his father, whom he imitates even to the hoarse, domineering tone of voice] CARMODY [GrumpUy] Ah, here you are, the lot of you. Shut that door after you ! What s the use in me spendin money for coal if all you do is to let the cold night in the room itself? NORA [Hopping over to him teasingly.] Me and Tom had a race, Papa. I beat him. [She sticks 6 THE STRAW her tongue out at Jier younger brother. ] Slow poke ! TOM You didn t beat me, neither ! NORA I did, too ! TOM You did not! You didn t play fair. You tripped me comin up the steps. Brick-top ! Cheater ! NOEA [Flaring up.~\ You re a liar! You stumbled over your own big feet, clumsy bones ! And I beat you fair. Didn t I, Papa? CARMODY [With a grin.] You did, darlin , and fair, too. [ToM slinks back to the chair in the rear of table, sulking. CARMODY pats NORA S red hair with delighted pride. ~\ Sure it s you can beat the divil himself ! NORA [Sticks out her tongue again at Tom.] See? Liar ! [She goes and perches on the table near MARY who is staring sadly in front of her.] CARMODY [To BILLY irritably.] Did you get the plug for me I told you? BILLY Sure. [He takes a plug of tobacco from his pocket and hands it to his father. NORA slides down off her perch and disappears, unnoticed, under the table.] CARMODY It s a great wonder you didn t forget it and me without a chew. [He bites off a piece and tucks it into his cheek.] TOM [Suddenly clutching at his leg with a yell.] Ouch! Darn you! [He kicks frantically at some thing under the table, but NORA scrambles out at the other end, grinning.] THE STRAW 7 CARMODY [Angrily.] Shut your big mouth! What is the matter with you at all? TOM [Indignantly.] She pinched me hard as she could, too and look at her laughin ! NORA [Hopping on the table again.] Cry-baby! I owed you one. TOM I ll fix you. I ll tell Eileen, wait n see ! NORA Tattle-tale ! I don t care. Eileen s sick. TOM That s why you dast do it. You dasn t if she was up. I ll get even, you bet! CARMODY [Exasperated.] Shut up your noise! Go up to bed, the two of you, and no more talk, and you go with them, Mary. NORA [Giving a quick tug at MARY S hair.] Come on, Mary. Wake up. MARY Ow! [She begins to cry.] CARMODY [Raising his voice furiously.] Hush your noise, you soft, weak thing, you! It s nothin* but blubberin you do be doin all the time. [He stands up threateningly.] I ll have a moment s peace, I will! Off to bed with you before I get the strap ! It s crazy mad you all get the moment Eileen s away from you. Go on, now! [They scurry out of the rear door.] And be quiet or I ll be up to you! NORA [Sticks her head back in the door.] Can I say good-night to Eileen, papa? CARMODY No. The doctor s with her yet. [Then he adds hastily.] Yes, go in to her, Nora. It ll drive himself out of the house maybe, bad cess to him, and 8 THE STRAW him stajin half the night. [NORA waits to hear no more but darts back, shutting the door behind her. BILLY take s the chair in front of the table. CARMODY sits down again with a groan .] The rheumatics are in my leg again. [Shakes his head.~\ If Eileen s in bed long those brats ll have the house down. BILLY Eileen ain t sick very bad, is she? CARMODY [Easily.] It s a cold only she has. [Then mournfully.] Your poor mother died of the same. [BILLY looks awed] Ara, well, it s God s will, I suppose, but where the money ll come from, I dunno. [With a disparaging glance at his son.] They ll not be raisin your wages soon, I ll be bound. BILLY [Surlily] Naw. The old boss never gives no one a raise, less he has to. He s a tight- wad for fair. CARMODY [Still scanning him with contempt] Five dollars a week for a strappin* lad the like of you ! It s shamed you should be to own up to it. A divil of a lot of good it was for me to go against Eileen s wish and let you leave off your schoolin this year like you wanted, thinkin the money you d earn at work would help with the house. BILLY Aw, goin to school didn t do me no good. The teachers was all down on me. I couldn t learn nothin* there. CARMODY [Disgustedly] Nor any other place, I m thinkin , you re that thick. [There is a noise from the stairs in the hall] Whisht! It s the doctor corn- in down from Eileen. What ll he say, I wonder? THE STRAW 9 [The door m the rear is opened and Doctor Gaynor enters. He is a stout, bald, middle-aged man, force ful of speech, who in the case of patients of the CAR- MODYS class dictates rather than advises. CARMODY adopts a whmmg tone.~\ Aw, Doctor, and how s Eileen now? Have you got her cured of the weakness? GAYNOR [Does not answer this but comes for ward into the room holding out two slips of paper dictatoriallyj\ Here are two prescriptions that ll have to be filled immediately. CARMODY [Frowning. ] You take them, Billy, and run round to the drug store. [GAYNOR hands them to BILLY.] BILLY Give me the money, then. CARMODY [Reaches down into his pants pocket with a sigh. } How much will they come to, Doctor? GAYNOR About a dollar, I guess. CARMODY \Protestmgly.~\ A dollar! Sure it s expensive medicines you re givin her for a bit of a cold. [He meets the doctor s cold glance of con tempt and he wilts grumblingly, as he peels a dollar bill off a small roll and gives it to BILLY.] Bring back the change if there is any. And none of your tricks, for I ll stop at the drug store myself tomor row and ask the man how much it was. BILLY Aw, what do you think I am? [He takes the money and goes out. ] CARMODY [Grudgingly. ] Take a chair, Doctor,, and tell me what s wrong with Eileen. 10 THE STRAW GAYNOR [Seating himself by the table gravely.] Your daughter is very seriously ill. CARMODY [irritably. ] Aw, Doctor, didn t I know you d be sayin that, anyway ! GAYNOR [Ignoring this remark coldly. } Your daughter has tuberculosis of the lungs. CARMODY [With puzzled awe.] Too-ber-c losis? GAYNOR Consumption, if that makes it plainer to you. CARMODY [With dazed terror after a pause.] Consumption? Eileen? [With sudden anger.] What lie is it you re tellin me ? GAYNOR [Icily.] Look here, Carmody ! I m not here to stand for your insults ! CARMODY [Bewilder edly] Don t be angry, now, at what I said. Sure I m out of my wits entirely. Eileen to have the consumption ! Ah, Doctor, sure you must be mistaken ! GAYNOR There s no chance for a mistake, I m sorry to say. Her right lung is badly affected. CARMODY [Desperately.] It s a bad cold only, maybe. GAYNOR [Curtly] Don t talk nonsense. [CAR MODY groans. GAYNOR continues authoritatively.] She will have to go to a sanatorium at once. She ought to have been sent to one months ago. The girl s been keeping up on her nerve when she should have been in bed, and it s given the disease a chance to develop. [Casts a look of indignant scorn at CARMODY who is sitting staring at the floor with an THE STRAW 11 expression of angry stupor on his face.] It s a won der to me you didn t see the condition she was in and force her to take care of herself. Why, the girl s nothing but skin and bone ! CARMODY [With vague fury.] God blast it! GAYNOR No, your kind never realizes things till the crash comes usually when it s too late. She kept on doing her work, I suppose taking care of her brothers and sisters, washing, cooking, sweep ing, looking after your comfort worn out when she should have been in bed and [He gets to his feet with a harsh laugh. ] But what s the use of talk ing? The damage is done. We ve got to set to work to repair it at once. I ll write tonight to Dr. Stan- ton of the Hill Farm Sanatorium and find out if he has a vacancy. And if luck is with us we can send her there at once. The sooner the better. CARMODY [His face growing red with rage.~\ Is it sendin Eileen away to a hospital you d be? [Exploding.] Then you ll not! You ll get that notion out of your head damn quick. It s all nonsense you re stuffin me with, and lies, makin things out to be the worst in the world. I ll not believe a word of Eileen having the consumption at all. It s doc tors notions to be always lookin for a sickness that d kill you. She ll not move a step out of here, and I say so, and I m her father! GAYNOR [Who has been staring at him with contempt coldly angry.] You refuse to let your daughter go to a sanatorium? IS THE STRAW CARMODY I do. GAYNOR [Threateningly. ] Then I ll have to re port her case to the Society for the Prevention of Tuberculosis of this county, and tell them of your refusal to help her. CARMODY [Wavering a bit.] Report all you like, and be damned to you ! GAYNOR [Ignoring the interruption impres sively.] A majority of the most influential men of this city are back of the Society. Do you know that ? [Grimly.] We ll find a way to move you, Carmody, if you try to be stubborn. CARMODY [Thoroughly frightened but still pro testing.] Ara, Doctor, you don t see the way of it at all. If Eileen goes to the hospital, who s to be takin care of the others, and mindin the house when I m off to work? GAYNOR- You can easily hire some woman. CARMODY [At once furious again.] Hire? D you think I m a millionaire itself? GAYNOR [Contemptuously.] That s where the shoe pinches, eh? [In a rage.] I m not going to waste any more words on you, Carmody, but I m damn well going to see this thing through ! You might as well give in first as last. CARMODY [Wailing.] But where s the money comin from? GAYNOR [Brutally.] That s your concern. Don t lie about your poverty. You ve a steady well paid job, and plenty of money to throw away on drunken THE STRAW 13 sprees, I ll bet. The weekly fee at the Hill Farm is only seven dollars. You can easily afford that the price of a few rounds of drinks. CARMODY Seven dollars ! And I ll have to pay a woman to come in and the four of the children eatin their heads off ! Glory be to God, I ll not have a penny saved for me old age and then it s the poor house! GAYNOR [Curtly. ] Don t talk nonsense! CARMODY Ah, doctor, it s the truth I m tellin you! GAYNOR Well, perhaps I can get the Society to pay half for your daughter if you re really as hard up as you pretend. They re willing to do that where it seems necessary. CARMODY [Brightening.] Ah, Doctor, thank you. GAYNOR [Abruptly.} Then it s all settled? CARMODY [Grudgingly trying to make the best of it.] I ll do my best for Eileen, if it s needful and you ll not be tellin them people about it at all, Doctor? GAYNOR Not unless you force me to. CARMODY And they ll pay the half, surely? GAYNOR I ll see what I can do for your daugh ter s sake, not yours, understand! CARMODY God bless you, Doctor! [Grumb- lingly.] It s the whole of it they ought to be payin , I m thinkin , and them with sloos of money. Tis 14 THE STRAW them builds the hospitals and why should they be wantin the poor like me to support them ? GAYNOR [Disgustedly. ] Bah! [Abruptly. ] I ll telephone to Doctor Stanton tomorrow morning. Then I ll know something definite when I come to see your daughter in the afternoon. CARMODY [Darkly. ~] You ll be comin again to morrow? [Half to himself.] Leave it to the likes of you to be drainin a man dry. [GAYNOR has gone out to the hall in rear and does not hear this last remark. There is a loud knock from the outside door. The Doctor comes back into the room carry ing his hat and overcoat.] GAYNOR There s someone knocking. CARMODY Who ll it be? Ah, it s Fred Nicholls, maybe. [In a low voice to GAYNOR who has started to put on his overcoat.] Eileen s young man, Doc tor, that she s engaged to marry, as you might say. GAYNOR [Thoughtfully.] Hmm yes she spoke of him. [As another knock sounds CARMODY hurries to the rear. GAYNOR, after a moment s in decision, takes off his overcoat again and sits down. A moment later CARMODY re-enters followed by FRED NICHOLLS, who has left his overcoat and hat m the hallway. NICHOLLS is a young fellow of twenty-three, stockily built, fair-haired, handsome wt a commonplace, conventional mould. His manner is obviously an attempt at suave gentility; lie has an easy, taking smile and a ready laugh, but there is a petty, calculating expression in his small, observing, THE STRAW 15 blue eyes. His well-fitting, ready made clothes are carefully pressed. His whole get-up suggests an at titude of man-about-small-town complacency.] CARMODY [As they enter.] I had a mind to phone to your house but I wasn t wishful to disturb you, knowin you d be comin to call tonight. NICHOLAS [With disappointed concern.] It s nothing serious, I hope. CARMODY [Grumblingly.] Ah, who knows? Here s the doctor. You ve not met him? NICHOLLS [Politely, looking at GAYNOR who in clines his head stiffly.] I haven t had the pleasure. Of course I ve heard CARMODY It s Doctor Gaynor. This is Fred Nicholls, Doctor. [The two men shake hands with conventional pleased-to-meet-yous] Sit down, Fred, that s a good lad, and be talkin to the Doctor a moment while I go upstairs and see how is Eileen. She s all alone up there. NICHOLLS Certainly, Mr. Carmody. Go ahead and tell her how sorry I am to learn she s under the weather. CARMODY I will so. [He goes out] GAYNOR [After a pause in which he is studying NICHOLLS.] Do you happen to be any relative to the Albert Nicholls who is superintendent over at the Downs Manufacturing Company? NICHOLLS [Smiling] He s sort of a near rela tive my father. GAYNOR Ah, yes? 16 THE STRAW NICHOLLS [With satisfaction.] I work for the Downs Company myself bookkeeper GAYNOR Miss Carmody the sick girl upstairs she had a position there also, didn t she, before her mother died? NICHOI/LS Yes. She had a job as stenographer for a time. When she graduated from the business college course I was already working at the Downs and through my father s influence you under stand. [GAYNOR nods curtly.] She was getting on finely, too, and liked the work. It s too bad her mother s death, I mean forcing her to give it up and come home to take care of those kids. GAYNOR It s a damn shame. That s the main cause of her breakdown. NICHOI/LS [Frowning.] I ve noticed she s been looking badly lately. So that s the trouble? Well, it s all her father s fault and her own, too, be cause whenever I raised a kick about his making a slave of her, she always defended him. [With a quick glance at the Doctor in a confidential tone.] Between us, Carmody s as selfish as they make em. if you want my opinion. GAYNOR [With a growl.] He s a hog on two legs. NICHOI/LS [With a gratified smile.] You bet! [With a patronizing air.] I hope to get Eileen away from all this as soon as things pick up a little. [Making haste to explain his connection with the dubious household.] Eileen and I have gone around THE STRAW 17 together for years went to Grammar and High School together in different classes, of course. She s really a corker very different from the rest of the family you ve seen like her mother. She s really educated and knows a lot used to carry off all the prizes at school. My folks like her awfully well. Of course, they d never stand for him. GAYNOR You ll excuse my curiosity I ve a good reason for it but you and Miss Carmody are en gaged, aren t you? Carmody said you were. NICHOLAS [Embarrassed. ] Why, yes, in a way but nothing definite no official announcement or anything of that kind. It s all in the future. We have to wait, you know. [With a sentimental smile.] We ve been sort of engaged for years, you might say. It s always been sort of understood between us. [He laughs awkwardly.] GAYNOR [Gravely.] Then I can be frank with you. I d like to be because I may need your help. I don t put much faith in any promise Carmody makes. Besides, you re bound to know anyway. She d tell you. NICHOLAS [A look of apprehension coming over his face.] Is it about her sickness? GAYNOR Yes. NICHOLJLS Then it s serious? GAYNOR It s pulmonary tuberculosis consump tion. NICHOLAS [Stunned.] Consumption? Good 18 THE STRAW heavens! [After a dazed pause lamely. ~\ Are you sure, Doctor? GAYNOR Positive. [NICHOLAS stares at him with vaguely frightened eyes.] It s had a good start thanks to her father s blind selfishness but let s hope that can be overcome. The important thing is to ship her off to a sanatorium immediately. Car- mody wouldn t hear of it at first. However, I man aged to bully him into consenting ; but I don t trust his word. That s where you can be of help. It s up to you to convince him that it s imperative she be sent away at once for the safety of those around her as well as her own. NICHOKLS [Confusedly.] I ll do my best, doctor. [As if he couldn t yet believe his ears shuddering.] Good heavens ! She never said a word about being so ill. She s had a cold. But, Doctor, do you think this sanatorium will - ? GAYNOR [TFi/i hearty hopefulness.] Most cer tainly. She has every chance. The Hill Farm has a really surprising record of arrested cases as good as any place in the country. Of course, she ll never be able to live as carelessly as before, even after the most favorable results. She ll have to take care of herself. [Apologetically.] I m telling you all this as being the one most intimately concerned. I don t count Carmody. You are the one who will have to assume responsibility for her welfare when she re turns to everyday life. NICHOLAS [Answering as if he were merely talk- THE STRAW 19 ing to screen the thoughts m his mind.] Yes cer tainly . Where is this sanatorium, Doctor very far away? GAYNOR Half an hour by train to the town. The sanatorium is two miles out on the hills a nice drive. You ll be able to see her whenever you ve a day off. It s a pleasant trip. NICHOLAS [A look of horrified realization has been creeping into his eyes.~\ You said Eileen ought to be sent away for the sake of those around her ? GAYNOR That s obvious. T. B. is extremely con tagious, you must know that. Yet I ll bet she s been fondling and kissing those brothers and sisters of hers regardless. [NICHOKLS fidgets uneasily on his chair. ] And look at this house sealed tight against the fresh air! Not a window open an inch! [Fum ing.] That s what we re up against in the fight with T.B. a total ignorance of the commonest methods of prevention NICHOLLS [His eyes shiftily avoiding the doc tor s face.] Then the kids might have gotten it by kissing Eileen? GAYNOR It stands to reason that s a common means of communication. NICHOI/LS [Very much shaken.] Yes. I suppose it must be. But that s terrible, isn t it? [With sud den volubility, evidently extremely anxious to wmd up this conversation and conceal his thoughts from GAYNOR.] I ll promise you, Doctor, I ll tell Car- 20 THE STRAW mody straight what s what. He ll pay attention to me or I ll know the reason why. GAYNOR [Getting to his feet and picking up his overcoat.] Good boy! You ve probably saved me a disagreeable squabble. I won t wait for Carmody. The sight of him makes me lose my temper. Tell him I ll be back tomorrow with definite information about the sanatorium. NICHOLAS [Helping him on with his overcoat, anxious to have him go.~\ All right, Doctor. GAYNOR [Puts on his hat.~] And do your best to cheer the patient up when you talk to her. Give her confidence in her ability to get well. That s half the battle. And she ll believe it, coming from you. NICHOLAS [Hastily. ] Yes, yes, I ll do all I can. GAYNOR [Turns to the door and shakes NICHOLAS hand sympathetically.] And don t take it to heart too much yourself. There s every hope, remember that. In six months she ll come back to you her old self again. NICHOLAS [Nervously.] It s hard on a fellow so suddenly but I ll remember arid [abruptly] Good-night, Doctor. GAYNOR Good-night. [He goes out. The outer door is heard shutting behind him. NICHOLAS closes the door, rear, and comes back and sits in the chair in front of table. He rests his chin on his hands and stares before him, a look of desperate, frightened calculation coming into his eyes. CARMODY is heard clumping heavily down the stairs. A moment THE STRAW 21 later lie enters. His expression is glum and ir ritated.] CARMODY [Coming forward to his chair by the stove.] Has he gone away? NICHOLLS [Turning on him with a look of re pulsion.] Yes. He said to tell you he d be back to morrow with definite information about the sana torium business. CARMODY [Darkly.] Oho, he did, did he? Maybe 1*11 surprise him. I m thinkin it s lyin he is about Eileen s sickness, and her lookin as fresh as a daisy with the high color in her cheeks when I saw her now. NICHOLAS [Impatient ly. ] That s silly, Mr. Car- mody. Gaynor knows his business. [After a mo ment s hesitation.] He told me all about Eileen s sickness. CARMODY [Resentfully.] Did he now, the auld monkey ! Small thanks to him to be tellin our secrets to the town. NICHOLLS [Exasperated.] I didn t want to learn your affairs. He only told me because you d said I and Eileen were engaged. You re the one who was telling secrets. CARMODY [Irritated.] Ara, don t be talkin ! That s no secret at all with the whole town watchin Eileen and you spoonin together from the time you was kids. NICHOLAS [Vindictively.] Well, the whole town is liable to find out . [He checks himself.] 22 THE STRAW CARMODY [Too absorbed in his own troubles to notice this threat.] To hell with the town and all in it ! I ve troubles enough of my own. So he told you he d send Eileen away to the hospital? I ve half a mind not to let him and let him try to make me ! [With a frown.] But Eileen herself says she s wantin* to go, now. [Angrily.] It s all that divil s notion he put in her head that the children d be catchin her sickness that makes her willin to go. NICHOLAS [With a superior air.] From what he told me, I should say it was the only thing for Eileen to do if she wants to get well quickly. [Spite fully.] And I d certainly not go against Gaynor, if I was you. He told me he d make it hot for you if you did. He will, too, you can bet on that. He s that kind. CARMODY [Worriedly.] He s a divil. But what can he do him and his Sasiety? I m her father. NICHOLAS [Seeing CARMODY S uneasiness with revengeful satisfaction.] Oh, he ll do what he says, don t worry ! You ll make a mistake if you think he s bluffing. It d probably get in all the papers about you refusing. Everyone would be down on you. [As a last jab spitefully.] You might even lose your job over it, people would be so sore. CARMODY [Jumping to his feet.] Ah, divil take him ! Let him send her where he wants, then. I ll not be sayin a word. NICHOLAS [As an afterthought.] And, honestly, Mr. Carmody, I don t see how you can object for a THE STRAW 23 second after he s told you it s absolutely necessary for Eileen to go away. [Seeing CARMODY S shaken condition, he finishes boldly.] You ve some feeling for your own daughter, haven t you? You d be a fine father if you hadn t ! CARMODY [Apprehensively.] Whisht! She might hear you. But you re right. Let her do what she s wishful to get well soon. NICHOLAS [Complacently feeling his duty in the matter well done.] That s the right spirit. I knew you d see it that way. And you and I ll do all we can to help her. [He gets to his feet.] Well, I guess I ll have to go. Tell Eileen CARMODY You re not goin ? Sure, Eileen is puttin on her clothes to come down and have a look at you. She ll be here in a jiffy. Sit down now, and wait for her. NICHOLAS [Suddenly panic-stricken by the prospect of facing her] No no I can t stay I only came for a moment I ve got an appointment honestly. Besides, it isn t right for her to be up. She s too weak. It ll make her worse. You should have told -her. [The door in the rear is opened and EILEEN enters. She is just over eighteen. Her wavy mass of dark hair is parted in the middle and combed low on her forehead, covering her ears, to a knot at the back of her head. The oval of her face is spoiled by a long, rather heavy, Irish jaw contrasting with the delicacy of her other features. Her eyes are large and blue, confident in their compelling candor 24s THE STRAW and sweetness; her lips, full and red, half -open over strong even teeth, droop at the corners into an ex pression of wistful sadness; her clear complexion is unnaturally striking in its contrasting colors, rose and white; her figure is slight and undeveloped. She wears a plain black dress with a bit of white at the neck and wrists. She stands looking appealmgly at NICHOLAS who avoids her glance. Her eyes have a startled, stunned expression as if the doctor s verdict were still in her ears.] EILEEN [Faintly forcing a smile. ] Good- evening, Fred. [Her eyes search his face anxiously.] NICHOLAS [Confusedly.] Hello, Eileen. I m so sorry to . [Clumsily trymg to cover up his con fusion, he goes over and leads her to a chair.] You must sit down. You ve got to take care of yourself. You never ought to have gotten up tonight. EILEEN [Sits down] I wanted to talk to you* [She raises her face with a pitiful smile. NICHOLLS hurriedly moves back to his own chair] NICHOLLS [Almost brusquely] I could have talked to you from the hall. You re silly to take chances just now. [EILEEN S eyes show her hurt at his tone] CARMODY [Seeing his chance hastily] You ll be stayin a while now, Fred? I ll take a walk down the road. I m needin a drink to clear my wits. [He goes to the door in rear] THE STRAW 25 EILEEN [Reproachfully.] You won t be long, father? And please don t you know. CARMODY [Exasperated.] Sure who wouldn t get drunk with all the sorrows of the world piled on him? [He stamps out. A moment later the outside v door bangs behind him. EILEEN sighs. NICHOLLS walks up and down with his eyes on the floor.] NICHOLLS [Furious at CARMODY for having left him in this situation] Honestly, Eileen, your father is the limit. I don t see how you stand for him. He s the most selfish EILEEN [Gently.] Sssh! You mustn t, Fred. He s not to blame. He just doesn t understand. [NICHOLLS snorts disdainfully.] Don t! Let s not talk about him now. We won t have many more evenings together for a long, long time. Did Father or the Doctor tell you [She falters.] NICHOLLS [Not looking at her glumly] Every thing there was to tell, I guess. EILEEN [Hastening to comfort him] You mustn t worry, Fred. Please don t ! It d make it so much worse for me if I thought you did. I ll be all right. I ll do exactly what they tell me, and in a few months I ll be back so fat and healthy you won t know me. NICHOLLS [Lamely] Oh, there s no doubt of that. No one s worrying about your not getting well quick. EILEEN It won t be long. We can write often, 26 THE STRAW and it isn t far away. You can come out and see me every Sunday if you want to. NICHOLLS [Hastily. ] Of course I will! EILEEN [Looking at his face searchingly. ] Why do you act so funny? Why don t you sit down here, by me? Don t you want to? NICHOLAS [Drawing up a chair by hers flushing guiltily.] I I m all bawled up, Eileen. I don t know what I m doing. EILEEN [Putting her hand on his Jcnee.~\ Poor Fred ! I m so sorry I have to go. I didn t want to at first. I knew how hard it would be on Father and the kids especially little Mary. [Her voice trembles a bit.] And then the doctor said if I stayed I d be putting them all in danger. He even ordered me not to kiss them any more. [She bites her lips to re strain a sob then coughs, a soft, husky cough. NICHOLLS shrinks away from her to the edge of his chair, his eyes shifting nervously with fright. EILEEN continues gently] So I ve got to go and get well, don t you see? NICHOLLS [Wetting his dry lips] Yes it s better. EILEEN [Sadly] I ll miss the kids so much. Taking care of them has meant so much to me since Mother died. [With a half -sob she suddenly throws her arms about his neck and hides her face on his shoulder. He shudders and fights against an impulse to push her away] But I ll miss you most of all, Fred. [She lifts her lips towards his, expecting a THE STRAW 27 kiss. He seems about to kiss her then averts his face with a shrinking movement, pretending he hasn t seen. EILEEN S eyes grow wide with horror. She throws herself back into her own chair, staring ac cusingly at NICHOLAS. She speaks chokingly.] Fred! Why why didn t you kiss what is it? Are you afraid? [With a moaning sound.] Oooh! NICHOLAS [Goaded by this accusation into a dis play of manhood, seizes her fiercely by the arms.~\ No! What what d you mean? [He tries to kiss her but she hides her face."] EILEEN [In a muffled voice of hysterical self- accusation, pushing his head away.] No, no, you mustn t ! I was wrong. The doctor told you not to, didn t he? Please don t, Fred! It would be aw ful if anything happened to you through me. [NICHOLLS gives up his attempts, recalled to caution by her words. She raises her face and tries to force a smile through her tears.] But you can kiss me on the forehead, Fred. That can t do any harm. [His face crimson, he does so. She laughs hysterically.] It seems so silly being kissed that way by you. [She gulps back a sob and continued to attempt to joke.] I ll have to get used to it, won t I? [Curtain Falls.] ACT I SCENE TWO SCENE The reception room of the Infirmary, a large, high-ceilinged room painted white, with oiled, hardwood floor. In the left wall, forward, a row of four windows. Farther back, the main entrance from the driveway, and another window. In the rear wall left, a glass partition looking out on the sleeping porch. A row of white beds, with the faces of patients barely peeping out from under piles of heavy bed- clothes, can be seen. To the right of this parti tion, a bookcase, and a door leading to the hall past the patients 9 rooms. Farther right, an other door opening on the examining room. In the right wall, rear, a door to the office. Farther forward, a row of windows. In front of the windows, a long dining table with chairs. On the left of the table, toward the center of the room, a chimney with two open fireplaces, facing left and right. Several wicker armchairs are placed around the fireplace on the left in which a cheerful wood fire is crackling. To the left of THE STRAW 29 center, a round reading and writing table with a green-shaded electric lamp. Other electric lights are in brackets around the walls. Easy chairs stand near the table which is stacked with magazines. Rocking chairs are placed here and there about the room, near the windows, etc. A Victrola stands near the left wall, forward. It is nearing eight o 9 clock of a cold evening about a week later. At the rise of the curtain STEPHEN MURRAY is discovered sitting in a chair in front of the fireplace, left. MURRAY is thirty years old a tall, slender, rather unusual looking fellow with a pale face, sunken under high cheek bones, lined about the eyes and mouth, jaded and worn for one still so young. His intelligent, large hazel eyes have a tired, dispirited expression in repose, but can quicken instantly with a con cealment mechanism of mocking, careless humor whenever his inner privacy is threatened. His large mouth aids this process of protection by a quick change from its set apathy to a cheerful grin of cynical good nature. He gives off the impression of being somehow dissatisfied with himself but not yet embittered enough by it to take it out on others. His manner, as re vealed by his speech nervous, inquisitive, alert seems more an acquired quality than any part of his real nature. He stoops a trifle, giving him a slightly round-shouldered appearance. 30 THE STRAW He is dressed in a shabby dark suit, baggy at the knees. He is staring into the fire, dreaming, an open book lying unheeded on the arm of his chair. The Victrola is whining out the last strains of Dvorak s Humor esque. In the door way to the office, Miss Gilpin stands talking to Miss Howard. The former is a slight, middle- aged woman with black hair, and a strong, in telligent face, its expression of resolute effi ciency softened and made kindly by her warm, sympathetic grey eyes. Miss Howard is tall, slender and blond decidedly pretty and pro- vokingly conscious of it, yet with a certain air of seriousness underlying her apparent frivol ity. She is twenty years old. The elder woman is dressed in the all white of a full-fledged nurse. Miss Howard wears the grey-blue uniform of one still in training. The record peters out. MURRAY signs with relief but makes no move to get up and stop the grinding needle. Miss HOWARD hurries across to the machine. Miss GILPIN goes back into the office. Miss HOWARD [Takes off the record, glancing at MURRAY with amused vexation.] It s a wonder you wouldn t stop this machine grinding itself to bits, Mr. Murray. MURRAY [With a smile. ] I was hoping the darn thing would bust. [Miss HOWARD sniffs. MURRAY THE STRAW 31 grins at her teasingly.] It keeps you from talking to me. That s the real music. Miss HOWARD [Comes over to his chair laugh ing.] It s easy to see you ve got Irish in you. Do you know what I think? I think you re a natural born kidder. All newspaper reporters are like that, I ve heard. MURRAY You wrong me terribly. [Then frown ing.] And it isn t charitable to remind me of my job. I hoped to forget all about it up here. Miss HOWARD [Surprised.] I think it s great to be able to write. I wish I could. You ought to be proud of it. MURRAY [Glumly.] I m not. You can t call it writing not what I did small town stuff. [Chang ing the subject.] But I wanted to ask you some thing. Do you know when I m to be moved away to the shacks? Miss HOWARD In a few days, I guess. Don t be impatient. [MURRAY grunts and moves nervously on his chair. ] What s the matter? Don t you like us here at the Infirmary? MURRAY [Smiling.] Oh you yes! [Then ser iously.] I don t care for the atmosphere, though. [He waves his hand toward the partition looking out on the porch.] All those people in bed out there on the porch seem so sick. It s depressing. I can t do anything for them and it makes me feel so helpless. Miss HOWARD Well, it s the rules, you know. All 32 THE STRAW the patients have to come here first until Doctor Stanton finds out whether they re well enough to be sent out to the shacks and cottages. And remember you re a patient just like the ones in bed out there even if you are up and about. MURRAY I know it. But I don t feel as I were really sick like them. Miss HOWARD [Wisely. ~\ None of them do, either. MURRAY [After a moment s reflection cyni cally. } Yes, I suppose it s that pipe dream that keeps us all going, eh? Miss HOWARD Well, you ought to be thankful. You re very lucky, if you knew it. [Lowering her voice.] Shall I tell you a secret? I ve seen your chart and you ve no cause to worry. Doctor Stan- ton joked about it. He said you were too uninter esting there was so little the matter with you. MURRAY [Pleased but pretending indifference] Humph ! He s original in that opinion. Miss HOWARD I know it s hard you re being the only one up the week since you ve been here, with no one to talk to; but there s another patient due to day. Maybe she ll be well enough to be around with you. [With a quick glance at her wrist watch] She can t be coming unless she got in on the last train. MURRAY [Interestedly] It s a she, eh? Miss HOWARD Yes. MURRAY [Grinning provokingly] Young? Miss HOWARD Eighteen, I believe. [Seeing his THE STRAW 33 grm with feigned pique.] I suppose you ll be ask ing if she s pretty next ! Oh, you men are all alike, sick or well. Her name is Carmody, that s the only other thing I know. So there ! MURRAY Carmody ? Miss HOWARD Oh, you don t know her. She s from another part of the state from your town. Miss GILPIN [Appearing in the office doorway.} Miss Howard. Miss HOWARD Yes, Miss Gilpin. [In an aside to MURRAY as she leaves him.] It s time for those hor rid diets. [She hurries back into the office. MUR RAY stares into the fire. Miss HOWARD reappears from the office and goes out by the door to the hall, rear. Carriage wheels are heard from the driveway m front of the house on the left. They stop. After a pause there is a sharp rap on the door and a bell rings insistently. Men s muffled voices are heard in argument. MURRAY turns curiously m his chair. Miss GILPIN comes from the office and walks quickly to the door, unlocking and opening it. EILEEN enters, fol lowed by NICHOLAS, who is carrying her suit-case, and by her father. ,] EILEEN I m Miss Carmody. I believe Doctor Gaynor wrote Miss GILPIN [Taking her hand with kind affability.} We ve been expecting you all day. How do you do? I m Miss Gilpin. You came on the last train, didn t you? EILEEN [Heartened by the other woman s kw3- 34 THE STRAW ness. ] Yes. This is my father, Miss Gilpin and Mr. Nicholls [Miss GILPIN shakes hands cordially with the two men who are staring about the room in embarrassment. CARMODY has very evidently been, drinking. His voice is thick and his face puffed and stupid. NICHOLLS manner is that of one who is ac complishing a necessary but disagreeable duty with the best grace possible, but is frightfully eager to get it over and done with. CARMODY S condition em barrasses him acutely and when he glances at him it is with hatred and angry disgust.] Miss GILPIN [Indicating the chairs in front of the windows on the left, forward.] Won t you gen tlemen sit down? [CARMODY grunts sullenly and plumps himself into the one nearest the door. NICHOLLS hesitates, glacing down at the suit-case he carries. Miss GILPIN turns to EILEEN.] And now we ll get you settled immediately. Your room is all ready for you. If you ll follow me [She turns toward the door in rear, center.] EILEEN Let me take the suit-case now, Fred. Miss GILPIN [As he is about to hand it to her decisively.] No, my dear, you mustn t. Put the case right down there, Mr. Nicholls. I ll have it taken to Miss Carmody s room in a moment. [She shakes her finger at EILEEN with kindly admonition.] That s the first rule you ll have to learn. Never ex ert yourself or tax your strength. It s very im portant. You ll find laziness is a virtue instead of a vice with us. THE STRAW 35 EILEEN [Confused.] I I didn t know Miss GILPIN [Smiling.] Of course you didn t. And now if you ll come with me I ll show you your room. We ll have a little chat there and I can ex plain all the other important rules in a second. The gentlemen can make themselves comfortable in the meantime. We won t be gone more than a moment. NICHOLLS [Feeling called upon to say some- tiling. ~\ Yes we ll wait certainly, we re all right. [CARMODY remains silent, glowering at the fire. NICHOLAS sits down beside him. Miss GILPIN and EILEEN go out. MURRAY switches his chair so he can observe the two men .out of the corner of his eye while pretending to be absorbed in his book.] CARMODY [Looking about shiftily and reaching for the inside pocket of his overcoat.] I ll be havin a nip now we re alone, and that cacklin hen gone. I m feelin sick in the pit of the stomach. [He pulls out a pint flask, half full.] NICHOLLS [Excitedly.] For God s sake, don t! Put that bottle away! [In a whisper.] Don t you see that fellow in the chair there? CARMODY [Taking a big drmk.] Ah, I m not mindin a man at all. Sure I ll bet it s himself would be likin a taste of the same. [He appears about to get up and invite MURRAY to join him but NICHOLLS grabs his arm.] NICHOLLS [With a frightened look at MURRAY who appears buried in his book.] Stop it, you 36 THE STRAW Don t you know he s probably a patient and they don t allow them CARMODY [Scornfully.] A sick one, and him readin a book like a dead man without a civil word out of him! It s queer they d be allowin the sick ones to read books when I ll bet it s the same lazy readin in the house brought the half of them down with the consumption itself. [Raising his voice.] I m thinkin this whole shebang is a big, thievin fake and I ve always thought so. NICHOLAS [Furiously. ] Put that bottle away, damn it ! And don t shout. You re not in a barrel house. CARMODY [With provoking calm.] I ll put it back when I m ready, not before, and no lip from you! NICHOLLS [With fierce disgust.] You re drunk now. It s disgusting. CARMODY [Raging.] Drunk, am I? Is it the like of a young jackass like you that s still wet behind the ears to be tellin me I m drunk? NICHOI/LS [Half-rising from his chair plead ingly.] For heaven s sake, Mr. Carmody, remember where we are and don t raise any rumpus. What ll Eileen say? Do you want to make trouble for her at the start? CARMODY [Puts the bottle away hastily, mum bling to himself then glowers about the room scornfully with blinking eyes.] It s a grand hotel this is, I m thinkin , for the rich to be takin their THE STRAW 37 ease, and not a hospital for the poor, but the poor has to pay for it. NICHOLLS [Fearful of another outbreak. ] Sshhl CARMODY Don t be shshin at me? I m tellin you the truth. I d make Eileen come back out of this tonight if that divil of a doctor didn t have me by the throat. NICHOLLS [Glancing at him nervously.] I won der how soon she ll be back ? The carriage is waiting for us. We ll have to hurry to make that last train back. If we miss it it means two hours on the damn trolley. CARMODY [Angrily.] Is it anxious to get out of her sight you are, and you engaged to marry and pretendin to love her? [NICHOLLS flushes guiltily. MURRAY pricks up his ears and stares over at NICHOLLS. The latter meets his glance, scowls, and hurriedly averts his eyes. CARMODY goes on accus ingly.] Sure, it s no heart at all you have and her your sweetheart for years and her sick with the consumption and you wild to run away from her and leave her alone. NICHOLLS [Springing to his feet furiously.] That s a ! [He controls himself with an effort. His voice trembles.] You re not responsible for the idiotic things you re saying or I d [He turns away, seeking some escape from the old man s tongue.] I ll see if the man is still there with the rig. [He goes to the door on left and goes out.] CARMODY [Following him with his eyes.] Go to 38 THE STRAW hell, for all I m preventin . You ve got no guts of a man in you. [He addresses MURRAY with the good nature inspired by the flight of NICHOLAS.] Is it true you re one of the consumptives, young fellow? MURRAY [Delighted by this speech with a grw.~] Yes, I m one of them. CARMODY My name s Carmody. What s yours, then? MURRAY Murray. CARMODY [Slapping his thigh.~\ Irish as Paddy s pig! [MURRAY nods. CARMODY brightens and grows confidential.] I m glad to be knowin you re one of us. You can keep an eye on Eileen. That s my daughter that come with us. She s got consumption like yourself. MURRAY I ll be glad to do all I can. CARMODY Thanks to you though it s a grand life she ll be havin here from the fine look of the place. [With whining self -pity. ~\ It s me it s hard on, God help me, with four small children and me widowed, and havin to hire a woman to come in and look after them and the house now that Eileen s sick ; and payin for her curin in this place, and me with only a bit of money in the bank for my old age. That s hard, now, on a man, and who ll say it isn t ? MURRAY [Made uncomfortable by this confi dence.] Hard luck always comes in bunches. [To head off CARMODY who is about to give vent to more woe quickly, with a glance toward the door from THE STRAW 39 the hall. ] If I m not mistaken, here conies your daughter now. CARMODY [As EILEEN comes into the room.] I ll make you acquainted. Eileen ! [She comes over to them, embarrassed to find her father in his condi tion so chummy with a stranger. MURRAY rises to his feet.] This is Mr. Murray, Eileen. I want you to meet. He s Irish and he ll put you on to the ropes of the place. He s got the consumption, too, God pity him. EILEEN [Distressed.] Oh, Father, how can you [With a look at MURRAY which pleads for her father.] I m glad to meet you, Mr. Murray. MURRAY [With a straight glance at her which is so frankly admiring that she flushes and drops her eyes.] I m glad to meet you. [The front door is opened and NICHOLAS re-appears, shivering with the cold. He stares over at the others with ill-concealed irritation.] CARMODY [Noticing him with malicious satis faction.] Oho, here you are again. [NICHOI/LS scowls and turns away. CARMODY addresses his daughter with a sly wink at MURRAY.] I thought Fred was slidin down hill to the train with his head bare to the frost, and him so desperate hurried to get away from here. Look at the knees on him clappin together with the cold, and with the great fear that s in him he ll be catchin a sickness in this place! [NICHOLLS, his guilty conscience stabbed to the quick, turns pale with impotent rage.] 46 THE STRAW EILEEN [Remonstrating pitifully,} Father! Please! [She hurries over to Nicholls.~\ Oh, please don t mind him, Fred! You know what he is when he s drinking. He doesn t mean a word he s saying. NICHOLAS [Thickly.] That s all right for you to say. But I won t forget I m sick and tired standing for I m not used to such people. EILEEN [Shrinking from him.~\ Fred! NICHOLLS [With a furious glance at MURRAY.] Before that cheap slob, too letting him know ev erything ! EILEEN [Faintly.] He seems very nice. NICHOLLS You ve got your eyes set on him al ready, have you? Leave it to you! No fear of your not having a good time of it out here ! EILEEN Fred ! NICHOLLS Well, go ahead if you want to. I don t care. I ll [Startled by the look of an guish which comes over her face, he hastily swallows his words. He takes out watch fiercely.} We ll miss that train, damn it ! EILEEN [In a stricken tone.] Oh, Fred! [Then forcing back her tears she calls to CARMODY in a strained voice.] Father! You ll have to go now. Miss Gilpin said to tell you you d have to go right away to make the train. CARMODY [Shaking hands with MURRAY.] I ll be goin . Keep your eye on her. I ll be out soon to see her and you and me ll have another chin. MURRAY Glad to. Good-bye for the present. THE STRAW 41 [He walks to windows on the far right, turning his back considerately on their leave-taking.] EILEEN [Comes to CARMODY and hangs on his arm as they proceed to the door.] Be sure and kiss them all for me Billy and Tom and Nora and little Mary and bring them out to see me as soon as you can, father, please ! And you come often, too, won t you? And don t forget to tell Mrs. Brennan all the directions I gave you coming out on the train. I told her but she mightn t remember about Mary s bath and to give Tom his CARMODY [Impatiently. ] Hasn t she brought up brats of her own, and doesn t she know the way of it? Don t be worryin* now, like a fool. EILEEN [Helplessly. ] Never mind telling her, then. I ll write to her. CARMODY You d better not. Leave her alone. She ll not wish you mixin in with her work and tellin* her how to do it. EILEEN [Aghast.] Her work! [She seems at the end of her tether wrung too dry for any fur ther emotion. She kisses her -father at the door with indifference and speaks calmly.] Good-bye, father. CARMODY [In a whining tone of injury.] A cold kiss! And never a small tear out of her! Is your heart a stone? [Drunken tears well from his eyes and he blubbers.] And 3 our own father going back to a lone house with a stranger in it ! EILEEN [Wearily in a dead voice.] You ll miss your train, father. 42 THE STRAW CAEMODY [Raging in a second.] I m off, then! Come on, Fred. It s no welcome we have with her here in this place and a great curse on this day I brought her to it ! [He stamps out.~\ EILEEN [In the same dead tone.] Good-bye, Fred. NICHOLAS [Repenting his words of a moment ago confusedly.} I m sorry, Eileen for what I said. I didn t mean you know what your father is excuse me, won t you? EILEEN [Without feeling.] Yes. NICHOLLS And I ll be out soon in a week if I can make it. Well then, good-bye for the pres ent. [He bends down as if to kiss her but she shrinks back out of his reach.] EILEEN [A faint trace of mockery in her weary voice.] No, Fred. Remember you mustn t now. NICHOLLS [In an instant huff.] Oh, if that s the way you feel about [He strides out and slams the door viciously behind him. EILEEN walks slowly back toward the fireplace, her face fixed in a dead calm of despair. As she sinks into one of the armchairs, the strain becomes too much. She breaks down, hiding her face in her hands, her frail shoul ders heaving with the violence of her sobs. At this sound, MURRAY turns from the windows and comes over near her chair.] MURRAY [After watching her for a moment in an embarrassed tone of sympathy.] Come on, Miss Carmody, that ll never do. I know it s hard at first THE STRAW 43 but getting yourself all worked up is bad for you. You ll run a temperature and then they ll keep you in bed which isn t pleasant. Take hold of yourself! It isn t so bad up here really once you get used to it ! [The shame she feels at giving way in the presence of a stranger only adds to her loss of control and she sobs heartbrokenly. MUR RAY walks up and down nervously, visibly nonplussed and upset. Finally he hits upon something .] One of the nurses will be in any minute. You don t want them to see you like this. EILEEN [Choices back her sobs and -finally raises her face and attempts a smile.~\ I m sorry to make such a sight of myself. I just couldn t help it. MURRAY [Jocularly.] Well, they say a good cry does you a lot of good. EILEEN [Forcing a smile. ~\ I do feel better. MURRAY [Staring at her with a quizzical smile cynically. } You shouldn t take those lovers squabbles so seriously. Tomorrow he ll be sorry you ll be sorry. He ll write begging forgiveness you ll do ditto. Result all serene again. EILEEN [A shadow of paw on her face with dignity] Don t please. MURRAY [Angry at himself hanging his head contritely. ] I m a fool. Pardon me. I m rude sometimes before I know it. [He shakes off his confusion with a renewed attempt at a joking tone."] You can blame your father for any breaks I make. 44 THE STRAW He made me your guardian, you know told me to see that you behaved. EILEEN [With a genuine smile. ] Oh, father! [Flushing.] You mustn t mind anything he said tonight. MURRAY [Thoughtlessly.] Yes, he was well lit up. I envied him. [EILEEN looks very shamefaced. MURRAY sees it and exclaims in exasperation at him self.] Darn! There I go again putting my foot in it! [With an irrepressible grin.] I ought to have my tongue operated on that s what s the matter with me. [He laughs and throws himself in a chair.] EILEEN [Forced in spite of herself to smile with him.] You re candid, at any rate, Mr. Murray. MURRAY Don t misunderstand me. Far be it from me to cast slurs at your father s high spirits. I said I envied him his jag and that s the truth. The same candor compels me to confess that I was pickled to the gills myself when I arrived here. Fact ! I made love to all the nurses and generally disgraced myself and had a wonderful time. EILEEN I suppose it does make you forget your troubles for a while. MURRAY [Waving this aside.] I didn t want to forget not for a second. I wasn t drowning my sorrow. I was hilariously celebrating. EILEEN [Astonished by this time quite inter ested in this queer fellow to the momentary forget- f nines s of her own grief.] Celebrating coming here? But aren t you sick? THE STRAW 45 MURRAY T. B.? Yes, of course. [Confiden tially.] But it s only a matter of time when I ll be all right again. I hope it won t be too soon. I was dying for a rest a good, long rest with time to think about things. I m due to get what I wanted here. That s why I celebrated. EILEEN [With wide eyes.] I wonder if you really mean MURRAY What I ve been sayin ? I sure do every word of it ! EILEEN [Puzzled.] I can t understand how anyone could [With a worried glance over her shoulder.] I think I d better look for Miss Gilpin, hadn t I? She may wonder [She half rises from her chair.] MURRAY [Quickly.] No. Please don t go yet. Sit down. Please do. [She glances at him irreso lutely, then resumes her chair.] They ll give you your diet of milk and shoo you off to bed on that freezing porch soon enough, don t worry. I ll see to it that you don t fracture any rules. [Hitching his chair nearer hers, impulsively.] In all charity to me you ve got to stick awhile. I haven t had a chance to really talk to a soul for a week. You found what I said a while ago hard to believe, didn t you? EILEEN [With a smile.] Isn t it? You said you hoped you wouldn t get well too soon ! MURRAY And I meant it! This place is hon estly like heaven to me a lonely heaven till your 46 THE STRAW arrival. [EILEEN looks embarrassed.] And why wouldn t it be? I ve no fear for my health even tually. Just let me tell you what I was getting away from [With a sudden laugh full of.ji weary bitterness] Do you know what it means to work from seven at night till three in the morning as a reporter on a morning newspaper in a town of twenty thousand people for ten years? No. You don t. You can t. No one could who hadn t been through the mill. But what it did to me it made me happy yes, happy! to get out here T. B. and all, notwithstanding. EILEEN [Looking at him curiously] But I al ways thought being a reporter was so interesting. MURRAY [With a cynical laugh] Interesting? On a small town rag? A month of it, perhaps, when you re a kid and new to the game. But ten years. Think of it ! With only a raise of a couple of dol lars every blue moon or so, and a weekly spree on Saturday night to vary the monotony. [He laughs again] Interesting, eh? Getting the dope on the Social of the Queen Esther Circle in the basement of the Methodist Episcopal Church, unable to sleep through a meeting of the Common Council on ac count of the noisy oratory caused by John Smith s application for a permit to build a house; making a note that a tug boat towed two barges loaded with coal up the river, that Mrs. Perkins spent a week end with relatives in Hickville, that John Jones Oh help! Why go on? Ten years of it! I m a THE STRAW 47 broken man. God, how I used to pray that our Congressman would commit suicide, or the Mayor murder his wife just to be able to write a real story ! EILEEN [With a smile.] Is it as bad as that? But weren t there other things in the town outside your work that were interesting? MURRAY [Decidedly.] Nope. Never anything new and I knew everyone and everything in town by heart years ago. [With sudden bitterness.] Oh, it was my own fault. Why didn t I get out of it? Well, I didn t. I was always going to tomorrow and tomorrow never came. I got in a rut and stayed put. People seem to get that way, somehow in that town. It s in the air. All the boys I grew up with nearly all, at least took root in the same way. It took pleurisy, followed by T. B., to blast me loose. EILEEN [Wonderingly.] But your family didn t they live there? MURRAY I haven t much of a family left. My mother died when I was a kid. My father he was a lawyer died when I was nineteen, just about to go to college. He left nothing, so I went to work on the paper instead. And there I ve been ever since. I ve two sisters, respectably married and living in another part of the state. We don t get along but they are paying for me here, so I sup pose I ve no kick. [Cynically.] A family wouldn t have changed things. From what I ve seen that 48 THE STRAW blood-thicker-than-water dope is all wrong. It s thinner than table-d hote soup. You may have seen a bit of that truth in your own case already. EILEEN [Shocked.] How can you say that? You don t know MURRAY Don t I, though ? Wait till you ve been here three months or four when the gap you left has been comfortably filled. You ll see then! EILEEN [Angrily, her lips trembling.] You must be crazy to say such things! [Fighting back her tears.] Oh, I think it s hateful when you see how badly I feel! MURRAY [In acute confusion. Stammering.] Look here, Miss Carmody, I didn t mean to Listen don t feel mad at me, please. My tongue ran away with me. I was only talking. I m like that. You mustn t take it seriously. EILEEN [Still resentful.] I don t see how you can talk. You don t you can t know about the -c things when you ve just said you had no family of your own, really. MURRAY [Eager to return to her good graces.] No. Of course I don t know. I was just talking regardless for the fun of listening to it. EILEEN [After a pause.] Hasn t either of your sisters any children? MURRAY One of them has two of them ugly, squally little brats. EILEEN [Disapprovingly.] You don t like ba bies ? THE STRAW 49 MURRAY [Bluntly.] No. [Then with a grin at her shocked face.] I don t get them. They re something I can t seem to get acquainted with. EILEEN [With a smile, indulgently.] You re a funny person. [Then with a superior motherly air.] No wonder you couldn t understand how badly I feel. [With a tender smile] I ve four of them my brothers and sisters though they re not what you d call babies, except to me. Billy is fourteen, Nora eleven, Tom ten, and even little Mary is eight. I ve been a mother to them now for a whole year ever since our mother died. [Sadly] And I don t know how they ll ever get along while I m away. MURRAY [Cynically] Oh, they ll [He checks what he was going to say and adds lamely] get along somehow. EILEEN [With the same superior tone] It s easy for you to say that. You don t know how children grow to depend on you for everything. You re not a woman. MURRAY [With a grin] Are you? [Then with a chuckle] You re as old as the pyramids, aren t you? I feel like a little boy. Won t you adopt me, too? EILEEN [Flushing, with a shy smile] Someone ought to. [Quickly changing the subject] Do you know, I can t get over what you said about hating your work so. I should think it would be wonderful to be able to write things. MURRAY My job had nothing to do with writing. 50 THE STRAW To write really write yes, that s something worth trying for. That s what I ve always meant to have a stab at. I ve run across ideas enough for stories that sounded good to me, anyway. [ With a forced laugh.] But like everything else I never got down to it. I started one or two but either I thought I didn t have the time or [He shrugs his shoulders. } EILEEN Well, you ve plenty of time now, haven t you? MURRAY [Instantly struck by this suggestion.] You mean I could write up here? [She nods. His face lights up with enthusiasm. ] Say! That is an idea ! Thank you ! I d never have had sense enough to have thought of that myself. [EILEEN flushes with pleasure.] Sure there s time nothing but time up here EILEEN Then you seriously think you ll try it? MURRAY [Determinedly] Yes. Why not? I ve got to try and do something real sometime, haven t I? I ve no excuse not to, now. My mind isn t sick. EILEEN [Excitedly] That ll be wonderful! MURRAY [Confidently] Listen. I ve had ideas for a series of short stories for the last couple of years small town experiences, some of them actual. I know that life too darn well. I ought to be able to write about it. And if I can sell one to the Post , say I m sure they d take the others, too. And then I should worry! It d be easy sailing. THE STRAW 51 But you must promise to help play critic for me read them and tell me where they re rotten. EILEEN [Pleased but protesting.] Oh, no, I d never dare. I don t know anything MURRAY Yes, you do. You re the public. And you started me off on this thing if I m really starting at last. So you ve got to back me up now. [Suddenly.] Say, I wonder if they d let me have a typewriter up here? i EILEEN It d be fine if they would. I d like to have one, too to practice. I learned stenography at business college and then I had a position for a year before my mother died. MURRAY We could hire one I could. I don t see why they wouldn t allow it. I m to be sent to one of the men s shacks within the next few days, and you ll be shipped to one of the women s cottages within ten d ys. You re not sick enough to be kept here in bed, I m sure of that. EILEEN I I don t know MURRAY Here! None of that! You just think you re not and you won t be. Say, I m keen on that typewriter idea. They couldn t kick if we only used it during recreation periods. I could have it a week, and then you a week. EILEEN [Eagerly.] And I could type your stories after you ve written them ! I could help that way. MURRAY [Smiling.] But I m quite able [Then seeing how interested she is he adds hur- 52 THE STRAW riedly] That d be great! It d save so much time. I ve always been a bum at a machine. And I d be willing to pay whatever [Miss GILPIN enters from the rear and walks toward them.] EILEEN [Quickly.] Oh, no! I d be glad to get the practice. I wouldn t accept [She coughs slightly] MURRAY [With a laugh] Maybe, after you ve read my stuff, you won t type it at any price. Miss GILPIN Miss Carmody, may I speak to you for a moment, please. [She takes EILEEN aside and talks to her in low tones of admonition. EILEEN S face falls* She nods a horrified acquiescence. Miss GILPIN leaves her and goes into the office, rear] MURRAY [As Eileen comes back. Noticing her perturbation. Kmdly.] Well? Now, what s the trouble ? EILEEN [Her lips trembling] She told me I mustn t forget to shield my mouth with my handker chief when I cough. MURRAY [Consolingly.] Yes, that s one of the rules, you know. EILEEN [Faltermgly] She said they d give me a cup to carry around [She stops, shud- dermg.] MURRAY [Easily] It s not as horrible as it sounds* They re only little paste-board things you carry in your pocket. EILEEN [As if speaking to herself.] It s so hor rible. [She holds out her hand to MURRAY.] I m THE STRAW 68 to go to my room now. Good night, Mr. Murray. MURRAY [Holding her hand for a moment earnestly.] Don t mind your first impressions here. You ll look on everything as a matter of course in a few days. I felt your way at first. [He drops her hand and shakes his finger at her.] Mind your guardian, now! [She forces a trembling smile.] See you at breakfast. Good night. [EILEEN goes out to the hall in rear. Miss HOWARD comes in from the door just after her, carrying a glass of milk.] Miss HOWARD Almost bedtime, Mr. Murray. Here s your diet. [He takes the glass. She smiles at him provokingly.] Well, is it love at first sight, Mr. Murray? MURRAY [With a grin.] Sure thing! You can consider yourself heartlessly jilted. [He turns and raises his glass toward the door through which EILEEN has just gone, as if toasting her.] "A glass of milk, and thou Coughing beside me in the wilderness Ah wilderness were Paradise enow!" [He takes a sip of milk.] Miss HOWARD [Peevishly.] That s old stuff, Mr. Murray. A patient at Saranac wrote that par ody. MURRAY [Maliciously.] Aha, you ve discovered it s a parody, have you, you sly minx ! [Miss HOW ARD turns from him huffily and walks back towards the office, her chm m the air.] [The Curtain Falls] ACT II ACT II SCENE ONE SCENE The assembly room of the main building of the sanatorium early in the morning of a fine day in June, four months later. The room is large, light and airy, painted a "fresh white. On the left forward, an armchair. Farther back, a door opening on the main hall. To the rear of this door a pianola on a raised plat form. In back of the pianola, a door leading into the office. In the rear wall, a long series of French windows lookmg out on the lawn, with wooded hills in the far background. Shrubs in flower grow immediately outside the windows. Inside, there is a row of potted plants. In the right wall, rear, four windows. Farther forward, a long, well-filled bookcase, and a doorway leading into the dmmg room. Following the walls, but about five feet out from them a stiff line of chairs placed closely against each other forms a sort of right-angled audit orium of which the large, square table that stands at center, forward, would seem to be the stage. 57 58 THE STRAW From the dining room comes the clatter of dishes, the confused murmur of many voices, male and female all the mingled sounds of a crowd of people at a meal. After the curtain rises, DOCTOR STANTON enters from the hall, followed by a visitor, MR. SLOAN, and the assistant physician, DOCTOR SIMMS. DOCTOR STANTON is a handsome man of forty-five or so with a grave, care-lined, studious face lightened by a kindly, humorous smile. His gray eyes, saddened by the suffer ing they have witnessed, have the sympathetic quality of real understanding. The look they give is full of companionship, the courage-re newing, human companionship of a hope which is shared. He speaks with a slight Southern accent, soft and slurring. DOCTOR SIMMS is a tall, angular young man with a long, sallow face and a sheepish, self-conscious grin. MR. SLOAN is fifty, short and stout, well dressed one of the successful business men whose en dowments have made the HUl Farm a possi bility. STANTON [As they enter. } This is what you might call the general assembly room, Mr. Sloan where the patients of both sexes are allowed to con gregate together after meals, for diets, and in the evening. SLOAN [Looking around him.] Couldn t be more pleasant, I must say light and airy. [He THE STRAW 59 walks where he can take a peep into the dining room.] Ah, they re all at breakfast, I see. STANTON [Smiling .] Yes, and with no lack of appetite, let me tell you. [With a laugh of proud satisfaction.] They d sure eat us out of house and home at one sitting, if we d give them the oppor tunity. [To his assistant.] Wouldn t they, Doc tor? SIMMS [With his abashed grin.] You bet they would, sir. SLOAN [With a smile.] That s fine. [With a nod toward the dining room.] The ones in there are the sure cures, aren t they? STANTON [A shadow coming over his face.] Strictly speaking, there are no sure cures in this disease, Mr. Sloan. When we permit a patient to return to take up his or her activities in the world, the patient is what we call an arrested case. The disease is overcome, quiescent ; the wound is healed over. It s then up to the patient to so take care of himself that this condition remains permanent. It isn t hard for them to do this, usually. Just or dinary, bull-headed common sense added to what they ve learned here is enough for their safety. And the precautions we teach them to take don t diminish their social usefulness in the slightest, either, as I can prove by our statistics of former patients. [With a smile.] It s rather early in the morning for statistics, though. MR. SLOAN [With a wave of the hand.] Oh, 60 THE STRAW you needn t. Your reputation in that respect. Doc tor [STANTON inclines his head in acknowl edgment. SLOAN jerks his thumb toward the dining room.] But the ones in there are getting well, aren t they? STANTON To all appearances, yes. You don t dare swear to it, though. Sometimes, just when a case looks most favorably, there s a sudden, un foreseen breakdown and they have to be sent back to bed, or, if it s very serious, back to the Infirmary again. These are the exceptions, however, not the rule. You can bank on most of those eaters being out in the world and usefully employed within six months. SLOAN You couldn t say more than that, [Ab ruptly.] But the unfortunate ones do you have many deaths? STANTON [With a frown.] No. We re under a very hard, almost cruel imperative which prevents that. If, at the end of six months, a case shows no response to treatment, continues to go down hill if, in a word, it seems hopeless we send them away, to one of the State Farms if they have no private means. [Apologetically.] You see, this sanatorium is overcrowded and has a long waiting list most of the time of others who demand their chance for life. We have to make places for them. We have no time to waste on incurables. There are other places for them and sometimes, too, a change is beneficial and they pick up in new surroundings. You never THE STRAW 61 can tell. But we re bound by the rule. It may seem cruel but it s as near justice to all concerned as we can come. SLOAN [Soberly.] I see. [His eyes -fall on the pianola in surprise.] Ah a piano. STANTON [Replying to the other s thought.] Yes, the patients play and sing. [With a smile] If you d call the noise they make by those terms. ,They d dance, too, if we permitted it. There s only one song taboo Home, Sweet Home. We forbid that for obvious reasons. SLOAN I see. [With a final look arownd.] Did I understand you to say this is the only place where the sexes are permitted to mingle? STANTON Yes, sir. SLOAN [With a smile.] Not much chance for a love affair, then. STANTON [Seriously] We do our best to pre vent them. We even have a strict rule which allows us to step in and put a stop to any intimacy which grows beyond the casual. People up here, Mr. Sloan, are expected to put aside all ideas except the one getting well. SLOAN [Somewhat embarrassed] A damn good rule, too, I should say, under the circumstances. STANTON [TFi/t a laugh] Yes, we re strictly anti-Cupid, sir, from top to bottom. [Turning to the door to the hall] And now, if you don t mind, Mr. Sloan, I m going to turn you footloose to wander about the grounds on an unconducted tour. Today 62 THE STRAW is my busy morning Saturday. We weigh each patient immediately after breakfast. SLOAN Every week? STANTON^Every Saturday. You see we depend on fluctuations in weight to tell us a lot about the patient s condition. If they gain, or stay at normal, all s usually well. If they lose week after week with out any reason we can definitely point to, we keep careful watch. It s a sign that something s wrong. We re forewarned by it and on our guard. SLOAN [With a smile. ] Well, I m certainly learning things. [He turns to the door.] And you just shoo me off wherever you please and go on with the good work. I ll be glad of a ramble in the open on such a glorious morning. STANTON After the weighing is over, sir, I ll be free to [His words are lost as the three go out. A moment later, EILEEN enters from the dining room. She has grown stouter, her face has more of a healthy, out-of-door color, but there is still about her the suggestion of being worn down by a burden too oppressive for her courage. She is dressed in shirtwaist and dark skirt. She goes to the armchair, left forward, and sinks down on it. She is evidently in a state of nervous depression; she twists her -fin gers together in her lap; her eyes stare sadly before her; she clenches her upper lip with her teeth to pre vent its trembling. She has hardly regained con trol over herself when STEPHEN MURRAY comes in hurriedly from the dining room and, seeing her at THE STRAW 63 his first glance, walks quickly over to her chair. He is the picture of health, his figure has filled out sol idly, his tanned face beams with suppressed exulta tion.] MURRAY [Excitedly. ] Eileen! I saw you leave your table. I ve something to tell you. I didn t get a chance last night after the mail came. You d gone to the cottage. Just listen, Eileen it s too good to be true but on that mail guess what? EILEEN [Forgetting her depression with an ex cited smile. } I know ! You ve sold your story ! MURRAY [Triumphantly.] Go to the head of the class. What d you know about that for luck! My first, too and only the third magazine I sent it to ! [He cuts a joyful caper. ~\ EILEEN [Happily. ] Isn t that wonderful, Stephen! But I knew all the time you would. The story s so good. MURRAY Well, you might have known but I didn t think there was a chance in the world. And as for being good [With superior air] wait till I turn loose with the real big ones, the kind I m going to write. Then I ll make them sit up and take notice. They can t stop me now. This money gives me a chance to sit back and do what I please for a while. And I haven t told you the best part. The editor wrote saying how much he liked the yarn and asked me for more of the same kind. EILEEN And you ve the three others about the 64 THE STRAW same person just as good, too! Why, you ll sell them all! [She claps her hands delightedly.] MURRAY And I can send them out right away. They re all typed, thanks to you. That s what s brought me luck, I know. I never had a bit by my self. [Then, after a quick glance around to make sure they are alone, he bends down and kisses her.~\ There ! A token of gratitude even if it is against the rules. EILEEN [Flushing with timid happiness.] Ste phen ! You mustn t ! They ll see. MURRAY [Boldly.] Let them! EILEEN But you know they ve warned us against being so much together, already. MURRAY Let them ! We ll be out of this prison soon. [EILEEN shakes her head sadly but he does not notice.] Oh, I wish you could leave when I do. We d have some celebration together. EILEEN [Her lips trembling.] I was thinking last night that you d soon be going away. You look so well. Do you think they ll let you go soon ? MURRAY You bet I do. I m bound to go now. It s ridiculous keeping me here when I m as healthy as a pig. I caught Stanton in the hall last night and asked him if I could go. EILEEN [Anxiously.] What did he say? MURRAY He only smiled and said: "We ll see if you gain weight tomorrow." As if that mattered now! Why, I m way above normal as it is! But THE STRAW 65 you know Stanton always putting you off. But I could tell by the way he said it he d be willing to consider EILEEN [Slowly.] Then if you gain to day MURRAY He ll let me go. Yes, I know he will. I m going to insist on it. EILEEN Then you ll leave ? MURRAY Right away. The minute I can get packed. EILEEN [Trying to force a smile] Oh, I m so glad for your sake ; but I m selfish it ll be so lonely here without you. MURRAY [Consolingly] You ll be going away yourself before long. [EILEEN shakes her head. He goes on without noticing, wrapped m his own suc cess] Oh, Eileen, you can t imagine all it, opens up for me selling that story. I don t have to go back home to stagnate. I can go straight to New York, and live, and meet real people who are doing things. I can take my time, and try and do the work I hope to. [Feelingly] You don t know how grateful I am to you, Eileen how you ve helped me. Oh, I don t mean just the typing, I mean your encourage ment, your faith! I d never have had guts enough to stick to it myself. The stories would never have been written if it hadn t been for you. EILEEN [Choking back a sob] I didn t do anything. MURRAY [Staring down at her with rough 66 THE STRAW kindliness.} Here, here, that ll never do! You re not weeping about it, are you, silly? [He pats her on the shoulder.} What s the matter, Eileen? You didn t eat a thing this morning. I was watching you. [With kindly severity.} That s no way to gain, weight, you know. You ll have to feed up. Do you hear what your guardian commands, eh? EILEEN [TFi/i dull hopelessness.} I know I ll lose again. I ve been losing steadily the past three weeks. MURRAY Here! Don t you dare talk that way! I won t stand for it. Why, you ve been picking up wonderfully until just lately. You ve made such a game fight for four months. Even the old Doc has told you how much he admired your pluck, and how much better you were getting. You re not go ing to quit now, are you? EILEEN [Despairingly.} Oh, I don t care! I don t care now. MURRAY Now? What do you mean by that? What s happened to make things any different? EILEEN [Evasively.} Oh nothing. Don t ask me, Stephen. MURRAY [With sudden anger.} I don t have to ask you. I can guess. Another letter from home or from that ass, eh? EILEEN [Shaking her head.} No, it isn t that. [She looks at him as if imploring him to compre hend.} MURRAY [Furiously.} Of course, you d deny THE STRAW 67 it. You always do. But don t you suppose I ve got eyes? It s been the same damn thing all the time you ve been here. After every nagging letter thank God they don t write often any more! you ve been all in; and after their Sunday visits you can thank God they ve been few, too you re utterly knocked out. It s a shame! The selfish swine ! EILEEN Stephen ! MURRAY [Relentlessly.] Don t be sentimental, Eileen. You know it s true. From what you ve told me of their letters, their visits, from what I ve seen and suspected they ve done nothing but worry and torment you and do their best to keep you from get ting well. EILEEN [Faintly] You re not fair, Stephen. MURRAY Rot ! When it isn t your father grum bling about expense, it s the kids, or that stupid housekeeper, or that slick Aleck, Nicholls, with his cowardly lies. Which is it this time? EILEEN [Pitifully] None of them. MURRAY [Explosively] But him, especially the dirty cad ! Oh, I ve got a rich notion to pay a call on that gentleman when I leave and tell him what I think of him. EILEEN [Quickly] No you mustn t ever! He s not to blame. If you knew [She stops, lowering her eyes in confusion] MURRAY [Roughly] Knew what? You make me sick, Eileen always finding excuses for him. I 68 THE STRAW never could understand what a girl like you could see But what s the use? I ve said all this be fore. You re wasting yourself on a [Rudely.] Love must be blind. And yet you say you don t love him, really? EILEEN [Shaking Tier head helplessly.] But I do like Fred. We ve been good friends so many years. I don t want to hurt him his pride MURRAY That s the same as answering no to my question. Then, if you don t love him, why don t you write and tell him to go to break it off? [EILEEN bows her head but doesn t reply. Irritated, MURRAY continues brutally.] Are you afraid it would break his heart? Don t be a fool! The only way you could do that would be to deprive him of his meals. EILEEN [Springmg to her -feet distractedly] Please stop, Stephen ! You re cruel ! And you ve been so kind the only real friend I ve had up here. Don t spoil it all now. MURRAY [Remorsefully.] I m sorry, Eileen. I was only talking. I won t say another word. [Irri tably] Still, someone ought to say or do something to put a stop to EILEEN [With a broken laugh.] Never mind. Everything will stop soon, now ! MURRAY [Suspiciously.] What do you mean? EILEEN [With an attempt at a careless tone.] Nothing. If you can t see [She turns to him with sudden intensity] Oh, Stephen, if you only THE STRAW 69 knew how wrong you are about everything you ve said. It s all true; but it isn t that any of it any more that s Oh, I can t tell you ! MURRAY [With great interest. ,] Please do, Eileen ! EILEEN [With a helpless laugh. ~\ No. MURRAY Please tell me what it is ! Let me help you. EILEEN No. It wouldn t be any use, Stephen. MURRAY [Offended.] Why do you say that? .Haven t I helped before? EILEEN Yes but this MURRAY Come now ! Fess up ! What is "this" ? EILEEN No. I couldn t speak of it here, any way. They ll all be coming out soon. MURRAY [Insistently] Then when? Where? EILEEN Oh, I don t know perhaps never, no where. I don t know Sometime before you leave, maybe. MURRAY But I may go tomorrow morning if I gain weight and Stanton lets me. EILEEN [Sadly. ] Yes, I was forgetting you were going right away. [Dully. ~\ Then nowhere, I suppose never. [Glancmg toward the dmmg room.] They re all getting up. Let s not talk about it any more now. MURRAY [Stubbornly.] But you ll tell me la ter, Eileen? You must. EILEEN [Vaguely.] Perhaps. It depends [The patients, about forty in number, straggle in 70 THE STRAW from the dining room by twos and threes, chatting in low tones. The men and women with few exceptions separate into two groups, the women congregating in the left right angle of chairs, the men sitting or standing in the right right angle. In appearance, most of the patients are tanned, healthy, and cheerful looking. The great majority are under middle age. Their clothes are of the cheap, ready-made variety. They are all distinctly of the wage-earning class. They might well be a crowd of cosmopolitan factory workers gathered together after a summer vacation. A hollow-chestedness and a tendency to round shoulders may be detected as a common characteris tic. A general air of tension, marked by frequent bursts of laughter in too high a- key, seems to per vade the throng. MURRAY and EILEEN, as if to avoid contact with the others, come over to the right in front of the dmmg-room door.] MURRAY [In a low voice.] Listen to them laugh. Did you ever notice perhaps it s my imagination how forced they act on Saturday mornings before they re weighed? EILEEN [Dully.] No. MURRAY Can t you tell me that secret now? No one ll hear. EILEEN [Vehemently.] No, no, how could I? Don t speak of it ! [A sudden silence falls on all the groups at once. Their eyes, by a common impulse, turn quickly toward the door to the hall.] A WOMAN [Nervously as if this moments si- THE STRAW 71 lent pause oppressed her.] Play something, Peters. They ain t coming yet. [PETERS, a stupid-looking young fellow with a sly, twisted smirk which gives him the appearance of perpetually winking his eye, detaches himself from a group on the right. Att join in with urgmg exclamations: "Go on, Peters! Go to it! Pedal up, Pete! Give us a rag! That s the boy, Peters!" etc.] PETERS Sure, if I got time. [He goes to the pianola and puts in a roll. The mingled conversa* tion and laughter bursts forth again as he sits on the bench and starts pedaling.] MURRAY [Disgustedly.] It s sure good to think I won t have to listen to that old tin-pan being banged much longer! [The music interrupts him a quick rag. The patients brighten, hum, whistle, sway their heads or tap their feet in time to the tune. DOCTOR STANTON and DOCTOR SIMMS appear in the doorway from the hall. All eyes are turned on them.] STANTON [Raising his voice.] They all seem to be here, Doctor. We might as well start. [MRS. TURNER, the matron, comes in behind them a stout, motherly, capable-looking woman with grey hair. She hears STANTON S remark.] MRS. TURNER And take temperatures after, Doctor? STANTON Yes, Mrs. Turner. I think that s bet ter today. MRS. TURNER All right, Doctor. [STANTON and the assistant go out. MRS. TURNER advances a step 72 THE STRAW or so into the room and looks from one group of pa tients to the other, inclining her head and smiling benevolently. All force smiles and nod m recogni tion of her greeting. PETERS, at the pianola, lets the music slow down, glancing questionmgly at the matron to see if she is going to order it stopped. Then, encouraged by her smile, his feet pedal harder than ever.~\ MURRAY Look at old Mrs. Grundy s eyes pinned on us ! She ll accuse us of being too familiar again, the old wench ! EILEEN Ssshh. You re wrong. She s looking at me, not at us. MURRAY At you? Why? EILEEN I ran a temperature yesterday. It must have been over a hundred last night. MURRAY [With consoling scepticism.] You re always suffering for trouble, Eileen. How do you know you ran a temp? You didn t see the stick, I suppose? EILEEN -No but I could tell. I felt feverish and chilly. It must have been way up. MURRAY Bosh! If it was you d have been sent to bed. EILEEN That s why she s looking at me. \_Pit- eously.~\ Oh, I do hope I won t be sent back to bed I I don t know what I d do. If I could only gain this morning. If my temp has only gone down ! [Hope lessly. ] But I feel I didn t sleep a wink- thinking THE STRAW 73 MURRAY [Roughly. ] You ll persuade yourself you ve got leprosy in a second. Don t be a nut ! It s all imagination, I tell you. You ll gain. Wait and see if you don t. [EILEEN shakes her head. A metallic rumble and jangle comes from the hallway. Everyone turns m that direction with nervous ex pectancy.] MRS. TURNER [Admonishingly .] Mr. Peters 1 PETERS Yes, ma am. [He stops playing and re- joins the group of men on the right. In the midst of a silence broken only by hushed murmurs of con versation, DOCTOR STANTON appears m the hall doorway. He turns to help his assistant wheel in a Fairbanks scale on castors. They place the scale against the wall immediately to the rear of the door way. DOCTOR SIMMS adjusts it to a perfect bal ance.] DOCTOR STANTON [Takes a pencil from his pocket and opens the record book he has m his hand] All ready, Doctor? DOCTOR SIMMS Just a second, sir. [A chorus of coughs comes from the impatient crowd, and hand kerchiefs are hurriedly produced to shield mouths.] MURRAY [With a nervous smile] Well, we re all set. Here s hoping! EILEEN You ll gain, I m sure you will. You look so well. MURRAY Oh I I wasn t thinking of myself, I m a sure thing. I was betting on you. I ve sim ply got to gain today, when so much depends on it. 74 THE STRAW EILEEN Yes, I hope you [She falters brokenly and turns away from him. ] DOCTOR SIMMS [Straightening up.~] All ready, Doctor. STANTON [Nods and glances at his book with out raising his voice distinctly. ] Mrs. Abner. [A middle-aged woman comes and gets on the scale. SIMMS adjusts it to her weight of the previous week which STANTON reads to him from the book in a low voice, and weighs her.] MURRAY [With a relieved sigh.~] They re off. [Noticing EILEEN S downcast head and air of de jection. ] Here! Buck up, Eileen! Old Lady Grundy s watching you and it s your turn in a second. [EILEEN raises her head and forces a fright ened smile. MRS. ABNER gets down off the scale with a pleased grin. She has evidently gained. She rejoins the group of women, chattering volubly in low tones. Her exultant "gained half a pound" can be heard. The other women smile their perfunctory congratu lations, their eyes absent-minded, intent on their own worries. STANTON writes down the weight in the book.~\ STANTON Miss Bailey. [A young girl goes to the scales.] MURRAY Bailey looks badly, doesn t she? EILEEN [Her lips trembling. ] She s been los ing, too. MURRAY Well, you re going to gain today. Re member, now! THE STRAW 75 EILEEN [With a feeble smile. ] I ll try to obey your orders. [Miss BAILEY gets down off the scales. Her eyes are full of despondency although she tries to make a brave face of it, forcing a laugh- as she joins the women. They stare at her with pitying looks and murmur consoling phrases. ] EILEEN She s lost again. Oh, I wish I didn t have to get weighed STANTON Miss Carmody. [EILEEN starts ner vously.] MURRAY [As she leaves him.~\ Remember now! Break the scales ! [She walks quickly to the scales, trying to assume an air of defiant indifference. The balance stays down as she steps up. EILEEN S face shows her despair at this. SIMMS weighs her and gives the poundage in a low voice to STANTON. EILEEN steps down mechanically, then hesitates as if not knowing where to turn, her anguished eyes flitting from one group to another.] MURRAY [Sav agely. ] Damn! [DOCTOR STAN- TON writes the figures in his book, glances sharply at EILEEN, and then nods significantly to MRS. TURNER who is standing beside him.] STANTON [Calling the next.] Miss Doeffler. [Another woman comes to be weighed.] MRS. TURNER Miss Carmody! Will you come here a moment, please? EILEEN [Her face growing very pale.] Yes, Mrs. Turner. [The heads of the different groups bend together. Their eyes follow EILEEN as they 76 THE STRAW whisper. MRS. TURNER leads her down front, left. Be hind them the weighing of the women continues briskly. The great majority have gained. Those who have not have either remained stationary or lost a negligible fraction of a pound. So, as the weighing proceeds, the general air of smiling satisfaction rises among the groups of women. Some of them, their or deal over, go out through the hall doorway by twos and threes with suppressed laughter and chatter. As they pass behind EILEEN they glance at her with pitying curiosity. DOCTOR STANTON S voice is heard at regular intervals calling the names in alphabetical order: Mrs. Elbing, Miss Finch, Miss Grimes, Miss Haines, Miss Hayes, Miss Julner, Miss Linowski, Mrs. Marini, Mrs. McCoy, Miss McElroy, Miss Nel son, Mrs. Nott, Mrs. O Brien, Mrs. Olson, Miss Paul, Miss Petrovski, Mrs. Quinn, Miss Robersi, Mrs. S tat tier, Miss Unger.~\ MRS. TURNER [Putting her hand on EILEEN S shoulder kindly. ] You re not looking so well lately, my dear, do you know it? EILEEN [Bravely. ] I feel fine. [Her eyes, as if looking for encouragement, seek MURRAY who is staring at her worriedly.] MRS. TURNER [Gently .] You lost weight again, you know. EILEEN I know but MRS. TURNER This is the fourth week. EILEEN I I know it is MRS. TURNER I ve been keeping my eye on you. THE STRAW 77 You seem worried. Are you upset about some thing we don t know? EILEEN- [Quickly.] No, no! I haven t slept much lately. That must be it. MRS. TURNER Are you worrying about your condition? Is that what keeps you awake? EILEEN No. MRS. TURNER You re sure it s not that? EILEEN Yes, I m sure it s not, Mrs. Turner. MRS. TURNER I was going to tell you if you were: Don t do it! You can t expect it to be all smooth sailing. Even the most favorable cases have to expect these little setbacks. A few days rest in bed will start you on the right trail again. EILEEN [In anguish, although she has realized this was coming.] Bed? Go back to bed? Oh, Mrs. Turner ! MRS. TURNER [Gently.] Yes, my dear, Doctor Stanton thinks it best. So when you go back to your cottage EILEEN Oh, please not today not right away ! MRS. TURNER You had a temperature and a high pulse yesterday, didn t you realize it? And this morning you look quite feverish. [She tries to put her hand on EILEEN S -forehead but the latter steps away defensively.] EILEEN It s only not sleeping last night. I was nervous. Oh, I m sure it ll go away. MRS. TURNER [Consolingly.] When you lie still and have perfect rest, of course it will. 78 THE STRAW EILEEN [With a longing look over at MURRAY.] But not today please, Mrs. Turner. MRS. TURNER [Looking at her keenly.] There is something upsetting you. You ve something on your mind that you can t tell me, is that it? [EILEEN maintains a stubborn silence.] But think can t you tell me? [With a kindly smile.] I m used to other people s troubles. I ve been playing mother-confessor to the patients for years now, and I think I ve usually been able to help them. Can t you confide in me, child? [EILEEN drops her eyes but remains silent. MRS. TURNER glances mean ingly over at MURRAY who is watching them when ever he thinks the matron is not aware of it a note of sharp rebuke in her voice.] I think I can guess your secret, my dear, even if you re too stubborn to tell. This setback is your own fault. You ve let other notions become more important to you than the idea of getting well. And you ve no excuse for it. After I had to warn you a month ago, I ex pected that silliness to stop instantly. EILEEN [Her face flushed protesting.] There never was anything. Nothing like that has anything to do with it. MRS. TURNER [Sceptically.] What is it that has, then? EILEEN [Lymg determinedly] It s my family. They keep writing and worrying me and That s what it is, Mrs. Turner. MRS. TURNER [Not exactly knowing whether to THE STRAW 79 believe this or not probing the girl with her eyes] Your father? EILEEN Yes, all of them. [Suddenly seeing a way to discredit all of the matron s suspicions ex citedly.] And principally the young man I m en gaged to the one who came to visit me several times MRS. TURNER [Surprised] So you re engaged? [EILEEN nods. MRS. TURNER immediately dis misses her suspicions.] Oh, pardon me. I didn t know that, you see, or I wouldn t [She pats EILEEN on the shoulder comfortingly] Never mind. You ll tell me all about it, won t you? EILEEN [Desperately] Yes. [She seems about to go on but the matron interrupts her] MRS. TURNER Oh, not here, my dear. Not now. Come to my room let me see I ll be busy all morn ing sometime this afternoon. Will you do that ? EILEEN Yes. [Joyfully] Then I needn t go to bed right away? MRS. TURNER No on one condition. You mustn t take any exercise. Stay in your recliner all day and rest and remain in bed tomorrow morning. And promise me you will rest and not worry any more about things we can easily fix up between us. EILEEN I promise, Mrs. Turner. MRS. TURNER [Smiling in dismissal] Very well, then. I must speak to Miss Bailey. I ll see you this afternoon. EILEEN Yes, Mrs. Turner. [The matron goes 80 THE STRAW to the rear where Miss BAILEY is sitting with MRS. ABNER. She beckons to Miss BAILEY who gets up with a scared look, and they go to the far left cor ner of the room. EILEEN stands for a moment hesi tating then starts to go to MURRAY, but just at this moment PETERS comes forward and speaks to MURRAY.] PETERS [With his sly twisted grin.] Say, Car- mody musta lost fierce. Did yuh see the Old Woman handin her an earful? Sent her back to bed, I betcha. What d yuh think? MURRAY [Impatiently, showing his dislike.] How the hell do I know? PETERS [Sneeringly.] Huh, you don t know nothin bout her, I s pose? Where d yuh get that stuff? Think yuh re kiddin me? MURRAY [With cold rage before which the^ other slinks away.] Peters, the more I see of you the bet ter I like a skunk ! If it wasn t for other people los ing weight you couldn t get any joy out of life, could you? [Roughly.] Get away from me! [He makes a threatening gesture.] PETERS [Beating a snarling retreat.] Wait n see if yuh don t lose too, yuh stuck-up boob! [Seeing that MURRAY is alone again, EILEEN starts toward him but this time she is ^intercepted by MRS. ABNER who stops on her way out. The weighing of the women is now finished, and that of the men, which proceeds much quicker, begins.] DOCTOR STANTON Anderson ! [ANDERSON comes THE STRAW 81 to the scales* The men all move down to the left to wait their turn, with the exception of MURRAY, who remains by the dining room door, fidgeting impa tiently, anxious for a word with EILEEN.] MRS. ABNER [Taking EILEEN S arm.] Coming over to the cottage, dearie? EILEEN Not just this minute, Mrs. Abner. I have to wait MRS. ABNER For the Old Woman? You lost to day, didn t you? Is she sendin you to bed, the old devil? EILEEN Yes, I m afraid I ll have *o MRS. ABNER She s a mean on , ain t she? I gained this week half a pound. Lord, I m gittin fat! All my clothes are gittin too small for me. Don t know what I ll do. Did you lose much, dearie? EILEEN Three pounds. MRS. ABNER Ain t that awful! [Hastening to make up for this thoughtless remark. "\ All the same, what s three pounds! You can git them back in a week after you re resting more. You been runnin a temp, too, ain t you? [EILEEN nods.~\ Don t worry about it, dearie. It ll go down. Worryin s the worst. Me, I don t never worry none. [She chuck les with satisfaction then soberly.] I just been talkin* with Bailey. She s got to go to bed, too, I guess. She lost two pounds. She ain t runnin no temp though. STANTON Barnes! [Another man comes to the scales.] 82 THE STRAW MRS. ABNER [In a mysterious whisper. } Look at Mr. Murray, dearie. Ain t he nervous today? I don t know as I blame him, either. I heard the doc tor said he d let him go home if he gained today. Is is true, d you know? EILEEN [Dully .] I don t know. MRS. ABNER Gosh, I wish it was me! My old man s missin me like the dickens, he writes. [She starts to go.] You ll be over to the cottage in a while, won t you? Me n* you ll have a game of ca sino, eh? EILEEN [Wappy at this deliverance.] Yes, I ll be glad to. STANTON Cordero! [MRS. ABNER goes out. EILEEN again starts toward MURRAY but this time FLYNN, a young fellow with a brick-colored, homely, good-natured face, and a shaven-necked haircut, seiches back to MURRAY. EILEEN is brought to a halt in frdnt of the table where she stands, her face working with nervous strain, clasping and unclasp* ing her trembling hands.] FLYNN [Curiously.] Say, Steve, what s this bull about the Doc lettin yuh beat it if yuh gain today? Is it straight goods? MURRAY He said he might, that s all. [Impa^ tiently] How the devil did that story get travelling around? FLYNN [With a grin] Wha d yuh expect with this gang of skirts chewin the fat? Well, here s hopin yuh come home a winner, Steve. THE STRAW 83 MURRAY [Gratefully.] Thanks. [WitTi confi dence. ] Oh, I ll gain all right; but whether he ll let me go or not [He shrugs his shoulders."] FLYNN Make em behave. I wisht Stanton d ask waivers on me. [With a laugh.] I oughter gain a ton today. I ate enough spuds for breakfast to plant a farm. STANTON Flynn ! FLYNN Me to the plate! [He strides to the scales.] MURRAY Good luck ! [He starts to join EILEEN but Miss BAILEY, who has finished her talk with MRS. TURNER, who goes out to the hall, approaches EILEEN at just this moment. MURRAY stops in his tracks, fummg. He and EILEEN exchange a glance of helpless annoyance.] Miss BAILEY [Her thin face full of the satisfac tion of misery finding company plucks at EILEEN S sleeve.] Say, Carmody, she sent you back to bed, too, didn t she? EILEEN [Absent-mindedly.] I suppose Miss BAILEY You suppose? Don t you know? Of course she did. I got to go, too. [Putting EILEEN S sleeve.] Come on. Let s get out of here. I hate this place, don t you? STANTON [Calling the next.] Hopper! FLYNN [Shouts to MURRAY as he is going out to the hall.] I hit er for a two-bagger, Steve. Come on now, Bo, and bring me home ! Atta boy ! [Grin- 84 THE STtfAW ning gleefully, lie slouches out. DOCTOR STANTON and all the patients laugh. ] Miss BAILEY [With irritating persistence.] Come on, Carmody. You ve got to go to bed, too. EILEEN [At the end of her patience releasing her arm from the other s grasp.] Let me alone, will you? I don t have to go to bed now not till to morrow morning. Miss BAILEY [Despairingly, as if she couldn t believe her ears] You don t have to go to bed? EILEEN Not now no. Miss BAILEY [In a whining rage.] Why not? You ve been running a temp, too, and I haven t! You must have a pull, that s what ! It isn t fair. I ll bet you lost more than I did, too ! What right have you got Well, I m not going to bed if you don t! Wait n see ! EILEEN [Turning away revolted] Go away! Leave me alone, please. STANTON Lowenstein ! Miss BAILEY [Turns to the hall door, whining] All right for you! I m going to find out. It isn t square. I ll write home. [She disappears in the hallway. MURRAY strides over to EILEEN whose strength seems to have left her and who is leaning weakly against the table] MURRAY Thank God at last ! Isn t it hell all these fools ! I couldn t get to you. What did Old Lady Grundy have to say to you? I saw her giving me a hard look. Was it about us the old stuff? THE STRAW 85 [EILEEN nods with downcast eyes] What did she say ? Never mind now. You can tell me in a minute. It s my turn next. [His eyes glance toward the scales.~\ EILEEN [Intensely.] Oh, Stephen, I wish you weren t going away ! MURRAY [Excitedly.] Maybe I m not. It s ex citing like gambling if I win ST ANTON Murray ! MURRAY Wait here, Eileen. [He goes to the scales. EILEEN keeps her back turned. Her body stiffens rigidly in the intensity of her conflicting emo tions. She stares straight ahead, her eyes full of anguish. MURRAY steps on the scales nervously. The balance rod hits the top smartly. He has gained. His face lights up and he heaves a great sigh of re lief. EILEEN seems to sense this outcome and her head sinks, her body sags weakly and seems to shrink to a smaller size. MURRAY gets off the scales, his face beaming with a triumphant smile. DOCTOR STANTON smiles and murmurs something to him in a low voice. MURRAY nods brightly; then turns back to EILEEN.] STANTON Nathan! [Another patient advances to the scales.] MURRAY [Trying to appear casual] Well three rousing cheers! Stanton told me to come to his office at eleven. That means a final exam and release ! EILEEN [Dully.] So you gained? 86 THE STRAW MURRAY Three pounds. EILEEN Funny I lost three. [With a pitiful effort at a smile.} I hope you gained the ones I lost. [Her lips tremble.] So you re surely going away. MURRAY [His joy fleeing as he is confronted with her sorrow slowly.} It looks that way, Eileen. EILEEN [In a trembling whisper broken by ris ing sobs.} Oh I m so glad you gained the ones I lost, Stephen So glad! [She breaks down, covering her face with her hands, stifling her sobs.} MURRAY [Alarmed.} Eileen! What s the mat ter? [Desperately.} Stop it! Stanton ll see you! [The Curtam Fatts] ACT II SCENE TWO SCENE Midnight of the same day. A crossroads near the sanatorium. The main road comes down forward from the right. A smaller road, leading down from the left, joins it toward left, center. Dense woods rise sheer from the grass and bramble-grown ditches at the roads 9 sides. At the junction of the two roads there is a sign post, its arms pointing toward the right and the left, rear. A pile of round stones is at the road corner, left forward. A full moon, riding high overhead, throws the roads into white, shadowless relief and masses the woods into walls of compact blackness. The trees lean heavily together, their branches motionless, un stirred by any trace of wind. As the curtain rises, EILEEN is discovered standing in the middle of the road, front center. Her face shows white and clear in the bright moonlight as she stares with anxious expect ancy up the road to the left. Her body is fixed in an attitude of rigid immobility as if she were 87 88 THE STRAW afraid a slightest movement would break the spell of silence and awaken the unknown. She has shrunk instinctively as far away as she can from the mysterious darkness which rises at the road s sides like an imprisoning wall. A sound of hurried footfalls, muffled by the dust, comes from the road she is watching. She gives a startled gasp. Her eyes strain to identify the oncomer. Uncertain, trembling with fright, she hesitates a second; then darts to the side of the road and crouches down in the shadow. STEPHEN MURRAY comes down the road from the left. He stops by the sign-post and peers about him. He wears a cap, the peak of which casts his face into shadow. Finally he calls in a low voice:} MURRAY Eileen ! EILEEN [Coming out quickly -from her hiding place with a glad little cry.~\ Stephen! At last! [She runs to him as if she were going to fling her arms about him but stops abashed. He reaches out and takes her hands. ] MURRAY At last? It can t be twelve yet. [He leads her to the pile of stones on the left.] I haven t heard the village clock. EILEEN I must have come early. It seemed as if I d been waiting for ages. I was so anxious MURRAY How your hands tremble! Were you frightened ? EILEEN [Forcing a smile.] A little. The woods THE STRAW 89 are so black and queer looking. I m all right now. MURRAY Sit down. You must rest. [In a tone of annoyed reproof. ] I m going to read you a lec ture, young lady. You shouldn t ever have done this running a temp and Good heavens, don t you want to get well? EILEEN [Dully. } I don t know MURRAY [Irritably. ] You make me ill when you talk that way, Eileen. It doesn t sound like you at all. What s come over you lately ? Get a grip on yourself, for God s sake. I was knocked out when I read the note you slipped me after supper. I didn t get a chance to read it until late, I was so busy packing, and by that time you d gone to your cottage. If I could have reached you any way I d have refused to come here, I tell you straight. But I couldn t and I knew you d be here waiting and still, I feel guilty. Damn it, this isn t the thing for you ! You ought to be in bed asleep. Can t you look out for yourself? EILEEN [Humbly. ] Please, Stephen, don t scold me. MURRAY How the devil did you ever get the idea meeting me here at this ungodly hour? EILEEN You d told me about your sneaking out that night to go to the village, and I thought there d be no harm this one night the last night. MURRAY But I m well. I ve been well. It s dif ferent. You Honest, Eileen, you shouldn t lose sleep and tax your strength. 90 THE STRAW EILEEN Dpn t scold me, please. I ll make up for it. I ll rest all the time after you re gone. I just had to see you some way somewhere where there weren t eyes and ears on all sides when you told me after dinner that Doctor Stanton had ex amined you and said you could go tomorrow [A clock in the distant village begins striking.] Ssshh ! Listen. MURRAY That s twelve now. You see I was early. [In a pause of silence they wait motionlessly until the last mournful note dies m the hushed woods. ] EILEEN [In a stifled voice.] It isn t tomorrow now, is it? It s today the day you re going. MURRAY [Something in her voice making him avert his face and kick at the heap of stones on which she is sitting brusquely] Well, I hope you took precautions so you wouldn t be caught sneaking out. EILEEN I did just what you d told me you did stuffed the pillows under the clothes so the watch man would think I was there. MURRAY None of the patients on your porch saw you leave, did they? EILEEN No. They were all asleep. MURRAY That s all right, then. I wouldn t trust any of that bunch of women. They d be only too tickled to squeal on you. [There is an uncom fortable pause. MURRAY seems waiting for her to speak. He looks about him at the trees, up into the moonlit sky, breathing in the -fresh night air with a healthy delight. EILEEN remains with downcast THE STRAW 91 head, staring at the road.~\ It s beautiful tonight, isn t it? Worth losing sleep for. EILEEN [Dully.] Yes. [Another pause finally she murmurs faintly. ,] Are you leaving early? MURRAY Tfce ten-forty. Leave the San at ten, I guess. EILEEN You re going home? MURRAY Home? You mean to the town? No. But I m going to see my sisters just to say hello. I ve got to, I suppose. I won t stay more than a few days, if I can help it. EILEEN I m sure I ve often felt you re un just to your sisters. [TFi& conviction.] I m sure they, must both love you. MURRAY [Frowning.] Maybe, in their own way. But what s love without a glimmer of understanding a nuisance! They have never seen the real me and never have wanted to that s all. EILEEN [As if to herself.] What is the real you? [MURRAY kicks at the stones impatiently without answering. EILEEN hastens to change the subject.] And then you ll go to New York? MURRAY [Interested at once.] Yes. You bet. EILEEN And write more? MURRAY Not in New York,, no. I m going there to take a vacation, and live, really enjoy myself for a while. I ve enough money for that as it is and if the other stories you typed sell I ll be as rich as Rockefeller. I might even travel No, I ve got to make good with my best stuff first. I ll save the 92 THE STRAW travelling as a reward, a prize to gain. That ll keep me at it. I know what I ll do. When I ve had enough of New York, I ll rent a place in the coun try some old farmhouse and live alone there and work. [Lost m his own plans with pleasure.] That s the right idea, isn t it? EILEEN [Trying to appear enthused.] It ought to be fine for your work. [After a pause.] They re fine, those stories you wrote here. They re so much like you. I d know it was you wrote them even if I didn t know. MURRAY [Pleased.] Wait till you read the others I m going to do! [After a slight pause with a good-natured grin.] Here I am talking about myself again ! Why don t you call me down when I start that drivel? But you don t know how good it is to have your dreams coming true. It d make an egotist out of anyone. EILEEN [Sadly.] No. I don t know. But I love to hear you talk of yours. MURRAY [With an embarrassed laugh] Thanks. Well, I ve certainly told you all of them. You re the only one [He stops and abruptly changes the subject] You said in your note that you had something important to tell me. [He sits down be side her, crossing his legs.] Is it about your inter view with Old Mrs. Grundy this afternoon? EILEEN No, that didn t amount to anything. She seemed mad because I told her so little. I think she guessed I only told her what I did so she d let THE STRAW 93 me stay up, maybe your last day, and to keep her from thinking what she did about us. MURRAY [Quickly, as if he. wishes to avoid this subject.] What is it you wanted to tell me, then? EILEEN [Sadly.] It doesn t seem so important now, somehow. I suppose it was silly of me to drag you out here, just for that. It can t mean anything to you much. MURRAY [Encouragingly.] How do you know it can t? EILEEN [Slowly.] I only thought you might like to know. MURRAY [Interestedly.] Know what? What is it? If I can help EILEEN No. [After a moment s hesitation.] I wrote to him this afternoon. MURRAY Him ? EILEEN The letter you ve been advising me to write. MURRAY [As if the knowledge of this alarmed him haltingly.] You mean Fred Nicholls? EILEEN Yes. MURRAY [After a pause uncomfortably.] You mean you broke it all off? EILEEN Yes for good. [She looks up at his averted face. He remains suent. She continues ap prehensively.] You don t say anything. I thought you d be glad. You ve always told me it was the honorable thing to do. MURRAY [Gruffly.] I know. I say more than 94 THE STRAW my prayers, damn it! [TFi/t sudden eagerness.] Have you mailed the letter yet? EILEEN Yes. Why? MURRAY [Shortly.] Humph. Oh nothing. EILEEN [With pained disappointment] Oh, Stephen, you don t think I did wrong, do you now after all you ve said? MURRAY [Hurriedly] Wrong? No, not if you were convinced it was the right thing to do yourself if you know you don t love him. But I d hate to think you did it just on my say-so. I shouldn t - I didn t mean to interfere. I don t know enough about your relations for my opinion to count. EILEEN [Hurt] You know all there is to know. MURRAY I didn t mean anything like that. I know you ve been frank. But him I don t know him. How could I, just meeting him once? He may be quite different from my idea. That s what I m getting at. I don t want to be unfair to him. EILEEN [Bitterly scornful] You needn t worry. You weren t unfair. And you needn t be afraid you were responsible for my writing. I d been going to for a long time before you ever spoke. MURRAY [With a relieved sigh] I m glad of that honestly, Eileen. I felt guilty. I shouldn t have knocked him behind his back without knowing him at all. EILEEN You said you could read him like a book from his letters I showed you. MURRAY [Apologetically] I know. I m a fool. THE STRAW 95 EILEEN [Angrily.] What makes you so consid erate of Fred Nicholls all of a sudden? What you thought about him was right. MURRAY [Vaguely.] I don t know. One makes mistakes. EILEEN [Assertively.] Well, I know! You needn t waste pity on him. He ll be only too glad to get my letter. He s been anxious to be free of me ever since I was sent here, only he thought it wouldn t be decent to break it off himself while I was sick. He was afraid of what people would say about him when they found it out. So he s just gradually stopped writing and coming for visits, and waited for me to realize. And if I didn t, I know he d have broken it off himself the first day I got home. I ve kept persuading myself that, in spite of the way he s acted, he did love me as much as he could love anyone, and that it would hurt him if I But now I know that he never loved me, that he couldn t love anyone but himself. Oh, I don t hate him for it. He can t help being what he is. And all people seem to be like that, mostly. I m only going to remember that he and I grew up to gether, and that he was kind to me then when he thought he liked me and forget all the rest. [ With agitated impatience. ] Oh, Stephen, you know all this I ve said about him. Why don t you admit it? You ve read his letters. MURRAY [Haltingly.] Yes, I ll admit that was my opinion only I wanted to be sure you d found out for yourself. 96 THE STRAW EILEEN [Defiantly. ] Well, I have ! You see that now, don t you? MURRAY Yes; and I m glad you re free of him, for your own sake. I knew he wasn t the person. [With an attempt at a joking tone.] You must get one of the right sort next time. EILEEN [Springing to her feet with a cry of pain.] Stephen! [He avoids her eyes which search his face pleadingly.] MURRAY [Mumbling. ] He wasn t good enough to lace your shoes nor anyone else, either. EILEEN [With a nervous laugh. } Don t be silly. [After a pause during which she waits hun grily for some word from him with a sigh of de spair faintly.] Well, I ve told you all there is. I might as well go back. MURRAY [Not looking at .her indistinctly.] Yes. You mustn t lose too much sleep. I ll come to your cottage in the morning to say good-bye. They ll permit that, I guess. EILEEN [Stands looking at him imploringly, her face convulsed with anguish, but he keeps his eyes fixed on the rocks at his feet. Finally she seems to give up and takes a few uncertain steps up the road toward the right in an exhausted whisper.] Good night, Stephen. MURRAY [His voice choked and husky.] Good night, Eileen. EILEEN [Walks weakly up the road but, as she passes the signpost, she suddenly stops and turns THE STRAW 97 to look again at MURRAY who has not moved or lifted his eyes. A great shuddering sob shatters her pent-up emotions. She runs back to MURRAY, her arms outstretched, with a chokmg cry.] Stephen! MURRAY [Startled, whirls to face her and finds her arms thrown around his neck m a terrified tone.] Eileen! EILEEN [Brokenly.] I love you, Stephen you! That s what I wanted to tell! [She gazes up into his eyes, her face transfigured by the joy and pain of this abject confession.] MURRAY [Wincing as if this were the thing he had feared to hear. ] Eileen ! EILEEN [Pulling down his head with fierce strength and kissing him passionately on the lips.] I love you! I will say it! There! [With sudden horror.] Oh, I know I shouldn t kiss you! I mustn t! You re all well and I MURRAY [Protesting frenziedly.] Eileen! Damn it ! Don t say that ! What do you think I am ! [He kisses her fiercely two or three times until she forces a hand over her mouth.] EILEEN [With a hysterically happy laugh.] No ! Just hold me in your arms just a little while bef o re MURRAY [His voice trembling.] Eileen! Don t talk that way! You re it s killing me. I can t stand it! EILEEN [with soothing tenderness.] Listen, dear listen and you won t say a word I ve 98 THE STRAW so much to say till I get through please, will you promise? MURRAY [Between clmched teeth.} Yes any thing, Eileen ! EILEEN Then I want to say I know your se cret. You don t love me Isn t that it? [MUR RAY groans.} Ssshh! It s all right, dear. You can t help what you don t feel. I ve guessed you didn t right along. And I ve loved you such a long time now always, it seems. And you ve sort of guessed that I did didn t you? No, don t speak! I m sure you ve guessed only you didn t want to know that did you? when you didn t love me. That s why you were lying but I saw, I knew ! Oh, I m not blaming you, darling. How could ;I never! You mustn t look so so frightened. I ,know how you felt, dear. I ve I ve watched you. It was just a flirtation for you at first. Wasn t it? Oh, I know. It was just fun, and Please don t look at me so. I m not hurting you, am I? I wouldn t for worlds, dear you know hurt you ! And then afterwards you found we could be such good friends helping each other and you wanted it to stay just like that always, didn t you? I know and then I had to spoil it all and fall in love with you didn t I? Oh, it was stupid I shouldn t I couldn t help it, you were so kind and and different and I wanted to share in your work and and everything. I knew you wouldn t want to know I loved you when you didn t and I tried THE STRAW 99 hard to be fair and hide my love so you wouldn t see and I did, didn t I, dear? You never knew till just lately maybe not till just today did you? when I knew you were going away so soon and couldn t help showing it. You never knew before, did you? Did you? MURRAY [Miserably.] No. Oh, Eileen Eileen, I m so sorry ! EILEEN [In heart-broken protest.] Sorry? Oh 110, Stephen, you mustn t be! It s been beautiful all of it for me ! That s what makes your going so hard. I had to see you tonight I d have gone crazy if I didn t know you knew, if I hadn t made you guess. And I thought if you knew about my writing to Fred that maybe it d make some difference. [MURRAY groans and she laughs hys teric ally.] I must have been crazy to think that mustn t I? As if that could when you don t love me. Sshh! Please! Let me finish. You mustn t feel sad or anything. It s made me happier than I ve ever been loving you even when I did know you didn t. Only now you ll forgive me telling you all this, won t you, dear? Now, it s so terrible to think I won t see you any more. I ll feel so with out anybody. MURRAY [Brokenly.] But I ll come back. And you ll be out soon and then EILEEN [Brokenly.] Sshh! Let me finish. You don t know how alone I am now. Father he ll marry that housekeeper and the children 100 THE STRAW they ve forgotten me. None of them need me any more. They ve found out how to get on without me and I m a drag dead to them no place for me home any more and they ll be afraid to have me back afraid of catching I know she won t want me back. And Fred he s gone he never mattered, anyway. Forgive me dear worrying you only I want you to know how much you ve meant to me so you won t forget ever after you ve gone. MURRAY [In grief-stricken tones.] Forget? Eileen ! I ll do anything in God s world EILEEN I know you like me a lot even if you can t love me don t you? {His arms tighten about her as he bends down and forces a Jciss on her lips again.] Oh Stephen! That was for good-bye. You mustn t come tomorrow morning. I couldn t bear having you with people watching. But you ll write after often won t you? [Heartbrokerily.] Oh, please do that, Stephen! MURRAY. I will! I swear! And when you get out I ll we ll I ll find something [He kisses her again.] EILEEN [Breaking away from him with a quick movement and stepping back a few feet.] Good-bye darling. Remember me and perhaps you ll find out after a time I ll pray God to make it so ! Oh, what am I saying? Only I ll hope I ll hope till I die! MURRAY [In anguish.] Eileen! THE STRAW , , EILEEN [Her breath coming in tremulous heaves of her bosom.] Remember, Stephen if ever you want I ll do anything anything you want no matter what I don t care there s just you and don t hate me, dear. I love you love you remember! [She suddenly turns and runs away up the road.] MURRAY Eileen ! [He starts to run after her but stops by the signpost and stamps on the ground furiously, his fists clenched in impotent rage at him self and at fate. He curses hoarsely.] Christ! [The Curtain Falls] ACT in ACT III SCENE Four months later. An isolation room at the infirmary with a sleeping porch at the right of it. Late afternoon of a Sunday toward the end of October. The room, extending two- thirds of the distance from left to right, is, for reasons of space economy, scantily furnished with the bare necessities a bureau with mirror m the left corner, rear two straight-backed chairs a table with a glass top in the center. The fioor is varnished hardwood. The walls and furniture are painted white. On the left, forward, a door to the hallway. On the right, rear, a double glass door opening on the porch. Farther front two windows. The porch, a screened-in continuation of the room, contains only a single iron bed painted white, and a small table placed beside the bed. The woods, the leaves of the trees rich in their autumn coloring, rise close about this side of the Infirmary. Their branches almost touch the porch on the right., In the rear of the porch they have been cleared away from the building for a narrow space, and through this opening 105 106 THE STRAW the distant hills can be seen with the tree tops glowing in the sunlight. As the curtain rises, Eileen is discovered ly ing in the bed on the porch, propped up into a half -sit ting position by pillows under her back and head. She seems to have grown much thin ner. Her face is pale and drawn with deep hollows under her cheek-bones. Her eyes are dull and lusterless. She gazes straight before her into the wood with the unseeing stare of apathetic indifference. The door from the hall in the room behind her is opened and Miss How ard enters followed by Bill Carmody, Mrs. Bren>- nan, and Mary. Carmody s manner is unwont- edly sober and subdued. This air of respect able sobriety is further enhanced by a black suit, glaringly new and stiffly pressed, a new black derby hat, and shoes polished like a mir ror. His expression is full of a bitter, if sup pressed, resentment. His gentility is evidently forced upon him in spite of himself and corre spondingly irksome. Mrs. Brennan is a tall, stout woman of fifty, lusty and loud-voiced, with a broad, snub-nosed, florid face, a large mouth, the upper lip darkened by a suggestion of mus tache, and little round blue eyes, hard and rest less with a continual fuming irritation. She is got up regardless in her ridiculous Sunday - best. Mary appears tall and skinny-legged in a starched, outgrown frock. The sweetness of THE STRAW 107 her face has disappeared, giving way to a hang dog sullenness, a stubborn silence, with sulky, furtive glances of rebellion directed at her step mother. Miss HOWARD [Pointing to the porch.] She s out there on the porch. MRS. BRENNAN [With dignity. ] Thank you, ma am. Miss HOWARD [With a searching glance at the visitors as if to appraise their intentions.] Eileen s been very sick lately, you know, so be careful not to worry her about anything. Do your best to cheer her up. CARMODY [Mournfully.] We ll try to put life in her spirits, God help her. [With an uncertain look at Mrs. Brennan.] Won t we, Maggie? MRS. BRENNAN [Turning sharply on Mary who has gone over to examine the thmgs on the bureau.] Come away from that, Mary. Curiosity killed a cat. Don t be touchin her things. Remember what I told you. Or is it admirin your mug in the mirror you are? [Turning to Miss Howard as Mary moves away from the bureau, hanging her head shortly.] Don t you worry, ma am. We won t trouble Eileen, at all. Miss HOWARD Another thing. You mustn t ,say anything to her of what Miss Gilpin just told you about her being sent away to the State Farm in a 108 THE STRAW few days. Eileen isn t to know till the very last minute. It would only disturb her. CARMODY [Hastily.] We ll not say a word of it. Miss HOWARD [Turning to the hall door. } Thank you. [She goes out, shutting the door] MRS. BRENNAN [Angrily. ] She has a lot of im pudent gab, that one, with her don t do this and don t do that! It s a wonder you wouldn t speak up to her and shut her mouth, you great fool, and you pay in money to give her her job. [Disgust edly.] You ve no spunk in you. CARMODY [Placatingly.] Would you have me raisin a shindy when Eileen s leavin here in a day or more? What d be the use? MRS. BRENNAN In the new place she s goin you ll Hot have to pay a cent, and that s a blessing! It s small good they ve done her here for all the money they ve taken. [Gazing about the room critically. ] It s neat and clean enough; and why shouldn t it, a tiny room and the lot of them nothing to do all clay but scrub. [Scornfully. } Two sticks of chairs and a table ! They don t give much for the money. CARMODY Catch them! It s a good thing she s clearin out of this and her worse off after them curin her eight months than she was when she came. She ll maybe get well in the new place. MRS. BRENNAN [Indifferently.] It s God s will, what ll happen. [Irritably.] And I m thinkin it s His punishment she s under now for having no heart in her and never writin home a word to you or the THE STRAW 109 children in two months or more. If the doctor hadn t wrote us himself to come see her, she was sick, we d have been no wiser. CARMODY Whisht! Don t be blamin a sick girl. MARY [Who has drifted to one of the windows at right curiously.] There s somebody in bed out there. I can t see her face. Is it Eileen? MRS. BRENNAN Don t be goin out there till I tell you, you imp ! I must speak to your father first. [Coming closer to him and lowering her voice.] Are you going to tell her about it? CARMODY [Pretending ignorance] About what? MRS. BRENNAN About what, indeed ! Don t pre tend you don t know. About our marryin* two weeks back, of course. What else? CARMODY [Uncertainly] Yes I disremem- bered she didn t know. I ll have to tell her, surely. MRS. BRENNAN [Flaring up] You speak like you wouldn t. Is it shamed of me you are? Are you afraid of a slip of a girl? Well, then, I m not! I ll tell her to her face soon enough. CARMODY [Angry in his turn assertively] You ll not, now! Keep your mouth out of this and your rough tongue ! I tell you I ll tell her. MRS. BRENNAN [Satisfied] Let s be going out to her, then. [They move toward the door to the porch] And keep your eye on your watch. We mustn t miss the train. Come with us, Mary, and remember to keep your mouth shut. [They go out on the porch and stand just outside the door wait- 110 THE STRAW ing for Eileen to notice them; but the girl in bed con tinues to stare into the woods, oblivious to their presence.] MRS. BRENANN [Nudging CARMODY with her elbow in a harsh whisper .] She don t see us. It s a clream she s in with her eyes open. Glory be, it s bad she s lookin . The look on her face d frighten you. Speak to her, you ! [Eileen stirs uneasily as if this whisper had disturbed her unconsciously.] CARMODYT [Wetting his lips and clearing his throat huskily.] Eileen. EILEEN [Startled, turns and stares at them with frightened eyes. After a pause she ventures uncer tainly as if she were not sure but what these figures might be creatures of her dream.] Father. [Her eyes shift to MRS. BRENNAN S face and she shudders.] Mrs. Brennan. MRS. BRENNAN [Quickly in a voice meant to be kindly.] Here we are, all of us, come to see you. How is it you re feelin now, Eileen? [While she is talking she advances to the bedside, followed by CARMODY, and takes one of the sick girl s hands in hers. Eileen withdraws it as if stung and holds it out to her father. Mrs. Brennan s face flushes angrily and she draws back from the bedside.] CARMODY [Moved with rough tenderness pat ting her hand.] Ah, Eileen, sure it s a sight for sore eyes to see you again ! [He bends down as if to kiss her, but, struck by a sudden fear, hesitates, straightens himself, and shamed by the understand- THE STRAW 111 ing m Eileen s eyes, grows red and stammers con fusedly.] How are you now? Sure it s the picture of health you re lookin . [Eileen sighs and turns her eyes away from him with a resigned sadness.] MRS. BRENNAN What are you standin there for like a stick, Mary? Haven t you a word to say to your sister? EILEEN [Twisting her head around and seeing Mary for the first time with a glad cry] Mary! I why I didn t see you before ! Come here. [Mary approaches gingerly with apprehensive side glances at Mrs. Brennan who watches her grimly. Eileen s arms reach out for her hungrily. She grasps her about the waist and seems trying to press the un willing child to her breast] MARY [Fidgetting nervously suddenly in a frightened whine] Let me go ! [Eileen releases her 9 looks at her face dazedly for a second, then falls back limply with a little moan and shuts her eyes. Mary, who has stepped back a pace, remains fixed there as if fascinated with fright by her sister s face. She stammers.] Eileen you look so so funny. EILEEN [Without opening her eyes m a dead voice] You, too! I never thought you Go away, please. MRS^ BRENNAN [With satisfaction] Come here to me, Mary, and don t be botherin your sister. [Mary avoids her step-mother but retreats to the far end of the porch where she stands shrunk back 118 THE STRAW against the wall, her eyes fixed on Eileen with the same fascinated horror.] CARMODY [After an uncomfortable pause, /ore- ing himself to speak.] Is the pain bad, Eileen? EILEEN [Dully without opening her eyes.] ^here s no pain. [There is another pause then she murmurs indifferently.] There are chairs in the room you can bring out if you want to sit down. MRS. BRENNAN [Sharply.] We ve not time to be sittin . We ve the train back to catch. EILEEN [In the same lifeless voice.] It s a dis agreeable trip. I m sorry you had to come. CARMODY [Fighting against an oppression he cannot understand, bursts into a flood of words.] Don t be talking of the trip. Sure we re glad to take it to get a sight of you. It s three months since I ve had a look at you and I was anxious. Why haven t you written a line to us? You could do that without trouble, surely. Don t you ever think of us at all any more? [He waits for an an swer but EILEEN remains silent with her eyes closed. CARMODY starts to walk up and down talking with an air of desperation.] You re not asking a bit of news from home. I m thinkin the people out here have taken all the thought of us out of your head. We re all well, thank God. I ve another good job on the streets from Murphy and one that ll last a long time, praise be! I m needin it surely, with all the expenses but no matter. Billy had a raise from his old skinflint of a boss a month back. .THE STRAW 113 He s gettin seven a week now and proud as a turkey. He was comin out with us today but he d a date with his girl. Sure, he s got a girl now, the young bucko ! What d you think of him? It s old Malloy s girl he s after the pop-eyed one with glasses, you re member as ugly as a blind sheep, only he don t think so. He said to give you his love. [EILEEN stirs and sighs wearily, a frown appearing for an instant on her forehead. ] And Tom and Nora was comin out too, but Father Fitz had some doin s or other up to the school, and he told them to be there, so they wouldn t come with us, but they sent their love to you too. They re growin so big you d not know them. Tom s no good at the school. He s like Billy was. I ve had to take the strap to him often. He s always playin hooky and roamin the streets. And Nora [With pride.~\ There s the divil for you! Up to everything she is and no holdin her high spirits. As pretty as a picture, and the smartest girl in her school, Father Fitz says. Am I lyin , Maggie? MRS. BRENNAN [Grudgingly.] She s smart enough and too free with her smartness. CARMODY [Pleased] Ah, don t be talkin ! She ll know more than the lot of us before she s grown even. [He pauses in his walk and stares down at EILEEN, frowning.] Are you sick, EILEEN, that you re keepin your eyes shut without a word out of you? EILEEN [Wearily.] No. I m tired, that s all. 114 THE STRAW CARMODY [Resuming his walk] And who else is there, let me think? Oh, Mary she s the same as ever, you can see for yourself. EILEEN [Bitterly.] The same? Oh, no! CARMODY She s grown, you mean? I suppose. You d notice, not seeing her so long? [He can think of nothing else to say but walks up and down with a restless, uneasy expression.] MRS. BRENNAN [Sharply] What time is it gettin ? CARMODY [Fumbles for his watch] Half past four, a bit after. MRS. BRENNAN We ll have to leave soon. It s a long jaunt down that hill in that buggy. [She catches his eye and makes violent signs to him to tell EILEEN what he has come to tell] CARMODY [After an uncertain pause clenching his fists and clearing his throat.] Eileen. EILEEN Yes. CARMODY [Irritably] Can t you open your eyes on me? It s like talkin to myself I am? EILEEN [Looking at him dully] What is it? CARMODY [Stammering avoiding her glance] It s this, Eileen me and Maggie Mrs. Brennan, that is we EILEEN [Without surprise] You re going to marry her ? CARMODY [W r /& an effort.] Not goin to. It s done. EILEEN [Without a trace of feeling.] Oh, so THE STRAW 115 you ve been married already? [Without further comment, she closes her eyes.] CARMODY Two weeks back we were, by Father Fitz. [He stands staring down at his daughter, irri tated, perplexed and confounded by her silence, look ing as if he longed to shake her.] MRS. BRENNAN [Angry at the lack of enthusi asm shown by EILEEN.] Let us get out of this, Bill. We re not wanted, that s plain as the nose on your face. It s little she s caring about you, and little thanks she has for all you ve done for her and the money you ve spent. CARMODY [With a note of pleading.] Is that a proper way to be treatin your father, Eileen, after what I ve told you? Have you no heart in you at all? Is it nothin to you you ve a good, kind woman now for mother? EILEEN [Fiercely, her eyes flashing open on him.] No, No! Never! MRS. BRENNAN [Plucking at CARMODY S elbow. He stands looking at EILEEN helplessly, his mouth open, a guilty flush spreading over his face.] Come out of here, you big fool, you! Is it to listen to insults to your livin wife you re waiting? Am I to be tormented and you never raise a hand to stop her? CARMODY [Turning on her threateningly.] Will you shut your gab? EILEEN [With a moan.] Oh, go away, Father! Please ! Take her away ! 116 THE STRAW MRS. BRENNAN [Pulling at his arm.~\ Take me away this second or I ll go on without you and never speak again to you till the day I die! CARMODY [Pushes her violently away from him raging, his fist uplifted.] Shut your gab, I m saying ! MRS. BRENNAN The divil mend you and yours then! I m leavin you. [She starts for the door.] CARMODY [Hastily.] Wait a bit, Maggie. I m comin . [She goes into the room, slamming the door, but once inside she stands still, trying to listen. CARMODY glares down at his daughter s pale twitch ing face with the closed eyes. Finally he croaks in a whining tone of fear."] Is your last word a cruel one to me this day, Eileen? [She remains silent. His face darkens. He turns and strides out of the door ^ Mary darts after him with a frightened cry of f( Papa." EILEEN covers her face with her hands and a shudder of relief runs over her body.] MRS. BRENNAN [As CARMODY enters the room in a mollified tone.] So you ve come, have you? Let s go, then? [CARMODY stands looking at her in silence, his expression full of gloomy rage. She bursts out impatiently.] Are you comin or are you goin* back to her? [She grabs MARY S arm and pushes her toward the door to the hall.] Are you comin or not, I m asking? CARMODY [Somberly as if to himself.] There s something wrong in the whole of this that I can t make out. [With sudden fury he brandishes his fists THE STRAW 117 as though defying someone and growls threaten ingly J\ And I ll get drunk this night dead, rotten drunk! [He seems to detect disapproval in MRS. BRENNAN S face for he shakes his fist at her and repeats like a solemn oath.~\ I ll get drunk this night, I m sayin ! I ll get drunk if my soul roasts for it and no one in the whole world is strong enough to stop me ! [MRS. BRENNAN turns from him with a Disgusted shrug of her shoulders and hustles MARY out of the door. CARMODY, after a second s pause, follows them. EILEEN lies still, look ing out into the woods with empty, desolate eyes. Miss HOWARD comes into the room from the hall and goes to the porch, carrying a glass of milk in her hand.~\ Miss HOWARD Here s your diet, Eileen. I for got it until just now. Sundays are awful days, aren t they? They get me all mixed up in my work, with all these visitors around. Did you have a nice visit with your folks ? EILEEN [Forcing a smile. } Yes. Miss HOWARD You look worn out. I hope they didn t worry you over home affairs ? EILEEN No. [She sips her milk and sets it back on the table with a shudder of disgust. ] Miss HOWARD [With a smile.] What a face! You d think you were taking poison. EILEEN I hate it! [With deep passion.] I wish it was poison ! Miss HOWARD [Jokingly.] Oh, come now! That 118 THE STRAW isn t a nice way to feel on the Sabbath. [With a meaning smile.] I ve some news that ll cheer you up, I bet. [Archly.] Guess who s here on a visit? EILEEN [Startled- m a frightened whisper.] Who? Miss HOWARD Mr. Murray. [EILEEN closes her eyes wincingly "for a moment and a shadow of pain comes over her face.] He just came about the time your folks did. I saw him for a moment, not to speak to. He was going to the main building to see Doc tor Stanton, I suppose. [Beaming with a certain curiosity.] What do you think of that for news? EILEEN [Trying to conceal her agitation and assume a casual tone.] He must have come to be ex amined. Miss HOWARD [With a meaning laugh.] Oh, I d hardly say that was his main reason. He does look much thinner and very tired, though. I sup pose he s been working too hard. [In business-like tones.] Well, I ve got to get back on the job. [She turns to the door calling back jokingly.] He ll be in to see you of course, so look your prettiest. [She goes out and shuts the door to the porch. EILEEN gives a frightened gasp and struggles up m bed as if she wanted to call the nurse to return. Then she lies back in a state of great nervous excitement, twisting her head with eager, -fearful glances toward the door, listening, clasping and unclasping her thin fingers on the white spread. As Miss HOWARD walks across the room to the hall door, it is opened and THE STRAW 119 STEPHEN MURRAY enters. A great change is visible in his face. It is much thinner and the former healthy tan has faded to a sallow pallor. Puffy shadows of sleeplessness and dissipation are marked under his heavy-lidded eyes. He is dressed in a well-fitting, expensive, dark suit, a white shirt with a soft collar and bright-colored tie. ] Miss HOWARD [With pleased surprise, holding out her hand.] Hello, Mr. Murray. MURRAY [Shaking her hand with a forced pleasantness.] How are you, Miss Howard? Miss HOWARD Fine as ever. It certainly looks natural to see you around here again not that I hope you re here to stay, though. [With a smile. ] I suppose you re on your way to Eileen now. Well, I won t keep you. I ve oodles of work to do. [She opens the hall door. He starts for the porch.] Oh, I was forgetting Congratulations ! I ve read those stories all of us have. They re great. We re all so proud of you. You re one of our graduates, you know. MURRAY [Indifferently.] Oh, that stuff. Miss HOWARD [Gaily.] Don t be so modest. Well, see you later, I hope. MURRAY Yes. Doctor Stanton invited me to stay for supper and I may Miss HOWARD Fine ! Be sure to ! \She goes out. MURRAY walks to porch door and steps out. He -finds EILEEN S eyes waiting for him. As their eyes meet she gasps involuntarily and he stops short 120 THE STRAW in his tracks. For a moment they remain looking at each other in silence. ] EILEEN [Dropping her eyes faintly.} Stephen. MURRAY [Much moved, strides to her bedside and takes her hands awkwardly.] Eileen. [Then after a second s pause m which he searches her face and is shocked by the change illness has made anx iously.] How are you feeling, Eileen? [He grows confused by her gaze and his eyes shift from hers, which search his face with wild yearning.] EILEEN [Forcing a smile.] Oh, I m all right. [Eagerly.] But you, Stephen? How are you? [Excitedly.] Oh, it s good to see you again! [Her eyes continue fixed on his face pleadingly, question- ingly.] MURRAY [Haltingly.] And it s sure great to see you again, Eileen. [He releases her hand and turns away.] And I m fine and dandy. I look a little done up, I guess, but that s only the result of too much New York. EILEEN [Sensing from his manner that whatever she has hoped for from his visit is not to be, sinks back on the pillows, shutting her eyes hopelessly, and cannot control a sigh of pain.] MURRAY [Turning to her anxiously.] What s the matter, Eileen? You re not in pain, are you? EILEEN [Wearily.] No. MURRAY You haven t been feeling badly lately, have you? Your letters suddenly stopped not a line for the past three weeks and I THE STRAW 121 EILEEN [Bitterly.] I got tired of writing and never getting any answer, Stephen. MURRAY [Shame-faced.] Come, Eileen, it wasn t as bad as that. You d think I never and I did write, didn t I? EILEEN Right after you left here, you did, Ste phen. Lately MURRAY I m sorry, Eileen. It wasn t that I didn t mean to but in New York it s so hard. You start to do one thing and something else inter rupts you. You never seem to get any one thing done when it ought to be. You can understand that, can t you, Eileen? EILEEN [Sadly.] Yes. I understand every thing now. MURRAY [Offended."] What do you mean by ev erything? You said that so strangely. You mean you don t believe [But she remains silent with her eyes shut. He -frowns and takes to pacing up and down beside the bed.] Why have they got you stuck out here on this isolation porch, Eileen? EILEEN [Dully.] There was no room on the main porch, I suppose. MURRAY You never mentioned in any of your letters EILEEN It s not very cheerful to get letters full of sickness. I wouldn t like to, I know. MURRAY [Hurt] That isn t fair, Eileen. You know I How long have you been back in the Infirmary ? THE STRAW EILEEN About a month. MURRAY [Shocked. ] A month! But you were up and about on exercise, weren t you before that? EILEEN No. I had to stay in bed while I was at the cottage. MURRAY You mean ever since that time they sent you back the day before I left ? EILEEN Yes. MURRAY But I thought from the cheery tone of your letters that you were EILEEN [Uneasily. ] Getting better? I am, Stephen. I m strong enough to be up now but Doc tor Stanton wants me to take a good long rest this time so that when I do get up again I ll be sure [She breaks off impatiently.] But don t let s talk about it. I m all right. [MURRAY glances down at her face worriedly. She changes the subject.] You ve been over to see Doctor Stanton, haven t you? MURRAY Yes. EILEEN Did he examine you? MURRAY Yes. [Carelessly.] Oh, he found me O.K. I m fine and dandy, as I said before. EILEEN I m glad, Stephen. [After a pause."] Tell about yourself what you ve been doing. You ve written a lot lately, haven t you? MURRAY [Frowning.] No. I haven t been able to get down to it somehow. There s so little time to yourself once you get to know people in New THE STRAW 123 York. The sale of the stories you typed put me on easy street as far as money goes, so I ve felt no need [He laughs weakly. ] I guess I m one of those who have to get down to hard pan before they get the kick to drive them to hard work. EILEEN [Surprised. } Was it hard work writ ing them up here? You used to seem so happy just in doing them. MURRAY I was happier than I ve been before or afterward. [Cynically.] But I don t know it was a new game to me then and I was chuck full of illusions about the glory of it. [He laughs half heartedly.] Now I m hardly a bit more enthusiastic over it than I used to be over newspaper work. It s like everything else, I guess. When you ve got it, you find you don t want it. EILEEN [Looking at him wonderingly dis turbed.] But isn t just the writing itself worth while? MURRAY [As if suddenly ashamed of himself quickly] Yes. Of course it is. I m talking like a fool. I m sore at everything because I m dissatisfied with my own cussedness and laziness and I want to pass the buck. [With a smile of cheerful confidence] It s only a fit. I ll come out of it all right and get down to brass tacks again. EILEEN [With an encouraging smile] That s the way you ought to feel. It d be wrong I ve read the two stories that have come out so far over and over. They re fine, I think. Every line in them THE STRAW sounds like you, and at the same time sounds natural and like people and things you see every day. Ev erybody thinks they re fine, Stephen. MURRAY [Pleased but pretending cynicism.] Then they must be rotten. [Then with self-assur ance. } Well, I ve plenty more of those stories in my head. Every time I think of my home town there seems to be a new story in someone I ve known there. [Spiritedly.] Oh, I ll pound them out sometime when the spirit moves ; and I ll make them so much better than what I ve done so far, you won t recog nize them. I feel it s in me to do it. [Smiling. ] Darn it, do you know just talking about it makes, me feel as if I could sit right down now and start in on one. Is it the fact Fve worked here before or is it seeing you, Eileen? [Gratefully.] I really be lieve it s you. I haven t forgotten how you helped me before. EILEEN [In a tone of pain.] Don t, Stephen. I didn t do anything. MURRAY [Eagerly.] Yes, you did. You made it possible. I can t tell you what a help you were. And since I ve left the San, I ve looked forward to your letters to boost up my spirits. When I felt down in the mouth over my own idiocy, I used to re read them, and they always were good medicine. I can t tell you how grateful I ve felt, honestly ! EILEEN [Faintly.] You re kind to say so, Ste phen but it was nothing, really. MURRAY And I can t tell you how I ve missed THE STRAW 125 those letters for the past three weeks. They left a big hole in things. I was worried about you not having heard a word. [With a smile .] So I came to look you up. EILEEN [Faintly, forcing an answering smile. } Well, you see now Fm all right. MURRAY [Concealing his doubt.} Yes, of course you are. Only I d a darn sight rather see you up and about. We could take a walk, then through the woods. [A wince of pain shadows EILEEN S face. She closes her eyes. MURRAY continues softly, after a pause.} You haven t forgotten that last night out there Eileen? EILEEN [Her lips trembling trying to force a laugh.} Please don t remind me of that, Stephen. I was so silly and so siclf, too. My temp was so high it must have made me completely crazy or I d never dreamed of doing such a stupid thing. My head must have been full of wheels because I don t remember anything I did or said, hardly. MURRAY [His pride taken down a peg by this in a hurt tone.} Oh! Well I haven t forgotten and I never will, Eileen. [Then his face clears up as if a weight had been taken off his conscience.} Well I rather thought you wouldn t take it seriously afterward. You were all up in the air that night. And you never mentioned it in your letters EILEEN [Pleadingly.} Don t talk about it! Forget it ever happened. It makes me feel 126 THE STRAW [with a half -hysterical laugh] like a fool ! MURRAY [Worried.] All right, Eileen. I won t. Don t get worked up over nothing. That isn t rest ing, you know. [Looking down at her closed eyes solicitously.] Perhaps all my talking has tired you out ? Do you feel done up ? Why don t you try and take a nap now? EILEEN [Dully. ] Yes, I d like to sleep. MURRAY [Clasps her hands gently.] I ll leave you then. I ll drop back to say good-bye and stay awhile before I go. I won t leave until the last train. [As she doesn t answer.] Do you hear, Eileen? EILEEN [Weakly.] Yes. You ll come back to say good-bye. MURRAY Yes. I ll be back sure. [He presses her hand and after a kindly glance of sympathy down at her face, tip-toes to the door and goes into the room, shutting the door behind him. When she hears the door shut EILEEN struggles up in bed and stretches her arms after him with an agonized sob "Stephen!" She hides her face in her hands and sobs brokenly. MURRAY walks across to the hall door and is about to go out when the door is opened and Miss GILPIN enters.] Miss GILPIN [Hurriedly.] How do you do, Mr. Murray. Doctor Stanton just told me you were here. MURRAY [As they shake hands smiling.] How are you, Miss Gilpin ? THE STRAW 127 Miss GILPIN He said he d examined you, and that you were O.K. I m glad. [Glancing at him keenly. ~\ You ve been talking to Eileen? MURRAY Just left her this second. She wanted to sleep for a while. Miss GILPIN [Wonderingly .] Sleep? [Then hurriedly.] It s too bad. I wish I d known you were here sooner. I wanted very much to talk to you before you saw Eileen. You see, I knew you d pay us a visit sometime. [With a worried smile. ] I still think I ought to have a talk with you. MURRAY Certainly, Miss Gilpin. Miss GILPIN [Takes a chair and places it near the hall door.] Sit down. She can t hear us here. Goodness knows this is hardly the place for confi dences, but there are visitors all over and it ll have to do. Did you close the door tightly? She mustn t hear me above all. [She goes to the porch door and peeks out for a moment; then comes back to him with flashing eyes.] She s crying! What have you been saying to her? Oh, it s too late, I know! The fools shouldn t have permitted you to see her before I What has happened out there? Tell me! I must know. MURRAY [Stammering.] Happened? Nothing. She s crying? Why Miss Gilpin you know I wouldn t hurt her for worlds. Miss GILPIN [More calmly.] Intentionally, I know you wouldn t. But something has happened. [Then briskly.] We re talking at cross purposes. 128 THE STRAW Since you don t seem inclined to confide in me, I ll have to in you. You noticed how badly she looks, didn t you? MURRAY Yes, I did. Miss GILPIN [Gravely.] She s been going down hill steadily [meanmgly] ever since you left. She s in a very serious state, let me impress you with that. We ve all loved her, and felt so sorry for her and admired her spirit so that s the only reason she s been allowed to stay here so long after her time. We ve kept hoping she d start to pick up in an other day in another week. But now that s all over. Doctor Stanton has given up hope of her improving here, and her father is unwilling to pay for her elsewhere now he knows there s a cheaper place the State Farm. So she s to be sent there in a day or so. MURRAY [Springing to his feet horrified. ] To the State Farm ! Miss GILPIN Her time here is long past. You know the rule and she isn t getting better. MURRAY [Appalled.] That means ! Miss GILPIN [Forcibly] Death! That s what it means for her ! MURRAY [Stunned.] Good God, I never dreamed Miss GILPIN With others it might be different. They might improve under changed surroundings. In her case, it s certain. She ll die. And it wouldn t do any good to keep her here, either. She d die THE STRAW 129 here. She ll die anywhere. She ll die because lately she s given up hope, she hasn t wanted to live any more. She s let herself go and now it s too late. MURRAY Too late? You mean there s no chance now? [Miss GILPIN nods. MURRAY is over whelmed after a pause stammering.] Isn t there anything we can do? Miss GILPIN [Sadly.] I don t know. I should have talked to you before you You see, she s seen you now. She knows. [As Tie looks mystified she continues slowly.] I suppose you know that Eileen loves you, don t you? MURRAY [As if defending himself against an ac cusation with confused alarm.] No Miss Gilpin. You re wrong, honestly. She may have felt some thing like that once but that was long ago before I left the San. She s forgotten all about it since, I know she has. [Miss GILPIN smiles bitterly.] Why, she never even alluded to it in any of her letters all these months. Miss GILPIN Did you in yours? MURRAY No, of course not. You don t under stand. Why just now she said that part of it had all been so silly she felt she d acted like a fool and didn t ever want to be reminded of it. Miss GILPIN She saw that you didn t love her any more than you did in the days before you left. Oh, I used to watch you then. I sensed what was going on between you. I would have stopped it then out of pity for her, if I could have, if I didn t know 130 THE STRAW that any interference would only make matters worse. And then I thought that it might be only a surface affair that after you were gone it would end for her. [She sighs then after a pause. .] You ll have to forgive me for speaking to you so boldly on a delicate subject. But, don t you see, it s for her sake. I love Eileen. We all do. [Averting her eyes from his in a low voice.] I know how Eileen feels, Mr. Murray. Once a long time ago I suffered as she is suffering from this same mis take. But I had resources to fall back upon that Eileen hasn t got a family who loved me and un derstood friends so I pulled through. But it spoiled my life for a long time. [Looking at him again and forcing a smile.] So I feel that perhaps I have a right to speak for Eileen who has no one else. MURRAY [Huskily much moved.] Say any thing to me you like, Miss Gilpin. Miss GILPIN [After a pause sadly.] You don t love her do you? MURRAY No I I don t believe I ve ever thought much of loving anyone that way. Miss GILPIN [Sadly.] Oh, it s too late, I m afraid. If we had only had this talk before you had seen her! I meant to talk to you frankly and if I found out you didn t love Eileen there was always the forlorn hope that you might I was going to tell you not to see her, for her sake not to let her face the truth. For I am sure she continued to hope in THE STRAW 131 spite of everything, and always would to the end if she didn t see you. I was going to implore you to stay away, to write her letters that would encourage her hope, and in that way she would never learn the truth. I thought of writing you all this but it s so delicate a matter I didn t have the courage. [With intense grief.] And now Doctor Stanton s decision to send her away makes everything doubly hard. When she knows that she will throw every thing that holds her to life out of the window! And think of it her dying there alone! MURRAY [Very pale.] Don t! That shan t hap pen. I can at least save her from that. I have money enough I ll make more to send her any place you think Miss GILPIN That is something but it doesn t touch the source of her unhappiness. If there were only some way to make her happy in the little time that is left to her ! She has suffered so much through you. Oh, Mr. Murray, can t you tell her you love her? MURRAY [After a pause slowly.] But she ll never believe me, I m afraid, now. Miss GILPIN [Eagerly] But you must make her believe! And you must ask her to marry you. If you re engaged it will give you the right in her eyes to take her away. You can take her to some private San. There s a small place but a very good one at White Lake. It s not too expensive, and it s a beautiful spot, out of the world, and you can live 132 THE STRAW and work nearby. And she ll be happy to the very last. Don t you think that s something the best you have the best you can give in return for her love for you? MURRAY [Slowly deeply moved.] Yes. [Then determinedly.] But I won t go into this thing by halves. It isn t fair to her. I m going to marry her yes, I mean it. I owe her that if it will make her happy. But to ask her without really meaning it knowing she no, I can t do that. Miss GILPIN [With a sad smile.] I m glad you feel that way. It shouldn t be hard now for you to convince her. But I know Eileen. She will never consent for your sake until she is well again. And stop and think, Mr. Murray. Even if she did consent to marry you right now the shock the ex citement it would be suicide for her. I would have to warn her against it myself ; and you wouldn t pro pose it if you knew the danger to her in her present condition. She hasn t long to live, at best. I ve talked with Dr. Stanton. I know. God knows I would be the first one to hold out hope if there was any. There isn t. It s merely a case of prolonging the short time left to her and making it happy. You must bear that in mind as a fact ! MURRAY [Dully.] All right. I ll remember. But it s hell to realize [He turns suddenly to ward the porch door.] I ll go out to her now while I feel that yes, I know I can make her believe me now. THE STRAW Miss GILPIN You ll tell me later on? MURRAY Yes. [He opens the door to the porch and goes out. Miss GILPIN stands for a moment looking after him worriedly. Then she sighs help lessly and goes out to the hall. MURRAY steps noise lessly out on the porch. EILEEN is lying motionless with her eyes closed. MURRAY stands looking at her, his face showing the emotional stress he is under, a great pitying tenderness in his eyes. Then he seems to come to a revealing decision on what is best to do for he tiptoes to the bedside and bending down with a quick movement, takes her in his arm and kisses her.] Eileen! EILEEN [Startled at first, resists automatically for a moment. ] Stephen ! [Then she succumbs and lies back in his arms with a happy sigh, putting both hands to the sides of his face and staring up at him adoringly.] Stephen, dear! MURRAY [Quickly questioning her before she can question him.] You were fibbing about that night weren t you? You do love me, don t you, Eileen? EILEEN [Breathlessly.] Yes I but you, Ste phen you don t love me. [She makes a movement as if to escape from his embrace.] MURRAY [Genuinely moved with tender reas surance.] Why do you suppose I came way up here if not to tell you I did ? But they warned me Miss Gilpin that you were still weak and that I mustn t excite you in any way. And I I didn t want but I had to come back and tell you in spite of them. 134 THE STRAW EILEEN [Convinced with a happy laugh. ] And is that why you acted so strange and cold? Aren t they silly to tell you that ! As if being happy could hurt me! Why, it s just that, just you I ve needed! MURRAY [His voice trembling.] And you ll marry me, Eileen? EILEEN [A shadow of doubt crossing her face momentarily.] Are you sure you want me, Stephen ? MURRAY [A lump in his throat huskily.] Yes. I do want you, Eileen. EILEEN [Happily. ] Then I will after I m well again, of course. [She kisses him.] MURRAY [Chokingly.] That won t be long now, Eileen. EILEEN [Joyously] No not long now that I m happy for once in my life. I ll surprise you, Stephen, the way I ll pick up and grow fat and healthy. You won t know me in a month. How can you ever love such a skinny homely thing as I am now! [With a laugh] I couldn t if I was a man love such a fright. MURRAY Ssshh ! EILEEN [Confidently] But you ll see now. I ll make myself get well. We won t have to wait long, dear. And can t you move up to the town near here where you can see me every day, and you can work and I can help you with your stories just as I used to and I ll soon be strong enough to do your typing again. [She laughs] Listen to me talking about THE STRAW 135 helping you as if they weren t all your own work, those blessed stories ! as if I had anything to do with it ! MURRAY [Hoarsely.] You had! You did! They re yours. [Trying to calm himself] But you mustn t stay here, Eileen. You ll let me take you away, won t you? to a better place not far away White Lake, it s called. There s a small private sanatorium there. Doctor Stanton says it s one of the best. And I ll live nearby it s a beautiful spot and see you every day. EILEEN [In the seventh heaven] And did you plan out all this for me beforehand, Stephen? [He nods with averted eyes. She kisses his hair] You wonderful, kind dear! And it s a small place this White Lake? Then we won t have so many people around to disturb us, will we? We ll be all to our selves. And you ought to work so well up there. I know New York wasn t good for you alone with out me. And I ll get well and strong so quick ! And you say it s a beautiful place? [Intensely] Oh, Stephen, any place in the world would be beautiful to me if you were with me ! [His face is hidden in the pillow beside her. She is suddenly startled by a muffled sob anxiously] Why Stephen you re you re crying! [The tears start to her own eyes] MURRAY [Raising his face which is this time alight with a passionate awakening a revelation] 136 THE STRAW Oh, I do love you, Eileen! I do! I love you, love you! EILEEN [Thrilled by the depth of his present sincerity but with a teasing laugh. ] Why, you say that as if you d just made the discovery, Stephen ! MURRAY Oh, what does it matter, Eileen ! I love you ! Oh, what a blind selfish ass I ve been ! I love you! You are my life everything! I love you, Eileen ! I do ! I do ! And we ll be married [Sud denly his face grows frozen with horror as he remem bers the doom. For the first time the grey spectre of Death confronts him face to face as a menacing reality. ] EILEEN [Terrified by the look in his eyes.~\ What is it, Stephen ? What ? MURRAY [With a groan protesting half- aloud in a strangled voice.] No! No! It can t be ! My God! [He clutches her hands and hides his face in them.] EILEEN [With a cry.~\ Stephen! What is the matter? [Her face suddenly betrays an awareness, an intuitive sense of the truth.] Oh Stephen [Then with a childish whimper of terror.] Oh, Stephen, I m going to die ! I m going to die ! MURRAY [Lifting his tortured face wildly.] No! EILEEN [Her voice sinking to a dead whisper.] I m going to die. MURRAY [Seizing her in his arms in a passion- THE STRAW 137 ate frenzy and pressing his lips to hers.] No, Eileen, no, my love, no ! What are you saying? What could have made you think it? You die? Why, of course, we re all going to die but Good God! What damned nonsense ! You re getting well every day. Everyone Miss Gilpin Stanton everyone told me that. I swear before God, Eileen, they did ! You re still weak, that s all. They said it won t be long. You mustn t think that not now. EILEEN [Miserably unconvinced.] But why did you look at me that way with that awful look in your eyes ? [ While she is speaking Miss GIL- PIN enters the room from the hallway. She appears worried, agitated. She hurries toward the porch but stops inside the doorway, arrested by MURRAY S voice.] MURRAY [Takes EILEEN by the shoulders and forces her to look into his eyes.] I wasn t thinking about you then No, Eileen not you. I didn t mean you but me yes, me! I couldn t tell you before. They d warned me not to excite you and I knew that would if you loved me. EILEEN [Staring at ~hvm with frightened amaze ment.] You mean you you re sick again? MURRAY [Desperately striving to convince her.] Yes. I saw Stanton. I lied to you before about that. It s come back on me, Eileen ^-you see how I look I ve let myself go. I don t know how to live without you, don t you see? And you ll marry me now without waiting and help me to get well 138 THE STRAW you and I together and not mind their lies what they say to prevent you? You ll do that, Eileen? EILEEN I ll do anything for you And I d be so happy [She breaks down.] But, Stephen, I m so afraid. I m all mixed up. Oh, Stephen, I don t know what to believe ! Miss GILPIN [Who has been listening thunder struck to MURRAY S wild pleading, at last summons up the determination to interfere steps out on the porch in a tone of severe remonstrance.] Mr. Murray ! MURRAY [Starts to his feet with wild, bewildered eyes confusedly.] Oh you [Miss GILPIN cannot restrain an exclamation of dismay as she sees his face wrung by despair. EILEEN turns her head away with a little cry as if she would hide her face in the bedclothes. A sudden fierce resolution lights up MURRAY S countenance hoarsely.] You re just in the nick of time, Miss Gilpin ! Eileen ! Listen ! You ll believe Miss Gilpin, won t you? She knows all about it. [EILEEN turns her eyes questioningly on the bewildered nurse.] Miss GILPIN What ? MURRAY [Determinedly.] Miss Gilpin, Doctor Stanton has spoken to you since he examined me. He must have told you the truth about me. Eileen doesn t believe me when I tell her I ve got T. B. again. She thinks I don t know what. I know you re not supposed to, but can t you make an ex- THE STRAW 139 ception in this case? Can t you tell Eileen the truth? Miss GILPIN [Stunned by being thus defiantly confronted stammeringly.] Mr. Murray! I I how can you ask MURRAY [Quickly. ] Eileen has a right to know. She loves me and I I love her! [He holds her eyes and speaks with a passion of sincerity that com pels belief. ] I love her, do you hear? Miss GILPIN [Falteringly.] You love Eileen? MURRAY Yes! I do! [Entreatingly. ] So tell her won t you? Miss GILPIN [Swallowing hard, her eyes full of pity and sorrow fixed on EILEEN.] Yes Eileen it s true. [She turns away slowly toward the door.] EILEEN [With a little cry of alarmed concern, stretches out her hands to MURRAY protectingly.~\ Poor Stephen dear! [He grasps her hands and kisses them.] Miss GILPIN [In a low voice.] Mr. Murray. May I speak to you for a moment? MURRAY [With a look of questioning defiance at her.] Certainly. Miss GILPIN [Turns to EILEEN with a forced smile.] I won t steal him away for more than a moment, Eileen. [EILEEN smiles happily.] MURRAY [Follows Miss GILPIN into the room. She leads him to the far end of the room near the door to the hall, after shutting the porch door care fully behind him. He looks at her defiantly.] Well? 140 THE STRAW Miss GILPIN [In low agitated tones.] What has happened? What is the meaning I feel as if I may have done a great wrong to myself to you to her by that lie. And yet something impelled me. MURRAY [Moved.] Don t regret it, Miss Gil- pin ! It has saved her us. Oh, how can I explain what happened ? I suddenly saw how beautiful and sweet and good she is how I couldn t bear the thought of life without her her love That s all. [Determinedly.] She must marry me at once and I will take her away the far West any place Stanton thinks can help. And she can take care of me as she thinks and I know she will grow well as I seem to grow well. Oh Miss Gilpin, don t you see? No half and half measures no promises no conditional engagements can help us help her. We love too muchl {Fiercely as if defying her.] But we ll win together. We can! We must! There are things your doctors cannot value cannot know the strength of! [Exultantly.] You ll see! I ll make Eileen get well, I tell you ! Happiness will cure! Love is stronger than [He suddenly breaks down before the pitying negation she cannot keep from her eyes. He sinks on a chair, shoulders bowed, face hidden in his hands, with a groan of despair.] Oh, why did you give me a hopeless hope? Miss GILPIN [Putting her hand on his shoulder with tender compassion sadly.] Isn t everything we know just that when you think of it? [Her face lighting up with a consoling revelation.] But THE STRAW there must be something back of it some promise of fulfillment, somehow somewhere in the spirit of hope itself. MURRAY [Dully.] Yes but what do words mean to me now? [Then suddenly starting to his feet and flinging off her hand with disdainful strength violently and almost insultingly,] What damned rot! I tell you we ll win! We must! Oh, I m a fool to waste words on you! What can you know? Love isn t in the materia medica. Your predictions all the verdicts of all the doctors what do they matter to me? This is beyond you! And we ll win in spite of you ! [Scornfully.] How dare you use the word hopeless as if it were the last ! Come now, confess, damn it ! There s always hope, isn t there? What do you know? Can you say you know anything? Miss GILPIN [Taken aback by his violence for a moment, finally bursts into a laugh of help lessness which is close to tears.] I? I know nothing absolutely nothing! God bless you both! [She raises her handkerchief to her eyes and hurries out to the hallway without turning her head. MURRAY stands looking after her for a moment; then strides out to the porch] EILEEN [Turning and greeting him with a shy smile of happiness as he comes and kneels by her bedside] Stephen! [He kisses her. She strokes his hair and continues in a tone of motherly, self- f or get ting solicitude] I ll have to look out for you, THE STRAW Stephen, won t I ? From now on ? And see that you rest so many hours a day and drink your milk when I drink mine and go to bed at nine sharp when I do and obey everything I tell you and [The Curtain Falls} THE EMPEROR JONES CHARACTERS BRUTUS JONES, Emperor. HENRY SMITHERS, A Cockney Trader. AN OLD NATIVE WOMAN. LEM, A Native Chief. SOLDIERS., Adherents of Lem. The Little Formless Fears; Jeff; The Negro Convicts; The Prison Guard; The Planters; The Auctioneer; The Slaves; The Congo Witch-Doctor; The Crocodile God. The action of the play takes place on an island in the West Indies as yet not self- determined by White Marines. The form of native government is, for the time be ing, an Empire. I I SCENE ONE SCENE The audience chamber m the palace of the Emperor a spacious, high-ceumged room with "bare, white-washed walls. The floor is of white tiles. In the rear, to the left of center, a wide archway giving out on a portico with white pillars. The palace is evidently situated on high ground for beyond the portico nothing can be seen but a vista of distant hills, their summits crowned with thick groves of palm trees. In the right wall, center, a smaller arched doorway leading to the living quarters of the palace. The room is bare of furniture with the exception of one huge chair made of uncut wood which stands at center, its back to rear. This is very apparently the Em peror s throne. It is painted a dazzling, eye- smiting scarlet. There is a brilliant orange cushion on the seat and another smaller one is placed on the floor to serve as a footstool. Strips of matting, dyed scarlet, lead from the foot of the throne to the two entrances. It is late afternoon but the sunlight still blazes yellowly beyond the portico and there is an oppressive burden of exhausting heat m the air. 147 148 THE EMPEROR JONES As the curt am rises, a native negro womaii sneaks m cautiously from the entrance on the right. She is very old, dressed m cheap calico, bare-footed, a red bandana handkerchief cov ering all but a -few stray wisps of white hair. A bundle bound in colored cloth is carried over her shoulder on the end of a stick. She hesi tates beside the doorway, peering back as if m extreme dread of being discovered. Then she begins to glide noiselessly, a step at a time, toward the doorway in the rear. At this mo ment, SMITHEES appears beneath the portico. SMITHERS is a tall, stoop-shouldered man about forty. His bald head, perched on a long neck with an enormous Adam s apple, looks like an egg. The tropics have tanned his nat urally pasty face with it s small, sharp fea tures to a sickly yellow, and native rum has painted his pointed nose to a startling red. His little, washy-blue eyes are red-rimmed and dart about him like a ferret s. His expression is one of unscrupulous meanness, cowardly and dangerous. He is dressed m a worn riding suit of dirty white drill, putties, spurs, and wears a white cork helmet. A cartridge belt with an automatic revolver is around his waist. He carries a riding whip m his hand. He sees the woman and stops to watch her suspiciously. Then, making up his mmd, he steps quickly on tiptoe into the room. The woman, looking back THE EMPEROR JONES 149 over Tier slwulder continually, does not see him wntil it is too late. When she does SMITHERS springs forward and grabs her firmly by the shoulder. She struggles to get away, fiercely but silently. SMITHERS [Tightening his grasp roughly.] Easy ! None o that, me birdie. You can t wriggle out now. I got me ooks on yer. WOMAN [Seeing the uselessness of struggling, gives way to frantic terror, and sinks to the ground, embracing his knees supplicatingly] No tell him ! No tell him, Mister! SMITHERS [With great curiosity.] Tell im? [Then scornfully.] Oh, you mean is bloomin Majesty. What s the gaime, any ow? What are you sneakin away for? Been stealin a bit, I s pose. [He taps her bundle with his riding whip signifi cantly] WOMAN [Shaking her head vehemently] No, me no steal. SMITHERS Bloody liar! But tell me what s up. There s somethin funny goin on. I smelled it in the air first thing I got up this mornin . You blacks are up to some devilment. This palace of is is like a bleedin tomb. Where s all the ands? [The woman keeps sullenly silent. SMITHERS raises his whip threateningly] Ow, yer won t, won t yer? I ll show yer what s what. WOMAN [Coweringly] I tell, Mister You no 150 THE EMPEROR JONES hit. They go all go. [She makes a sweeping ges ture toward the hiUs in the distance.] SMITHERS Run away to the ills? WOMAN Yes, Mister. Him Emperor Great Father. [She touches her forehead to the floor with a quick mechanical jerk.] Him sleep after eat. Then they go ah 1 go. Me old woman. Me left only. Now me go too. SMITHERS [His astonishment giving way to an immense, mean satisfaction.] Ow! So that s the ticket ! Well, I know bloody well wot s in the air when they runs orf to the ills. The tom-tom 11 be thumping out there bloomin soon. [With ex treme vindictiveness.] And I m bloody glad of it, for one ! Serve im right ! Puttin on airs, the stinkin nigger! Is Majesty! Gawd blimey! I only opes I m there when they takes im out to shoot im. [Suddenly.] E s still ere all right, .ain t e? WOMAN Yes. Him sleep. SMITHERS E s bound to find out soon as e wakes up. E s cunnin enough to know when is time s come. [He goes to the doorway on right and whistles shrilly with his fingers in his mouth. The old woman springs to her feet and runs out of the dooncay, rear. SMITHERS goes after her, reaching for his revolver.] Stop or I ll shoot! [Then stopping indifferently.] Pop orf then, if yer like, yer black cow. [He stands in the doorway, looking after her.] THE EMPEROR JONES 151 [JONES enters from the right. He is a tall y powerfully-built, full-blooded negro of middle age. His features are typically negroid, yet there is something decidedly dis tinctive about his face an underlying strength of will, a hardy, self-reliant con fidence in himself that inspires respect. His eyes are alive with a keen, cunning intelli gence. In manner he is shrewd, suspicious, evasive. He wears a light blue uniform coat, sprayed with brass buttons, heavy gold chevrons on his shoulders, gold braid on the collar, cuffs, etc. His pants are bright red with a light blue stripe down the side. Pat ent leather laced boots with brass spurs, and a belt with a long-barreled, pearl-handled revolver m a holster complete his make up. Yet there is something not altogether ridiculous about his grandeur. He has a way of carrying it off .] JONES [Not seeing anyone greatly irritated and blinking sleepily shouts."] Who dare whistle dat way in my palace? Who dare wake up de Em peror? I ll git de hide frayled off some o you nig gers sho ! SMITHERS [Showing himself in a manner half- afraid amid half -de font.] It was me whistled to yer. [As JONES frowns angrily.] I got news for yer. JONES [Putting on his suavest manner, which 152 THE EMPEROR JONES fails to cover up his contempt for ike white man.] Oh, it s you, Mister Smithers. [Pie sits down on his throne with easy dignity. ] What news you got to tell me? SMITHERS [Coming close to enjoy his discomfi ture.] Don t yer notice no thin funny today? JONES [Coldly.] Funny? No. I ain t per ceived nothin of de kind! SMITHERS Then yer ain t so foxy as I thought yer was. Where s all your court? [Sarcastically] the Generals and the Cabinet Ministers and all? JONES [Imperturbably. ] Where dey mostly runs to minute I closes my eyes drinkin rum and talkin big down in de town. [Sarcastic ally.] How come you don t know dat? Ain t you sousin with em most every day? SMITHERS [Stung but pretending indifference with a zvink.] That s part of the day s work. I got ter ain t I in my business? \JONES [Contemptuously. ] Yo business! SMITHERS [Imprudently enraged.] Gawd blime^y, you was glad enough for me ter take yer in on it when you landed here first. You didn ave no igh and mighty airs in them days ! JONES [His hand going to his revolver like a flash menacingly.] Talk polite, white man ! Talk polite, you heah me ! I m boss heah now, is you fer- gettin ? [The Cockney seems about to challenge this last statement with the facts but something in the other s eyes holds and cowes him.] THE EMPEROR JONES 153 SMITHERS [In a cowardly whme.] No arm meant, old top. JONES [Condescendingly.] I accepts yo apol ogy. [Lets his hand fall from his revolver.] No use n you rakin up ole times. What I was den is one thing. What I is now *s another. You didn t let me in on yo crooked work out o no kind feelin s dat time. I done de dirty work fo you and most o de brain work, too, fo dat matter and I was wu th money to you, dat s de reason. SMITHERS Well, blimey, I give yer a start, didn t I when no one else would. I wasn t afraid to ire yer like the rest was count of the story about your breakin jail back in the States. JONES No, you didn t have no s cuse to look down on me fo dat. You been in jail you self more ii once. SMITHERS [Furiously.] It s a lie! [Then try ing to pass it off by an attempt at scorn.] Gafn! Who told yer that fairy tale? JONES Dey s some tings I ain t got to be tole. I kin see em in folk s eyes. [Tlien after a pause meditatively.] Yes, you sho give me a start. And it didn t take long from dat time to git dese fool, woods niggers right where I wanted dem. [With pride.] From stowaway to Emperor in two years ! Dat s goin some ! SMITHERS [With curiosity.] And I bet you got yer pile o money id safe some place. JONES [With satisfaction.] I sho has! And 154 THE EMPEROR JONES it s in a foreign bank where no pus son don t ever git it out but me no matter what come. You didn t s pose I was holdin down dis Emperor job for de glory in it, did you? Sho ! De fuss and glory part of it, dat s only to turn de heads o de low-flung, bush niggers dat s here. Dey wants de big circus show for deir money. I gives it to em an I gits de money. [With a grm.] De long green, dat s me every time! [Then rebukingly.] But you ain t got no kick agin me, Smithers. I se paid you back all you done for me many times. Ain t I pertected you and winked at all de crooked tradin you been doin right out in de broad day. Sho I has and me makin laws to stop it at de same time ! [He chuckles.] SMITHERS [Grinning.] But, meanin no arm, you been grabbin right and left yourself, ain t yer? Look at the taxes you ve put on em! Blimey! YouVe squeezed em dry! JONES [Chuckling.] No, dey ain t all dry yet. I se still heah, ain t I? SMITHERS [Smiling at his secret thought.] They re dry right now, you ll find out. [Changing the subject abruptly.] And as for me breakin laws, you ve broke em all yerself just as fast as yer made em. JONES Ain t I de Emperor? De laws don t go for him. [Judicially.] You heah what I tells you, Smithers. Dere s little stealin like you does, and dere s big stealin like I does. For de little stealin THE EMPEROR JONES 155 dey gits you in jail soon or late. For de big stealin dey makes you Emperor and puts you in de I all o Fame when you croaks. [Reminiscently.] If dey s one thing I learns in ten years on de Pullman ca s listenin to de white quality talk, it s dat same fact. And when I gits a chance to use it I winds up Em peror in two years. SMITHERS [Unable to repress the genuine ad miration of the small fry for the large :] Yes, yer turned the bleedin trick, all right. Blimey, I never seen a bloke as 5 ad the bloomin 5 luck you as. JONES [Severely. ~\ Luck? What you mean luck? SMITHERS I suppose you ll say as that swank about the silver bullet ain t luck and that was what first got the fool blacks on yer side the time of the revolution, wasn t it? JONES [With a laugh.] Oh, dat silver bullet! Sho was luck! But I makes dat luck, you heah? I loads de dice ! Yessuh ! When dat murderin nigger ole Lem hired to kill me takes aim ten feet away and his gun misses fire and I shoots him dead, what you heah me say? SMITHERS You said yer d got a charm so s no lead bullet d kill yer. You was so strong only a sil ver bullet could kill yer, you told em. Blimey, wasn t that swank for yer and plain, fat- eaded luck? JONES [Proudly.] I got brains and I uses em quick. D?t ain t luck. 156 THE EMPEROR JONES SMITHERS Yer know they wasn t ardly liable to get no silver bullets. And it was luck e didn t it you that time. JONES [Laughing.] And dere all dem fool, bush niggers was kneelin down and bumpin deir heads on de ground like I was a miracle out o de Bible. Oh Lawd, from dat time on I has dem all eatin out of my hand. I cracks de whip and dey jumps through. SMITHERS [With a sniff.] Yankee bluff done it. JONES Ain t a man s talkin big what makes him big long as he makes folks believe it ? Sho , I talks large when I ain t got nothin to back it up, but I ain t talkin wild just de same. I knows I kin fool em I knows it and dat s backin enough fo my game. And ain t I got to learn deir lingo and teach some of dem English befo I kin talk to em? Ain t dat wuk? You ain t never learned ary word er it, Smithers, in de ten years you been heah, dough you knows it s money in yo pocket tradin wid em if you does. But you se too shiftless to take de trouble. SMITHERS [Flushing.] Never mind about me. What s this I ve eard about yer really avin a sil ver bullet moulded for yourself? JONES It s playin out my bluff. I has de silver bullet moulded and I tells em when de time comes I kills myself wid it. I tells em dat s cause I m de on y man in de world big enuff to git me. No use n deir tryin . And dey falls down and bumps deir heads. [He laughs.] I does dat so s I kin take a THE EMPEROR JONES 157 walk in peace widout no jealous nigger gunnin at me from behind de trees. SMITHERS [Astonished.] Then you ad it made - onest ? JONES Sho did. Heah she be. [He takes out his revolver, breaks it, and takes the silver bullet out of one chamber.] Five lead an dis silver baby at de last. Don t she shine pretty? [He holds it m his hand, looking at it admiringly, as if strangely fas cinated.] SMITHERS Let me see. [Reaches out his hand for it.] JONES [Harshly.] Keep yo hands whar dey b long, white man. [He replaces it in the chamber and puts the revolver back on his hip.] SMITHERS [Snarling.] Gawd blimey! Think I m a bleedin thief, you would. JONES No, tain t dat. I knows you se scared to steal from me. On y I ain t lowin* nary body to touch dis baby. She s my rabbit s foot. SMITHERS [Sneering.] A bloomin charm, wot? [Venomously.] Well, you ll need all the bloody charms you as before long, s elp me ! JONES [Judicially.] Oh, I se good for six months yit fore dey gits sick o my game. Den, when I sees trouble comin , I makes my getaway. SMITHERS Ho! You got it all planned, ain t yer? JONES I ain t no fool. I knows dis Emperor s time is sho t. Dat why I make hay when de sun 158 THE EMPEROR JONES shine. Was you thinkin Fse aimin to hold down dis job for life? No, suh! What good is gittin money if you stays back in dis raggedy country? I wants action when I spends. And when I sees dese niggers gittin up deir nerve to tu n me out, and I se got all de money in sight, I resigns on de spot and beats it quick. SMITHERS Where to? JONES None o yo business. SMITHERS Not back to the bloody States, I ll lay my oath. JONES [Suspiciously.] Why don t I? [Then with an easy laugh,.] You mean count of dat story bout me breakin from jail back dere? Dat s all talk. SMITHERS [Skeptically.] Ho, yes ! JONES [Sharply.] You ain t sinuatin I se a liar, is you? SMITHERS [Hastily.] No, Gawd strike me ! I was only thinkin o the bloody lies you told the blacks ere about killin* white men in the States. JONES [Angered] How come dey re lies? SMITHERS You d ave been in jail t if you ad, wouldn t yer then? [IVith venom] And from what I ve card, it ain t ealthy for a black to kill a white man in the States. They burns em in oil, don t they? JONES [With cool foadliness.] You mean lynch- in d scare me? Well, I tells you, Smithers, maybe I does kill one white man back dere. Maybe I does. THE EMPEROR JONES 159 And maybe I kills another right heah fore long if he don t look out. SMITHERS [Trying to force a laugh.] I was on y spoofm yer. Can t yer take a joke? And you was just sayin you d never been in jail. JONES [In the same tone slightly boastful. } Maybe I goes to jail dere for gettin in an argument wid razors ovah a crap game. Maybe I gits twenty years when dat colored man die. Maybe I gits in nother argument wid de prison guard was overseer ovah us when we re wukin de roads. Maybe he hits me wid a whip and I splits his head wid a shovel and runs away and files de chain off my leg and gits away safe. Maybe I does all dat an 5 maybe I don t. It s a story I tells you so s you knows Pse de kind of man dat if you evali repeats one words of it, I ends yo stealin on dis yearth mighty damn quick ! SMITHERS [Terrified.] Think I d peach on yer? Not me ! Ain t I always been yer friend ? JONES [Suddenly relaxmgJ] Sho you has and you better be. SMITHERS [Recovering his composure and with it his malice. ~\ And just to show yer I m yer friend, I ll tell yer that bit o news I was goin to. JONES Go ahead ! Shoot de piece. Must be bad news from de happy way you look. SMITHERS [Warnmgly.~\ Maybe it s gettin time for you to resign with that bloomin silver bullet, wot? [He finishes -with a mocking grm.~\ 160 THE EMPEROR JONES JONES [Puzzled.] What s dat you say? Talk plain. SMITHERS Ain t noticed any of the guards or servants about the place today, I aven t. JONES [Carelessly .] Dey re all out in de garden sleepin under de trees. When I sleeps, dey sneaks a sleep, too, and I pretends I never suspicions it. All, I got to do is to ring de bell and dey come flyin , makin a bluff dey was wukin all de time. SMITHERS [In the same mocking tone.] Ring the bell now an you ll bloody well see what I means. JONES [Startled to alertness, but preserving thd same careless tone.] Sho I rings. [He reaches be low the throne and pulls out a big, common dinner bell which is pamted the same vivid scarlet as the throne. He rings this vigorously then- stops to listen. Then he goes to both doors, rings again,, and looks out.] SMITHERS [Watching him with malicious satis faction, after a pause mockingly] The bloody ship is sinkin an the bleedin rats as slung their ooks. JONES [In a sudden fit of anger flings the bell clattering into a corner.] Low-flung, woods nig gers ! [Then catching Smithers 9 eye on him, he cont- trols himself and suddenly bursts into a low chuck ling laugh.] Reckon I overplays my hand dis once! A man can t take de pot on a bob-tailed flush all de time. Was I sayin I d sit in six months mo ? Well, THE EMPEROR JONES 161 I se changed my mind den. I cashes in and resigns de job of Emperor right dis minute. SMITHERS [With real admiration.] Blimey, but you re a cool bird, and no mistake. JONES No use n fussin . When I knows de game s up I kisses it gooduye widout no long waits. Dey ve all run off to de hills, ain t dey? SMITHERS Yes every bleedin man jack of em. JONES Den de revolution is at de post. And de Emperor better git his feet smokin up de trail. [He starts for the door m rear.] SMITHERS Goin out to look for your orse? Yer won t find any. They steals the orses first thing. Mine was gone when I went for im this mornin . That s wot first give me a suspicion of wot was up. JONES [Alarmed for a second, scratches his head, then philosophically. } Well, den I hoofs it. Feet, do yo duty ! [He pvlls out a gold watch and looks at it.] Three-thuty. Sundown s at six-thuty or dereabouts. [Puts his watch back with cool confidence.] I got plenty o time to make it easy. SMITHERS Don t be so bloomin sure of it. They ll be after you ot and eavy. Ole Lem is at the bot tom o this business an e ates you like ell. E d rather do for you than eat is dinner, e would 1 JONES [Scornfully.] Dat fool no-count nigger! Does you think I se scared o him? I stands him on his thick head more n once befo dis, and I does it again if he come in my way [Fiercely.] And dis time I leave him a dead nigger f o sho ! 162 THE EMPEROR JONES SMITHERS You ll ave to cut through the big for est an these blacks ere can sniff and follow a trail in the dark like ounds. You d ave to ustle to get through that forest in twelve hours even if you knew all the bloomin trails like a native. JONES [With indignant scoi~n.] Look-a-heah, white man ! Does you think I se a natural bo n fool? Give me credit fo* havin* some sense, fo Lawd s sake ! Don t you s pose I se looked ahead and made sho of all de chances ? I se gone out in dat big for est, pretendin to hunt, so many times dat I knows it high an low like a book. I could go through on dem trails wid my eyes shut. [With great con tempt.] Think dese ig nerent bush niggers dat ain t got brains enuff to know deir own names even can! catch Brutus Jones? Huh, I s pects not! Not on yo life ! Why, man, de white men went after me wid bloodhounds where I come from an I jes laughs at em. It s a shame to fool dese black trash around heah, dey re so easy. You watch me, man . I ll make dem look sick, I will. I ll be croou de plain to de edge of de forest by time dark comes. Once in de woods in de night, dey got a swell chance o findin dis baby! Dawn tomorrow I ll be out at de oder side and on de coast whar dat French gunboat is stayin . She picks me up, take me to the Martinique when she go dar, and dere I is safe wid a mighty big bankroll in my jeans. It s easy as rollin off a log. SMITHEES [Maliciously.] But s posin somethin* appens wrong an they do nab yer? THE EMPEROR JONES 163 JONES [Decisively.] Bey don t dat s de an swer. SMITHERS But, just for argyment s sake what d you do? JONES [Frowning. ] I se got five lead bullets in dis gun good enuff fo common bush niggers and after dat I got de silver bullet left to cheat em out o gittin me. SMITHERS [Jeeringly] Ho, I was fergettin that silver bullet. You ll bump yourself orf in style, won t yer ? Blimey ! JONES [Gloomily.] You kin bet yo whole roll on one thing, white man. Dis baby plays out his string to de end and when he quits, he quits wid a bang de way he ought. Silver bullet ain t none too good for Mm when he go, dat s a fac ! [Then shak ing off his nervousness with a confident laugh.] Sho ! What is I talkin about? Ain t come to dat yit and I never will not wid trash niggers like dese yere. [Boastfully.] Silver bullet bring me luck anyway. I kin outguess, outrun, outfight, an out play de whole lot o dem all ovah de board any time o de day er night! You watch me! [From the distant hills comes the faint, steady thump of a tom-tom, low and vibrating. It starts &i a . ate ex actly corresponding to normal pulse "beat 72 to the minute and continues at a gradually accelerat ing rate from this point uninterruptedly to the very end of the play] [JONES starts at the sound. A strange look of 164 THE EMPEROR JONES apprehension creeps into his face for a moment as he listens* Then he asks, with an attempt to regain his most casual manner.] What s dat drum beatin fo ? SMITHERS [With a mean grin] For you. [That means the bleedin ceremony as started. I ve eard it before and I knows. JONES Cer mony? What cer mony? SMITHERS The blacks is oldin a bloody meeting avin a war dance, gettin their courage worked up b fore they starts after you. JONES Let dem! Dey ll sho need it I SMITHERS And they re there oldin their eathen religious service makin no end of devil spells and charms to elp em against your silver bullet. [He guffaws loudly.] Blimey, but they re balmy as ell! JONES [A tmy bit awed and shaken m spite of himself.] Huh! Takes more n dat to scare dis chicken ! SMITHERS [Scenting the other s feeling ma liciously] Ternight when it s pitch black in the forest, they ll ave their pet devils and ghosts oundin after you. You ll find yer bloody air 11 be standin on end before termorrow mornin . [Seriously] It s a bleedin queer place, that stink- in forest, even in daylight. Yer don t know what might appen in there, it s that rotten still. Always sends the cold shivers down my back minute I gets in it. THE EMPEROR JONES 165 JONES [With a contemptuous sniff. ~\ I ain t no chicken-liver like you is. Trees an me, we se friends, and dar s a full moon comin bring me light. And let dem po niggers make all de fool spells dey se a min to. Does yo s pect I se silly enuff to b lieve in ghosts an ha nts an all dat ole woman s talk? G long, white man! You ain t talkin to me. [With a chuckle.] Doesn t you know dey s got to do wid a man was member in good standin o de Baptist Church? Sho I was dat when I was porter on de Pullmans, befo I gits into my little trouble. Let dem try deir heathen tricks. De Baptist Church done pertect me and land dem all in hell. [Then with more confident satisfaction.] And I se got little silver bullet o my own, don t f orgit : SMITHERS Ho! You aven t give much *eed to your Baptist Church since you been down ere. I ve card myself you ad turned yer coat an was takin up with their blarsted witch-docters, or whatever the ell yer calls the swine. JONES [Vehemently] I pretends to! Sho I pretends ! Dat s part o my game from de fust. If I finds out dem niggers believes dat black is white, den I yells it out louder n deir loudest. It don t git me no thin to do missionary work for de Baptist Church. I se after d e coin, an I lays my Jesus on de shelf for de time bein . [Stops abruptly to look at his watch alertly] But I ain t got de time to waste no more fool talk wid you. I se gvrine away from heah dis secon . [He reaches m under the 166 THE EMPEROR JONES throne and pulls out an expensive Panama Hat with a bright multi-colored band and sets it jauntily on his head.] So long, white man! [With a grin.] See you in jail sometime, maybe! SMITHERS Not me, you won t. Well, I wouldn t be in yer bloody boots for no bloomin money, but ere s wishin yer luck just the same. JONES [Contemptuously.] You re de frighten- edest man evah I see ! I tells you I se safe s f I was in New York City. It takes dem niggers from now to dark to git up de nerve to start somethin . By dat time, I se got a head start dey never kotch up wid. SMITHERS [Maliciously.] Give my regards to any ghosts yer meets up with. JONES [Grinning.] If dat ghost got money, I ll tell him never ha nt you less n he wants to lose it. SMITHERS [Flattered.] Garn! [Then curi ously.] Ain t yer takin no luggage with yer? JONES I travels light when I wants to move fast. And I got tinned grub buried on de edge o de for est. [Boastfully.] Now say dat I don t look ahead an use my brains ! [ With a wide, liberal ges ture.] I will all dat s left in de palace to you and you better grab all you kin sneak away wid befo dey gits here. SMITHERS [Gratefully.] Righto and thanks ter yer. [As JONES walks toward the door in rear THE EMPEROR JONES 167 cautioningly.] Say! Look ere, you ain t goin out that way, are yer? JONES Does you think I d slink out de back door like a common nigger? I se Emperor yit, ain t I? And de Emperor Jones leaves de way he comes, and dat black trash don t dare stop him not yit, leastways. [He stops for a moment m the door way, listening to the far-off but insistent beat of the tom-tom.] Listen to dat roll-call, will you? Must be mighty big drum carry dat far. [Thert with a laugh .] Well, if dey ain t no whole brass band to see me off, I sho got de drum part of it. So long, white man. [He puts his hands m his poc kets and with studied carelessness, whistling a tune, he saunters out of the doorway and off to the left.] SMITHERS [Looks after him with a puzzled ad miration.] E s got is bloomin nerve with im, s elp me! [Then angrily.] Ho the bleedin nig ger puttin an is bloody airs ! I opes they nabs im an gives im what s what! [Then putting busi ness before the pleasure of this thought, looking around him with cupidity.] A bloke ought to find a ole lot in this palace that d go for a bit of cash. Let s take a look, Arry, me lad. [He starts for the doorway on right as [The Curtain Falls.] SCENE TWO: NIGHTFALL SCENE The end of the plain where the Great For est begins. The foreground is sandy, level ground dotted by a few stones and clumps of stunted bushes cowering close against the earth to escape the buffeting of the trade wind. In the rear the forest is a wall of darkness di viding the world. Only when the eye becomes accustomed to the gloom can the outlines of separate trunks of the nearest trees be made out, enormous pillars of deeper blackness. A somber monotone of wind lost in the leaves moans in the air. Yet this sound serves but to intensify the impression of the forest s relent- less immobility, to form a background throwing into relief its brooding, implacable silence. [JONES enters from the left, walking rapidly. He stops as he nears the edge of the forest, looks around him quickly, peering into the dark as if searching for some familiar landmark. Then, apparently satisfied that he is where he ought to be, he throws himself on the grou/nd, dog-tired.] Well, heah I is. In de nick o> time, too! Little mo an it d be blacker n de ace of spades heah- 168 THE EMPEROR JONES 169 abouts. [He pulls a bandana handkerchief from his hip pocket and mops off his perspiring face. ] Sho ! Gimme air! I se tuckered out sho nuff. Dat soft Emperor job ain t no trainin for a long hike ovah dat plain in de brilin* sun. [Then with a chuckle.] Cheah up, nigger, de worst is yet to come. [He lifts his head and stares at the forest. His chuckle peters out abruptly. In a tone of awe.] My good ness, look at dem woods, will you? Dat no-count Smithers said dey d be black an he sho called de turn. [Turning away from them quickly and looking down at his feet, he snatches at a chance to change the subject solicitously.] Feet, you is holdin up yo end fine an I sutinly hopes you ain t blisterin none. It s time you git a rest. [He takes off his shoes, his eyes studiously avoiding the forest. He feels of the soles of his feet gingerly.] You is still in de pink on y a little mite feverish. Cool yo - selfs. Remember you done got a long journey yit befo you. [He sits m a weary attitude, listening to the rhythmic beating of the tom-tom. He grumbles $n <a loud tone to cover up a growing uneasiness.] Bush niggers ! Wonder dey wouldn git sick o beat- in dat drum. Sound louder, seem like. I wonder if dey s startin after me? [He scrambles to his feet, looking back across the plain.] Couldn t see dem now, nohow, if dey was hundred feet away. [Then sliaking himself like a wet dog to get rid of these depressing thoughts.] Sho , dey s miles an miles behind. What you gittin fidgetty about ? [But he 170 THE EMPEROR JONES sits down and begins to lace up his shoes m great haste, all the time muttering reassuringly.] You know what? Yo belly is empty, dat s what s de matter wid you. Come time to eat ! Wid nothin but wind on yo stumach, o course you feels jiggedy. Well, we eats right heah an now soon s I gits dese pesky shoes laced up. [He finishes lacing up his shoes] Dere! Now le s see! [Gets on his hands and knees and searches the ground around him with his eyes] White stone, white stone, where is you? [He sees the first white stone and crawls to it with satisfaction.] Heah you is! I knowed dis was de right place. Box of grub, come to me. [He turns over the stone and -feels in under it in a tone of dismay] Ain t heah! Gorry, is I in de right place or isn t I? Dere s nother stone. Guess dat s it. [He scrambles to the next stone and turns it over] Ain t heah, neither! Grub, whar is you? Ain t heah. Gorry, has I got to go hungry into dem woods all de nigLt? [While he is talking he scrambles -from one stone to another, turning them over m frantic haste. Finally, he jumps to his feet exciteuly] Is I lost de place? Must have! But how dat happen when I was followin de trail across de plain in broad daylight? [Almost plaintively.] I se hungry, I is ! I gotta git my feed. Whar s my strength gonna come from if I doesn t? Gorry, I gotta find dat grub high an low somehow! Why it come dark so quick like dat? Can t see nothin . [He scratches a match on his trousers and peers THE EMPEROR JONES 171 about him. The rate of the beat of the far-off io.n- tom increases perceptibly as he does so. He mut ters in a bewildered voice.] How come all dese white stones come heah when I only remembers one? [Suddenly, with a frightened gasp, he flings the match on the ground and stamps on it.] Nigger, is you gone crazy mad? Is you lightin matches to show dem whar you is? Fo Lawd s sake, use yo ? haid. Gorry, Fse got to be careful! [He stares at the plain behind him apprehensively, his hand on his revolver.] But how come all dese white stones? And whar s dat tin box o grub I hid all wrapped up in oil cloth? [While his back is turned, the LITTLE FORMLESS FEARS creep out from the deeper blackness of the forest. They are black, shapeless, only their glit tering little eyes can be seen. If they have any de- scribable form at all it is that of a grubworm about the size of a creeping child. They move noiselessly, but with deliberate, painful effort, striving to raise themselves on end, failing and sinking prone again. JONES turn$ about to face the forest. He stares up at the tops of the trees, seeking vainly to discover his whereabouts by their conformation.] Can t tell nothin from dem trees ! Gorry, nothin round heah look like I evah seed it befo . I se done lost de place sho nuff ! [With mournful forebod ing.] It s mighty queer! It s mighty queer! [With sudden forced defiance in an angry tone.] Woods, is you tryin to put somethin ovah on me? 172 THE EMPEROR JONES [From the formless creatures on the ground m front of him comes a tiny gale of low mocking laughter like a rustling of leaves. They squirm up ward toward him in twisted attitudes. JONES looks down, leaps backward with a yell of terror, yanking out his revolver as he does so in a quavering voice.] What s dat? Who s dar? What is you? Git away from me bef o I shoots you up ! You don t? [He fires. There is a flash, a loud report, then silence broken only by the far-off, quickened throb of the tom-tom. The formless creatures have scur ried back mto the forest. JONES remains fixed in his position, listening intently. The sound of the shot, the reassuring feel of the revolver m his hand, have somewhat restored his shaken nerve. He ad dresses himself with renewed confidence. ] Dey re gone. Dat shot fix em. Dey was only little animals little wild pigs, I reckon. Dey ve maybe rooted out yo grub an eat it. Sho , you fool nigger, what you think dey is ha nts? [Ex citedly.] Gorry, you give de game away when you fire dat shot. Dem niggers heah dat fo su tin ! Time you beat it in de woods widout no long waits. [He starts for the forest hesitates before the plunge then urging himself in with manful resolu tion] Git in, nigger! What you skeered at? Ain t nothin dere but de trees! Git in! [He plunges boldly mto the forest] SCENE THREE SCENE Nine o clock. In tJie forest. The moon has just risen. Its beams, drifting through the canopy of leaves, make a barely perceptible, suffused, eerie glow. A den*se low wall of under brush and creepers is m the nearer foreground, fencing in a small triangular clearing. Be yond this is the massed blackness of the forest like an encompassing barrier. A path is dimly discerned leading down to the clearing from left, rear, and winding away from it again toward the right. As the scene opens nothing can be distinctly made out. Except for the beating of the tom-tom, which is a trifle louder and quicker than in the previous scene, there is silence, broken every few seconds by a queer, clicking sound. Then gradually the figure of the negro, JEFF, can be discerned crouching on his haunches at the rear of the triangle. He is middle-aged, thin, brown m color, is dressed in a Pullman porter s uniform, cap, etc. He , is throwing a pair of dice on the ground before him, picking them up, shaking them, casting them out with the regular, rigid, mechanical movements of an automaton. The heavy, plod- 173 174 THE EMPEROR JONES ding footsteps of someone approaching along the trail from the left are heard and JONES voice, pitched m a slightly higher key and strained in a cheermg effort to overcome its own tremors. De moon s rizen. Does you heah dat, nigger? You gits more light from dis out. No mo buttin yo fool head agin de trunks an scratchin de hide off yo legs in de bushes. Now you sees whar yo se gwine. So cheer up ! From now on you has a snap. [He steps just to the rear of the triangular clear ing and mops off his face on his sleeve. He has lost his Panama hat. His face is scratched, his bril liant uniform shows several large rents.~\ What time s it gittin to be, I wonder? I dassent light no match to find out. Phoo*. It s wa m an dats a f ac ! [Wearily. } How long I been makin track* in dese woods? Must be hours an hours. Seems like fo evah! Yit can t be, when de moon s jes riz. Dis am a long night fo yo , yo Majesty! [With a mournful chuckle.~\ Majesty! Der ain t much majesty bout dis baby now. [With attempted cheerfulness.} Never min . It s all part o de game. Dis night come to an end like everything else. And when you gits dar safe and has dat bankroll in yo hands you laughs at all dis. [He starts to whistle but checks himself abruptly.} What yo whistlin for, you po dope! Want all de worl to heah you? THE EMPEROR JONES 175 [He stops talking to listen.] Heah dat ole drum! Sho gits nearer from de sound. Dey re packin it along wid *em. Time fo me to move. [He takes a step forward, then stops worriedly. } What s dat odder queer clicketty sound I heah? Dere it is! Sound close! Sound like sound like Fo God sake, sound like some nigger was shootin crap ! [Fright en&Hy. ] I better beat it quick when I gits dem notions. [He walks quickly mto the clear space then stands transfixed as he sees JEFF in a ter rified gasp.] Who dar? Who dat? Is dat you, Jeff? [Starting toward the other, forgetful for a moment of his surroundings and really believing it is a living man that he sees m a tone of happy re lief.] Jeff! I se sho mighty glad to see you! Dey toP me you done died from dat razor cut I gives you. [Stopping suddenly, bewilderedly .] But how you come to be heah, nigger? [He stares fascinat edly at the other who continues his mechanical play with the dice. JONES eyes begin to roll wildly. He stutters.] Ain t you gwine look up can t you speak to me? Is you is you a ha nt? [He jerks out his revolver in a frenzy of terrified rage.] Nig ger, I kills you dead once. Has I got to kill you agin ? You take it den. [He fires. When the smoke clears away JEFF has disappeared. JONES stands trembling then with a cert am reassurance.] He s gone, anyway. Ha nt or no ha nt, dat shot fix him. [The beat of the far-off tom-tom is perceptibly louder and more rapid. JONES becomes conscious 176 THE EMPEROR JONES of it with a start, looking back over his shoulder. ] Dey s gittin near! Dey se comin fast! And heah I is shootin shots to let em know jes whar I is. Oh, Gorry, Fse got to run. [Forgetting the path he pluxnges wildly mto the umderbrush in the rear and disappears vn the shadow.] SCENE FOUR SCENE Eleven o clock. In the forest. A wide dirt road runs diagonally from right, front, to left, rear. Rising sheer on both sides the for est wall-s it m. The moon is now up. Under its light the road glimmers ghastly and unreal. It is as if the forest had stood aside momen tarily to let the road pass through and ac complish its veiled purpose. This done, the forest will fold in upon itself agam and the road will be no more. JONES stumbles in from the forest on the right. His uniform is ragged and torn. He looks about him with numbed surprise when he sees the road, his eyes blink ing m the bright moonlight. Iff flops down exhaust edly and pants heavily for a while. Then with sudden anger. I m meltin wid heat! Runnin an runnin an runnin ! Damn dis heah coat! Like a strait jacket! [He tears off his coat and flings it away from Inm-j revealing himself stripped to the waist.] Dere! Dat s better! Now I kin breathe! [Looking down at his feet, the spurs catch his eyeJ\ And to hell wid dese high-fangled spurs. Dey re what s been 177 178 THE EMPEROR JONES a-trippin me up an breakin my neck. [He un straps them and flings them away disgustedly.] Dere! I gits rid o dem frippety Emperor trap- pin s an I travels lighter. Lawd ! I se tired ! [After a pause, listening to the msistent beat of the tom-tom m the distance.] I must a put some distance between myself an dem mnnin like dat and yit dat damn drum sound jes de same nearer, even. Well, I guess I a most holds my lead anyhow. Dey won t never catch up. [With a sigh.] If on y my fool legs stands up. Oh, I se sorry I evah went in for dis. Dat Emperor job is sho hard to shake. [He looks around him suspiciously.] How d dis road evah git heah? Good level road, too. I never remembers seein it befo . [Shaking his head apprehensively.] Dese woods is sho full o de queerest things at night. [ With a sudden ter ror.] Lawd God, don t let me see no more o dem ha nts! Dey gits my goat! [Then trymg to talk himself into confidence.] Ha nts ! You fool nigger, dey ain t no such things ! Don t de Baptist parson tell you dat many time? Is you civilized, or is you like dese ign rent black niggers heah? Sho ! Dat was all in yo own head. Wasn t no thin dere. Wasn t no Jeff! Know what? You jus get seein dem things cause yo belly s empty and you s sick wid hunger inside. Hunger fects yo head and yo eyes. Any fool know dat. [Then pleadmg fervently.] But bless God, I don t come across no more o dem, whatever dey is ! [Then cautiously.] Rest! Don t THE EMPEROR JONES 179 talk ! Rest ! You needs it. Den you gits on yo way again. [Looking at the moon.] Night s half gone a most. You hits de coast in de mawning! Den you se all safe. [From tlie right forward a small gang of negroes enter. They are dressed in striped con vict suits, their heads are sJiaven, one leg drags limpingly, shackled to a heavy ball and chain. Some carry picks, the others shovels. They are fol lowed by a white man dressed in the uniform of a prison guard. A Winchester rifle is slwng across his shoulders and he carries a heavy whip. At a signal from the GUARD they stop on the road oppo site where JONES is sitting. JONES, who has been staring up at the sky, unmindful of their noiseless approach, suddenly looks down and sees them. His eyes pop out, he tries to get to his feet and -fly, but sinks back, too numbed by fright to move. His voice catches m a chokmg prayer. ~\ Lawd Jesus ! [The PRISON GUARD cracks his whip noiselessly and at that signal all the convicts start to work on the road. They swing their picks, they shovel, but not a sound comes from their labor. Their movements, like those of JEFF in the preceding scene, are those of automatons, rigid, slow, and mechanical. The PRISON GUARD points sternly at JONES with his whip, motions him to take his place among the other shovellers. JONES gets to his feet m a hypnotized stupor. He mumbles subserviently.] 180 THE EMPEROR JONES Yes, suh! Yes, suh! I se comin . [As he shuffles, draggmg one foot, over to his place, he curses under his breath with rage and hatred.] God damn yo soul, I gits "even wid you yit, some time. [As if there inhere a shovel in his hands he goes through weary, mechanical gestures of digging up dirt, and throwing it to the roadside. Suddenly the GUARD approaches him angrily, threateningly. He raises his whip and lashes JONES viciously across the shoulders with it. JONES winces with pain and cowers abjectly. The GUARD turns his back on him and walks away contemptuously. Instantly JONES straightens up. With arms upraised as if his shovel were a club in his hands he springs murderously at the unsuspecting GUARD. In the act of crashing down his shovel on the white man s skull, JONES sud- denly becomes aware that his hands are empty. He cries despairingly. ] Whar s my shovel? Gimme my shovel till I splits his damn head! [Appealing to his fellow convicts.] Gimme a shovel, one o* you, f o* God s sake ! [They stand fixed in motionless attitudes, their eyes on the ground. The GUARD seems to wait ex pectantly, his back turned to the attacker. JONES bellows with baffled, terrified rage, tugging franti cally at his revolver. ] I kills you, you white debil, if it s de last thing I evah does ! Ghost or debil, I kill you agin f THE EMPEROR JONES 181 [He frees the revolver and -fires point blank at the GUARD S back. Instantly the walls of the forest close m from both sides, the road and the figures of the convict gang are blotted out m an enshroud ing darkness. The only sounds are a crashing wt the underbrush as JONES leaps away m mad flight and the throbbing of the tom-tom, still -far distant, but increased m volume of sound and rapidity of beat.] SCENE FIVE SCENE One o clock. A large circular clearing, en closed by the serried ranks of gigantic trunks of tall trees whose tops are lost to view. In the center is a big dead stump worn by time into a curious resemblance to an auction block. The moon floods the clearing with a clear light. JONES forces his way in through the forest on the left. He looks wildly about the clearing with hunted, fearful glances. His pants are m tatters, his shoes cut and misshapen, flap- pmg about his feet. He slinks cautiously to the stump in the center and sits down in a tense position, ready for mstant flight. Then he holds his head in his hands and rocks back and forth, moaning to himself miserably. } Oh Lawd, Lawd ! Oh Lawd, Lawd ! [Suddenly he throws himself on his knees and raises his clasped hands to the sky m a voice of agonized pleading. } Lawd Jesus, heah my prayer! I se a po sinner, a po sinner ! I knows I done wrong, I knows it ! When I cotches Jeff cheatin wid loaded dice my anger overcomes me and I kills him dead! Lawd, I done wrong ! When dat guard hits me wid de whip, 182 THE EMPEROR JONES 183 my anger overcomes me, and I kills him dead. Lawd, I done wrong! And down heah whar dese fool bush niggers raises me up to the seat o de mighty, I steals all I could grab. Lawd, I done wrong ! I knows it ! I se sorry! Forgive me, Lawd! Forgive dis po sinner! [Tlien beseeching terrifiedly.] And keep dem away, Lawd! Keep dem away from me! And stop dat drum soundin in my ears ! Dat begin to sound ha nted, too. [He gets to his feet, evidently slightly reassured by his prayer with attempted confidence.] De Lawd ll preserve me from dem ha nts after dis. [Sits down on the stump again. } I ain t skeered o real men. Let dem come. But dem odders [He shudders^ th*n looks down at his feet, working his toes inside, the slwes with a groan.~\ Oh, my po feet! Dem* shoes ain t no use no more ceptin to hurt. I se better off widout dem. [He unlaces them and puUs them off holds the wrecks of the shoes m his hands and regards them mournfully.] You was real, A-one patin leather, too. Look at you now. Emperor, you se gittin* mighty low! [He sighs dejectedly and remains with bowed shoulders? staring down at the shoes in his hands as if reluctant to throw them away. While his at tention is thus occupied, a crowd of figures silently enter the clearing -from all sides. All are dressed in Southern costumes of the period of the fifties of the last century. There are middle-aged jnen who are evidently well-to-do planters. There is one 184 THE EMPEROR JONES spruce, authoritative individual the AUCTIONEER. There are a crowd of curious spectators, chiefly young belles and dandies who have come to the slave-market for diversion. All exchange courtly greetings in dumb show and chat silently together. There is something stiff, rigid, unreal, marionettish about their movements. They group them-selves about the stump. Finally a batch of slaves are led m from the left by am. attendant three men of different ages, two women, one with a baby in her, arms, nursing. They are placed to the left of the stump, beside JONES. The white planters look them over appraisingly as if they were cattle, and exchange judgments on each. The dandies point with their fingers and make witty remarks. The belles titter bewitchingly. All this in silence save for the ominous throb of the tom-tom. TJie AUCTIONEER holds up his hand, talcing his place at the stump. The groups strain forward attentively. He touches JONES on the shoulder peremptorily, motioning for him to stand on the stump the auction block. JONES looks up, sees tlie figures on all sides, looks wildly for some opening to escape, sees none, screams and leaps madly to the top of the stump to get as far away from them as possible. He stands there, cowering, paralyzed with horror. The AUCTIONEER begms his silent spieL He points to JONES, appeals to the planters to see for themselves. Here is a good field hand, sound m wind and limb THE EMPEROR JONES 185 as they can see. Very strong still in spite of his being middle-aged. Look at tliat back. Look at those shoulders. Look at the muscles in Ills arms and his sturdy legs. Capable of any amount of hard labor. Moreover, of a good disposition, intel ligent and tractable. Will any gentleman start the bidding? The PLANTERS raise their fingers, make their bids. They are apparently all eager to pos sess JONES. The bidding is lively, the crowd inter ested. W hUe this has been going on, JONES has been seized by tJie courage of desperation. He dares to look down and around him. Over his face abject terror gives way to mystification, to gradual realiza tion stwttermgly. ] What you all doin , white folks? What s all dis? What you all lookin at me fo ? What you doin wid me, anyhow? [Suddenly convulsed with raging hatred and fear.] Is dis a auction? Is you sellin me like dey uster befo* de war? [Jerking out his revolver just as the AUCTIONEER knocks him down to one of th-e planters glaring from him to the purchaser.] And you sells me? And you buys me? I shows you I se a free nigger, damn yo souls! [He fires at the AUCTIONEER and at the PLANTER with such rapidity that the two shots are almost simultaneous. As if this were a signal the watts of the forest fold in. Only blackness remains and silence broken by JONES as he rushes off, crying with fear and by the quickened, ever louder beat of the tom-tom. } SCENE SIX SCENE Three o clock. A cleared space m the for est. The limbs of tJie trees meet over it form~ mg a low ceiling about five feet from the ground. The interlocked ropes of creepers reaching upward to entwine the tree trunks gives an arched appearance to the sides. The space thus enclosed is like the dark, noisome hold of some ancient vessel. The moonlight is almost completely shut out and only a vague, wan light filters through. There is the. noise of someone approaching from the left, stumbling and crawling through the undergrowth. JONES voice is heard between chattering moans. Oh, Lawd, what I gwine do now? Ain t got no bullet left on y de silver one. If mo* o dem ha nts come after me, how I gwine skeer dem away? Oh, Lawd, on y de silver one left an I gotta save dat fo* luck. If I shoots dat one I m a goner sho i Lawd, it s black heah! Whar s de moon? Oh, Lawd, don t dis night evah come to an end? [By the sownds, he is feeling his way cautiously forward.J Dere! Dis feels like a clear space. I gotta lie down an rest. I don t care if dem niggers does cotch me. I gotta rest. 186 THE EMPEROR JONES 187 \He is well forward new where his figure can be dimly made out. His pants have been so torn away that what is left of them is no better than a breech cloth. He flings himself full length, face downward on the ground, panting with exhaustion. Gradually it seems to grow lighter in the enclosed space and two rows of seated figures can be seen behind JONES. They are sitting in crumpled, despairing attitudes, hunched, facing one another with their backs touch ing the forest walls as if they were shackled to them. All are negroes, naked save for loin cloths. At first they are silent and motionless. Then they begin to sway slowly forward toward each and back again in unison, as if they were laxly letting themselves follow the long roll of a ship at sea. At the same time, a low, melancholy murmur rises among them, in creasing gradually by rhythmic degrees which seem to be directed and controlled by the throb of the tom-tom m the distance, to a long, tremulous wail > of despair that readies a certain pitch, unbearably acute, then falls by slow graduations of tone into silence and is taken up again. JONES starts, looks up, sees tlie figures, and throws himself down again to shut out the sight. A shudder of terror shakes his whole body as the wail rises up about him again. But the next time, his voice, as if under some un canny compulsion, starts with the others. As their chorus lifts he rises to a sitting posture similar to the others, swaying back and forth. His voice reaches the highest pitch of sorrow, of desolation. 188 THE EMPEROR JONES The light fades out, the other voices cease* and only darkness is left. JONES can be heard scrambling to his feet and runnmg off, his voice - sinking down the scale and receding as he moves farther and farther away in the forest. The tom-tom beats louder, quicker, with a more insistent, triumphant pulsation.] SCENE SEVEN SCENE Fwe o clock. The foot of a gigantic tree by the edge of a great river. A rough struc ture of boulders, like an altar, is by the tree. The raised river bank is m the nearer back ground. Beyond this the surface of the river spreads out, brilliant and unruffled in the moonlight, blotted out and merged into a veil of bluish mist in the distance. JONES voice is heard from the left rising and falling in the long, despairing wail of the chained slaves, to the rhythmic beat of the tom-tom. As his voice sinks into silence, he enters the open space. The expression of his face is fixed and stony, his eyes have cm obsessed glare, he moves with a strange deliberation like a sleep-walker or one in a trance. He looks around at the tree, the rough stone altar, the moonlit surface of the river beyond, and passes his hand over his head with a vague gesture of puzzled bewilderment. Then, as if in obedience to some obscure im pulse, he sinks into a kneeling, devotional pos ture before the altar. Then he seems to come to himself partly, to have an uncertain realiza tion of what he is doing, for he straightens up 189 190 THE EMPEROR JONES and stares about him horrifiedly m an m- caherent mumble. What what is I doin? What is dis place? (Seems like seems like I know dat tree an dem stones an de river. I remember seems like I been heah befo . [Tremblingly. ] Oh, Gorry, I se skeered in dis place! I se skeered! Oh, Lawd, pertect dis sinner ! [Crawling away from the altar, h# cowers close to the ground, his face hidden, his shoulders heaving with sobs of hysterical fright. From behind the trunk of the tree, as if he had sprung out of it, the figure of the CONGO WITCH-DOCTOR appears. He is wizened and old, naked except for the fur of some smaU animal tied about his waist, its bush?/ tail lumgmg down m front. His body is stained all over a bright red. Antelope horns are on each side of his head, branching upward. In on# hand he carries a bone rattle, in the other a charm stick with a bunch of white cockatoo feathers tied to the end. A great number of glass beads and bone ornaments are about his neck, ears, wrists, and ankles. He struts noise lessly with a queer prancing step to a position in tlie clear ground between JONES and the altar. Then with a preliminary, summoning stamp of his foot on the earth, he begins to dance and to chant. As if wl response to his summons the beating of the tom tom grows to a -fierce, exultant boom whose throbs seem to fill the air with vibrating rhythm. JONES THE EMPEROR JONES 191 looks up, starts to spring to his feet, reaches a half -kneeling, half-squatting position and remains rigidly fixed there, paralyzed with awed fascination by this new apparition. The WITCH-DOCTOR sways, stamping with his foot, his bone rattle clicking the time. His voice rises and falls in a weird, monoto nous croon, without articulate word divisions. Gradually his dance becomes clearly one of a nar rative in pantomime, his croon is an incantation, a charm, to allay the fierceness of some implacable deity demanding sacrifice. He fiees, he is pursued by devils, he hides, he flees again. Ever wilder and wilder becomes his flight, nearer and nearer draws the pursuing evil, more and more the spirit of terror gains possession of him. His croon, rising to in tensity, is punctuated by shrill cries. JONES has become completely hypnotized. His voice joins m the incantation, m the cries, he beats time with his hands and sways his body to and fro from the waist. The whole spirit and meaning of the dance has entered into him, has become his spirit. Finally the theme of the pantomime halts on a howl of despair, and is taken up again in a note of savage J:ope. There is a salvation. The forces of evil demand sacrifice. They must be appeased. Thd WITCH-DOCTOR points with his wand to the sacred tree, to the river beyond, to the altar, and finally to JONES with a ferocious command. JONES seems to sense the meaning of this. It is he who must offer himself for sacrifice. He beats his forehead 192 THE EMPEROR JONES abjectly to the ground, moaning hysterically. ] Mercy, Oh Lawd! Mercy! Mercy on dis po sinner. [The WITCH-DOCTOR springs to the river bank. He stretches out his arms and calls to some God withm its depths. Then he starts backward slowly, his arms remaining out. A hugh head of a croco dile appears over the bank and its eyes, glittering greenly, -fasten upon JONES. He stares into them fascinatedly. The WITCH-DOCTOR prances up to him, touches him with his wand, motions with hideous command toward the waiting monster. JONES squirms on his belly nearer and nearer, moaning con tinually.] Mercy, Lawd ! Mercy ! [The crocodile heaves more of his enormous hulk onto the land. JONES squirms toward him. The WITCH-DOCTOR S voice shrills out in furious exulta tion, the tom-tom beats madly. JONES cries out in a fierce, exhausted spasm of anguished pleading."] Lawd, save me ! Lawd Jesus, heah my prayer ! [Immediately, in answer to his prayer, comes the thought of the one bullet left him. He snatches at his hip, shoutmg defiantly. ,] De silver bullet ! You don t git me yit ! [He fires at the green eyes in front of him. The head of the crocodile sinks back behind the river banti, the WITCH-DOCTOR springs behind the sacred tree and disappears. JONES lies with his face fa -* 3 *" THE EMPEROR JONES 193 ground, his arms outstretched, whimpering with fear as the throb of the tom-tom fitts tlie silence about him with a somber pulsation, a baffled but revenge ful power.] SCENE EIGHT SCENE Dawn. Same as scene two, the dividing line of forest and plain. The nearest tree trunks are dimly revealed but the forest behind them is still a mass of glooming shadow. The tom-tom seems on the very spot, so loud and continuously vibrating are its beats. LEM enters from the left, followed by a small squad of his soldiers, and by the Cockney trader, SMITHERS. LEM is a heavy-set, ape-faced old savage of the extreme African type, dressed only in a loin cloth. A revolver and cartridge belt are about his waist. His soldiers are m different degrees of rag-concealed nakedness. All wear broad palm-leaf hats. Each one car ries a rifle. SMITHERS is the same as in Scene One. One of the soldiers, evidently a tracker, is peering about keenly on the ground. He grunts and points to the spot where JONES entered the forest. LEM and SMITHERS come to look. SMITHERS [After a glance, turns away m dis gust.] That s where *e went in right enough. Much good it ll do yer. E s miles orf by this an safe to 194 THE EMPEROR JONES 195 I tole yer yer d lose im, didn t I? wastin the ole bloomin night beatin yer bloody drum and castin yer silly spells! Gawd blimey, wot a pack! LEM [Gutt urally] We cotch him. You see. [He makes a motion to his soldiers who squat down on their haunches m a semi-circle.] SMITHERS [Exasperatedly] Well, ain t yer goin in an unt im in the woods? What the ell s the good of waitin ? LEM [Imperturbably squatting down himself.] We cotch him. SMITHERS [Turning away from him contemptu ously] Aw! Garn ! E s a better man than the lot o you put together. I ates the sight o im but I ll say that for im. [A sound of snapping twigs comes from the forest. The soldiers jump to their feet, cocking their rifles alertly. LEM remains sitting with an imperturbable expression, but listen ing intently. The sound from the woods is re peated. LEM makes a quick signal with his hand. His followers creep quickly but noiselessly into the forest, scattering so that each enters at a differ ent spot] SMITHERS [In the silence that follows m a con temptuous whisper] You ain t thinkin that would be im, I ope? LEM [Calmly] We cotch him. SMITHERS Blarsted fat eads ! [Then after a second s thought wondermgly] Still an all, it 196 THE EMPEROR JONES might appen. If e lost is bloody way in these stinkin woods e d likely turn in a circle without is knowin it. They all does. LEM [Peremptorily.] Sssh! [The reports of several rifles sound from, the forest, followed a sec ond later by savage, exultant yells. The beating of the tom-tom abruptly ceases. LEM looks up at the white man with a grin of satisfaction.] We cotch him. Him dead. SMITHERS -[With a snarl.] Ow d yer know it s im an ow d yer know Vs dead? LEM My mens dey got um silver bullets. Dey kill him shore. SMITHERS [Astonished.] They got silver bul lets? LEM Lead bullet no kill him. He got um strong charm. I cook um money, make um silver bullet, make um strong charm, too. SMITHERS [Light breaking upon him.] So that s wot you was up to all night, wot? You was scared to put after im till you d moulded silver bullets, eh? LEM [Simply stating a fact.] Yes. Him got strong charm. Lead no good. SMITHERS [Slapping his thigh and guffawing.] Haw-haw! If yer don t beat all ell! [Then re covering himself scornfully. ] I ll bet yer it ain t im they shot at all, yer bleedin looney ! LEM [Calmly.] Dey come bring him now. [Tlie soldiers come out of the forest, carrying JONES THE EMPEROR JONES 197 limp body. There is a little reddish- pur pie Jwle under his left breast. He is dead. They carry him to LEM, who examines his body with great satis faction. SMITHERS leans over his shoulder in a tone of frightened awe.] Well, they did for yer right enough, Jonsey, me lad! Dead as a erring! [Mockingly.] Where s yer igh an mighty airs now, yer bloomin Majesty? [Then with a grin.] Silver bullets! Gawd blimey, but yer died in the eighth o style, any ow! [LEM makes a motion to the soldiers to carry the body out left. SMITHERS speaks to him sneermgly.] SMITHERS And I s pose you think it s yer bleed- in charms and yer silly beatin the drum that made im run in a circle when e d lost imself, don t yer? [But LEM makes no reply, does not seem to hear the question, walks out left after his men. SMITH ERS looks after him with contemptuous scorn.] Stupid as ogs, the lot of em ! Blarsted niggers ! [Curtain Falls.] DIFF RENT A Play in Two Acts CHARACTERS CAPTAIN CALEB WILLIAMS EMMA CROSBY CAPTAIN JOHN CROSBY, her father MRS. CROSBY, her mother JACK CROSBY, her brother HARRIET WILLIAMS, Caleb s sister (later Mrs. Rogers} ALFRED ROGERS BENNY ROGERS, their son. SCENES ACT ONE Parlor of the Crosby home on a side street of a seaport village m New England mid- after noon of a day in late sprmg in the year 1890. ACT TWO The same. Late afternoon of a day m the early sprmg of the year 1920. ACT ONE SCENE Parlor of the CROSBY home. The room is small and low-ceilinged. Everything lias an aspect of scrupulous neatness. On the left, forward, a stiff plush-covered chair. Farther back, in order, a window looking out on a vege table garden, a black horsehair sofa, and an other window. In the far left corner, an old mahogany chest of drawers. To the right of it, in rear, a window looking out on the front yard. To the right of this window is tlie front door, reached by a dirt path through the small lawn which separates the house from the street. To the right of door, another window. In the far right corner, a diminutive, old-fashioned piano with a stool in front of it. Near the piano on the right, a door leading to the next room. On this side of the roam are also a small book case half filled with old volumes, a big open fireplace, and another plush-covered chair. Over the fireplace a mantel with a marble clock and a Rogers group. The walls are papered a brown color. The fioor is covered with a dark carpet. In the center of the room there is a clumsy, marble-topped table. On the table, 203 204 DIFFERENT a large china lamp, a bulky Bible with a brass clasp, and several books that look suspiciously like cheap novels. Near the table, three plush- covered chairs, two of which are rockers. Sev eral enlarged photos of strained, stern-looking people in- uncomfortable poses are hung on the It is mid-afternoon of a fine day in late spring of the year 1890. Bright sunlight streams through the windows on the left. Through the window and the screen door in the rear the fresh green of the lawn and of the elm trees that line the street can be seen. Stiff, white curtains are at all the windows. As the curtain rises, EMMA CROSBY and CALEB WILLIAMS are discovered. EMMA is a slender girl of twenty, rather under the medium height. Her face, in spite of its plam features, gives an impression of prettiness, due to her large, soft blue eyes which have an incongruous quality of absent-minded romantic dreaminess about them. Her mouth and chin are heavy, full of a self-willed stubborness. Although her body is slight and thin, there is a quick, nervous vitality about all her movements tliat reveals an underlying constitution of reserve power and health. She has light brown hair, thick and heavy. She is dressed soberly and neatly in her black Sunday best, style of the period. CALEB WILLIAMS is tall and powerfully DIFFERENT 205 built, about thirty. Black hair, keen, dark eyes, face rugged and bronzed, mouth obsti nate but good-natured. He, also, is got up in black Sunday best and is uncomfortably self- conscious and stiff therein. They are sitting on the horsehair sofa, side by side. His arm is about her waist. She holds one of Ms big hands in both of hers, lier head leaning back against his shoulder, her eyes half closed in a dreamy content edness. He stares before him rigidly, his whole atti tude wooden and fixed as if he were posing for a photograph; yet his eyes are expressively tender and protecting when he glances down at her diffidently out of the corners without moving his head. EMMA [Sighing happily.] Gosh, I wish we could sit this way forever! [Then after a pause, as Tie makes no comment except a concurring squeeze.] Don t you, Caleb? CALEB [With another squeeze emphatically.] Hell, yes ! I d like it, Emmer. EMMA [Softly.] I do wish you wouldn t swear so awful much, Caleb. CALEB S cuse me, Emmer, it jumped out o my mouth afore I thought. [Then with a grin] You d ought to be used to that part o men s wickedness with your Pa and Jack cussin* about the house all the time. 206 DIFF RENT EMMA [With a smile. ] Oh, I haven t no strict religious notions about it. I m hardened in sin so far s they re concerned. Goodness me, how would Ma and me ever have lived in the same house with them two if we wasn t used to it? I don t even notice their cussing 1 no more. And I don t mind hearing it from the other men, either. Being 1 sea-faring men, away from their women folks most of the time, I know it just gets to be part of their natures and they ain t responsible. [Decisively.] But you re different. You just got to be different from the rest. CALEB [Amused by her seriousness.] Diff rent? Ain t I a sea-farin man, too? EMMA You re different just the same. That s what made me fall in love with you stead of any of them. And you ve got to stay diff rent. Promise me, Caleb, that you ll always stay diff rent from them even after we re married years and years. CALEB [Embarrassed.] Why I promise to do my best by you, Emmer. You know that, don t ye? On y don t git the notion in your head I m any bet- ter n the rest. They re all good men most of cm, anyway. Don t tell me, for instance, you think I m better n your Pa or Jack cause I ain t. And I don t know as I d want to be, neither. EMMA [Excitedly.] But you got to want to be when I ask it. CALEB [Surprised.] Better n your Pa? EMMA [Struggling to convey her meaning.] Why, Pa s all right. He s a fine man and Jack s DIFF RENT 07 all right, too. I wouldn t hear a bad word about them for anything. And the others are all right in their way, too, I s pose. Only don t you see what I mean ? I look on you as diff rent from all of them. I mean there s things that s all right for them to do that wouldn t be for you in my mind, anyway. CALEB -{Puzzled and a bit uneasy.] Sailors ain t plaster saints, Emmer, not a darn one of em ain t ! EMMA {Hurt and disappointed. ] Then you won t promise me to stay diff rent for my sake? CALEB {With rough tenderness.] Oh, hell, Emmer, I ll do any cussed thing in the world you want me to, and you know it ! EMMA [Lovwigly .] Thank you, Caleb. It means a lot to me more n you think. And don t you think I m diff rent, too not just the same as all the other girls hereabouts? CALEB Course you be ! Ain t I always said that ? You re wo th the whole pack of em put together. EMMA Oh, I don t mean I m any better. I mean I just look at things different from what they do getting married, for example, and other things, too. And so I ve got it fixed in my head that you and me ought to make a married couple diff rent from the rest not that they ain t all right in their way. CALEB {Puzzled uncertainly.] Waal it s bound to be from your end of it, you bein* like you are. But I ain t so sure o mine. EMMA Well, I am \ CALEB {With a grin.] You got me scared, 208 DIFF RENT Emmer. I m scared you ll want me to live up to one of them high-fangled heroes you been readin about in them books. [He indicates the novels on the table.} EMMA No, I don t. I want you to be just like yourself, that s all. CALEB That s easy. It ain t hard bein a plain, ordinary cuss. EMMA You are not ! CALEB [With a laugh.} Remember, I m warnin you, Emmer; and after we re married and you find me out, you can t say I got you under no false pre tences. EMMA [Laughing.} I won t. I won t ever need to. [Then after a pause.} Just think, it s only two days more before you and me ll be man and wife. CALEB [Squeezing her.} Waal, it s about time, ain t it? after waitin three years for me to git enough money saved and us not seein hide or hair of each other the last two of em. [With a laugh.} Shows ye what trust I put in you, Emmer, when I kin go off on a two year whalin vige and leave you all lone for all the young fellers in town to make eyes at. EMMA But lots and lots of the others does the same thing without thinking nothing about it. CALEB [With a laugh.} Yes, but I m different, like you says. EMMA [Laughing.} Oh, you re poking fun now. CALEB [With a wink.} And you know as well s DIFF RENT 209 me that some o the others finds out some funny things that s been done when they was away. EMMA [Laughing at first.} Yes, but you know I m diff rent, too. [Then frowning.] But don t let s talk about that sort o ructions. I hate to think of such things even joking. I ain t like that sort. CALEB Thunder, I know you ain t, Emmer. I was on y jokin . EMMA And I never doubted you them two years ; and I won t when you sail away again, neither. CALEB [With a twinkle in his eyeJ\ No, even a woman d find it hard to git jealous of a whale! EMMA [Laughing.] I wasn t thinking of whales, silly ! But there s plenty of diversion going on in the ports you touched, if you d a mind for it. CALEB Waal, I didn t have no mind for it, that s sartin. My fust vige as skipper, you don t s pose I had time for no monkey-shinin , do ye? Why, I was that anxious to bring back your Pa s ship with a fine vige that d make him piles o money, I didn t even think of nothin else. EMMA Cepting me, I hope? CALEB O* course ! What was my big aim in doin it if it wasn t so s we d git married when I come to home? And then, s far as ports go, we didn t tech at one the last year ceptin when that durn tem pest blowed us south and we put in at one o the Islands for water. EMMA What island? You never told me noth ing about that. 210 DIFFERENT CALEB [Growing suddenly very embarrassed as if some memory occurred to him.} Ain t nothin* to tell, that s why. Just an island near the Line, that s all. O ny naked heathen livin there brown col ored savages that ain t even Christians. [He gets to his feet abruptly and putts out his watch. ] Gittin late, must be. I got to go down to the store and git some things for Harriet afore I forgets em. EMMA [Rising also and putting her hands on his shoulders.} But you did think of rne and miss me all the time you was gone, didn t you? same as I did you. CALEB Course I did. Every minute. EMMA [Nestling closer to him softly.} Pm glad of that, Caleb. Well, good-bye for a little while. CALEB I ll step in again for a spell afore supper that is, if you want me to. EMMA Yes, course I do, Caleb. Good-bye. [She lifts her face to his.} CALEB Good-bye, Emmer. [He kisses her and holds her in his arms for a moment. JACK comes up the walk to the screen door. They do not notice his approach.} JACK [Peering in and seeing tJiem m a joking bellow.} Belay, there! [They separate with startled exclamations. JACK comes in grinning. He is a hulking -, stocky-built young fellow of 25. His heavy face is sunburned., handsome in a course, good-nat ured animal -fashion. His small blue eyes twinkle with the unconsciously malicious humor of tJie born DIFF RENT practical joker. He wears thigh seaboots turned down from the knees, dirty cotton shirt and pants, and a yellow sou wester pushed jauntily on the back of his head, revealing his dishevelled, curly blond hair. He carries a string of cod heads. ] JACK [Laughing at the embarrassed expression on their faces.] Caught ye that time, by gum! Go ahead ! Kiss her again, Caleb. Don t mind me. EMMA [With flurried annoyance. ] You got a head on you just like one of them cod heads you re carrying that stupid! I should think you d be ashamed at your age shouting to scare folks as if you was a little boy. JACK [Putting his arm about her waist.] There, kitty, don t git to spittin . [Stroking her hair.] Puss, puss, puss! Nice kitty! [He laughs.] EMMA [Forced to smile pushing him away.] Get away! You ll never get sense. Land sakes, what a brother to have! JACK Oh, I dunno. I ain t so bad, as brothers go eh, Caleb? CALEB [Smiling.] I reckon you ll do, Jack. JACK See there! Listen to Caleb. You got to take his word love, honor, and obey, ye know, Emmer. EMMA [Laughing.] Leave it to men folks to stick up for each other, right or wrong. JACK [CockUy.] Waal, I m willin to leave it to the girls, too. Ask any of em you knows if I ain t a DLFF RENT jim-dandy to have for a brother. [He winks at CALEB who grms back at him.] EMMA [With a sniff.] I reckon you don t play much brother with them the kind you knows. You may fool em into believing you re some pumpkins but they d change their minds if they had to live in the same house with you playing silly jokes all the time. JACK [Provokingly.] A good lot on em d be on y too damn glad to git me in the same house if I was fool enough to git married. EMMA "Pride goeth before a fall." But shucks, what s the good paying any attention to you. [She smiles at him affectionately.] JACK [Exaggeratedly.] You see, Caleb? See how she misuses me her lovin brother. Now you know what you ll be up against for the rest o* your natural days. CALEB Don t see no way but what I got to bear it, Jack. EMMA Caleb needn t fear. He s diff rent. JACK [With a sudden guffaw.] Oh, hell, yes ! I was forgittin . Caleb s a Sunday go-to-meetin Saint, ain t he? Yes, he is! EMMA [With real resentment.] He s better n what you are, if that s what you mean. JACK [With a still louder laugh.] Ho-ho ! Caleb s one o them goody-goody heroes out o them story books you re always readin , ain t he? DIFFERENT 213 CALEB [Soberly a bit disturbed.] I was tellin Emmer not to take me that high. JACK No use, Caleb. She won t hear of it. She s got her head sot t other way. You d ought to heard her argyin when you was gone about what a parson s pet you was. Butter won t melt in your mouth, no siree ! Waal, love is blind and deaf, too, as the feller says and I can t argy no more cause I got to give Ma these heads. [He goes to the door on right then glances back at his sister maliciously and says meaningly] You ought to have a talk with Jim Benson, Emmer. Oughtn t she, Caleb. [He wmks ponderously and goes off laughing uproariously] CALEB [His face worried and angry] Jack s a durn fool at times, Emmer even if he is your brother. He needs a good lickin . EMMA [S tarmg at him uneasily] What d he mean about Jim Benson, Caleb? CALEB [Frowning.] I don t know ezactly. Makin up foolishness for a joke, I reckon. EMMA You don t know exactly? Then there is something? CALEB [Quickly] Not as I know on. On y Jim Benson s one o them slick jokers, same s Jack; can t keep their mouths shet or mind their own business. EMMA Jim Benson was mate with you this last trip, wasn t he? CALEB Yes. EMMA Didn t him and you get along? CALEB [A trifle impatiently] Course we did. DIFF RENT Jim s all right. We got along fust rate. He just can t keep his tongue from waggin , that s all s the matter with him. EMMA [Uneasily.] What s it got to wag about? You ain t done nothing wrong, have you ? CALEB Wrong? No, nothin a man d rightly call wrong. EMMA Nothing you d be shamed to tell me? CALEB [Awkwardly.] Why no, Emmer. EMMA [Pleadingly.] You d swear that, Caleb? CALEB [Hesitating for a second then firmly.] Yes, I d swear. I d own up to everything fair and square I d ever done, if it comes to that p int. I ain t shamed o anything I ever done, Emmer. On y women folks ain t got to know everything, have they ? EMMA [Turning away from him f right enedly.] Oh, Caleb! CALEB [Preoccupied with his own thoughts going to the door m rear.] I ll see you later, Em mer. I got to go up street now more n ever. I want to give that Jim Benson a talkin to he won t forgit in a hurry that is, if he s been tellin tales. Good bye, Emmer. EMMA [Faintly.] Good-bye, Caleb. [He goes out. She sits in one of the rockers by the table, her face greatly troubled, her manner nervous and un easy. Finally she makes a decision, goes quickly to the door on the right and calls.] Jack! Jack! JACK [From the kitchen.] What you want? EMMA Come here a minute, will you? DIFF RENT 215 JACK Jest a second. [She comes back lay the table, fighting to conceal her agitation. After a moment, JACK comes m from the right. He has evi dently been washing up, for his face is red and shiny, his hair wet and slicked m a part. He looks around for CALEB.] Where s Caleb? EMMA He had to go up street. [Then coming to the point abruptly with feigned indifference.] What s that joke about Jim Benson, Jack? It seemed to get Caleb all riled up. JACK [With a chuckle."] You got to ask Caleb about that, Emmer. EMMA I did. He didn t seem to want to own up it was anything. JACK [With a laugh.] Course he wouldn t. He don t preciate a joke when it s on him. EMMA How d you come to hear of it? JACK From Jim. Met him this afternoon and me and him had a long talk. He was tellin me all bout their vige. EMMA Then it was on the vige this joke hap pened ? JACK Yes. It was when they put in to git water at them South Islands where the tempest blowed em. EMMA Oh. [Suspiciously.] Caleb didn t seem willing to tell me much about their touching there. JACK [Chuckling.] Course he didn t. Wasn t I sayin the joke s on him? [Coming closer to her vri a low, confidential tone, chucklmgly.] We ll fix up a joke on Caleb, Emmer, what d ye say? 216 DIFF RENT EMMA [Tortured by -foreboding resolved to find out what is back of aU this by hook or crook forcing a smile.] All right, Jack. I m willing. JACK Then I ll tell you what Jim told me. And you put it up to Caleb, see, and pertend you re mad- der n hell. [Unable to restrain his mirth.] Ho-ho! It ll git him wild if you do that. On y I didn t tell ye, mind ! You heard it from someone else. I don t want to git Caleb down on me. And you d hear about it from someone sooner or later cause Jim and the rest o the boys has been tellin the hull town. EMMA [Taken aback frowning] So all the town knows about ft? JACK Yes, and they re all laffin at Caleb. Oh, it ain t nothin so out o the ordinary. Most o the whalin men hereabouts have run up against it in their time. I ve heard Pa and all the others tellin stories like it out o their experience. On y with Caleb it ended up so damn funny ! [He laughs.] Ho-ho ! Jimminy ! EMMA [In a strained voice] Well, ain t you going to tell me? JACK I m comin to it. Waal, seems like they all went ashore on them islands to git water and the native brown women, all naked a most, come round to meet em same as they always does wantin to swap for terbaccer and other tradin stuff with straw mats and whatever other junk they got. Them brown gals was purty as the devil, Jim says that is, in their heathen, outlandish way and the boys got makin DIFF RENT 217 up to em ; and then, o course, everything happened like it always does, and even after they d got all the water they needed aboard, it took em a week to round up all hands from where they was foolin about with them nigger women. EMMA [In anguish.~\ Yes but Caleb he ain t like them others. He s diff rent. JACK [With a sly wmk.~\ Oho, is he? I m comin to Caleb. Waal, seems s if he kept aboard mindin his own business and winkin at what the boys was doin . And one o them gals the purtiest on em, Jim says she kept askin , where s the captain ? She wouldn t have nothin* to do with any o the others. She thought on y the skipper was good enough for her, I reckon. So one night jest afore they sailed some o the boys, bein drunk on native rum they d stole, planned to put up a joke on Caleb and on that brown gal, too. So they tells her the captain had sent for her and she was to swim right out and git aboard the ship where he was waitin for her alone. That part of it was true enough cause Caleb was alone, all hands havin deserted, you might say. EMMA [Lettmg an involuntary exclamation es cape her. ~\ Oh! JACK Waal, that fool brown gal b lieved em and she swum right off, tickled to death. What hap pened between em when she got aboard, nobody knows. Some thinks one thing and some another. And I ain t sayin nothm* bout it [With a wirikJ\ but I know damn well what I d a done in Caleb s 218 DIFF RENT boots, and I guess he ain t the cussed old woman you makes him out. But that part of it s got nothin to do with the joke nohow. The joke s this : that brown gal took an awful shine to Caleb and when she saw the ship was gittin ready to sail she raised ructions, standin on the beach howlin and screamin , and beatin her chest with her fists. And when they ups anchor, she dives in the wcter and swims out after em. There s no wind hardly and she kin swim like a fish and catches up to em and tries to climb aboard. At fust, Caleb tries to treat her gentle and argy with her to go back. But she won t listen, she gits wilder and wilder, and finally he gits sick of it and has the boys push her off with oars while he goes and hides in the cabin. Even this don t work She keeps swimmin round and yellin for Caleb. And finally they has to p int a gun at her and shoot in the water near her afore the crazy cuss gives up and swims back to home, howlin all the time. [With a chuckle.] And Caleb lyin low in the cabin skeered to move out, and all hands splittin their sides ! Gosh, I wish I d been there ! It must have been f unnier n hell ! [He laughs loudly then noticing his sister s stony expression, stops abruptly.] What re you pullin that long face for, Emmer? [Offendedly.] Hell, you re a nice one to tell a j oke to ! EMMA [After a pause forcing the word" out slowly.] Caleb s comin back here, Jack. I want you to see him for me. I want you to tell him DIFF RENT 219 JACK Not me! You got to play this joke on him yourself or it won t work. EMMA [Tensely. ] This ain t a joke, Jack what I mean. I want you to tell him I ve changed my mind and I ain t going to marry him. JACK What ! EMMA I been thinking things over, tell him and I take back my promise and he can have back his ring and I ain t going to marry him. JACK [Flabbergasted peering into her face anxiously.] Say what the hell ? Are you tryin to josh me, Emmer? Or are you gone crazy all of a sudden? EMMA I ain t joking nor crazy neither. You tell him what I said. JACK [Vehemently.] I will like Say, what s come over you, anyhow? EMMA My eyes are opened, that s all, and I ain t going to marry him. JACK Is it count of that joke about Caleb I was tellin you? EMMA [Her voice trembling.] It s count of something I got in my own head. What you told only goes to prove I was wrong about it. JACK [Greatly perturbed now] Say, what s the matter? Can t you take a joke? Are you mad at him count o that brown gal? EMMA Yes, I am and I ain t going to marry him and that s all there is to it. JACK [Argument atively] Jealous of a brown, 220 DIFFERENT heathen woman that ain t no better n a nigger? God sakes, Emmer, I didn t think you was that big a fool. Why them kind o women ain t women like you. They don t count like folks. They ain t Christians nor nothin ! EMMA That ain t it. I don t care what they are. JACK And it wasn t Caleb anyhow. It was all her fixin . And how d you know he had anything to do with her like that? I ain t said he did. Jim couldn t swear he did neither. And even if he did what difference does it make? It ain t rightly none o your business what he does on a vige. He didn t ask her to marry him, did he ? EMMA I don t care. He d ought to have acted diff rent. JACK Oh golly, there you go agen makin a durned creepin - Jesus out of him ! What d you want to marry, anyhow a man or a sky-pilot? Caleb s a man, ain t he? and a damn good man and as smart a skipper as there be in these parts! What more d you want, anyhow? EMMA [Violently.] I want you to shet up! You re too dumb stupid and bad yourself to ever know what I m thinking. JACK [Resent f idly.] Go to the devil, then! I m goin to tell Ma and sic her onto you. You ll maybe listen to her and git some sense. [He stamps out, right, while he is speaking. EMMA bursts into sobs and throws herself on a chair, covering her face with her hands. HARRIET WILLIAMS and ALFRED ROGERS DIFF RENT come up the path to the door m rear. Peering through the screen and catching sight of EMMA, HARRIET calls. ] Emmer! [EMMA leaps to her feet and dabs at her eyes with a handkerchief in a vam effort to conceal traces of her tears. HARRIET has come in, followed by ROGERS. CALEB S sister is a tall, dark girl of twenty. Her face is plainly homely and yet attracts the eye by a certain boldly-appealing vitality of self-confident youth. She wears an apron and has evidently just- come out of the kitchen. ROGERS is a husky young fisherman of twenty-four, washed and slicked up m his ill-fitting best.] ROGERS Hello, Emmer. EMMA [Huskily, trying to force \a smile.] Hello, Harriet. Hello, Alfred. Won t you set? HARRIET No, I jest run over from the house a second to see if Where s Caleb, Emmer? EMMA He s gone up street. HARRIET And here I be waitin in the kitchen for him to bring back the things so s I can start his sup per. [With a laugh. and* a roguish look at ROGERS.] Dearie me, it ain t no use dependin on a man to re member nothin when he s in love. ROGERS [Putting his arm about her waist and giving her a squeeze grinning.] How bout me? Ain t I in love and ain t I as reliable as an old hoss ? HARRIET Oh, you! You re the worst of em all. ROGERS You don t think so. [Pie tries to kiss her.] DIFF RENT HARRIET Stop it. Ain t you got no manners? What ll Emmer think? ROGERS Emmer can t throw stones. Her and Caleb is worser at spoonin than what we are. [HAR RIET breaks away -from him laughingly and goes to EMMA.] HARRIET [Suddenly noticing the expression of misery on EMMA S face astonished. ] Why, Emmer Crosby, what s the matter? You look as if you d lost your last friend. EMMA [Trying to smile.] Nothing. It s noth ing. HARRIET It is, too! Why, I do believe you ve been crying! EMMA No, I ain t. HARRIET You have, too! [Putting her arms about EMMA.] Goodness, what s happened? You and Caleb ain t had a spat, have you, with your weddin only two days off? EMMA [With quick resentful resolution.] There ain t going to be any wedding. HARRIET What! ROGERS [Pricking up his ears inquisitively] Huh? EMMA Not in two days nor no time. HARRIET [Dumbfounded] Why, Emmer Crosby Whatever s got into you? You and Caleb must have had an awful spat! ROGERS [With a man-of-the-world attitude of DIFF RENT cynicism.] Don t take her so dead serious, Harriet. Emmer ll git .over it like you all does. EMMA [Angrily.] You shet up, Alf Rogers! [MRS. CROSBY enters bustlingly from the right. She is a large, fat, florid woman of fifty. In spite of her two hundred and more pounds she is surprisingly ac tive, and the passive, lazy expression of her round moon face is belied by her quick, efficient movements. She exudes an atmosphere of motherly good nature. She wears an apron on which she is drying her hands as she enters. JACK follows her into the room. He has changed to a dark suit, is ready for "up street"] MRS. CROSBY [Smiling at HARRIET and ROGERS.] Afternoon, Harriet and Alf. HARRIET Afternoon, Ma. ROGERS Afternoon. JACK [Grinning] There she be, Ma. [Points to Emma.] Don t she look like she d scratch a fel ler s eyes out! Phew! Look at her back curve! Meow? Sptt-sptt! Nice puss! [He gives a vivid imitation of a cat fight at this last. Then he and ROGERS roar with laughter and HARRIET cannot re strain a giggle and MRS. CROSBY smiles. EMMA stares stonily before*her as if she didn t hear] MRS. CROSBY [Good-naturedly.] Shet up your foolin . Jack. JACK [Pretending to be hurt.] Nobody in this house kin take a joke. [He grins and beckons to ROGERS.] Come along, Alf. You kin preciate a joke. Come on in here till I tell you. [The grinning DIFF RENT ROGERS follows him mto the next room where they can be Jieard talking and laughing during the follow ing scene.] MRS. CROSBY [Smiling, puts her arms around EMMA.] Waal, Emmer, what s this foolishness Jack s been tellin about EMMA [Resentfully.] It ain t foolishness, Ma. I ve made up my mind, I tell you that right here and now. MRS. CROSBY [After a quick glance at her face soothingly] There, there! Let s set down and be comfortable. Me, I don t relish roostin on my feet. [She pushes EMMA gently into a rocker then points to a chair on the other side of the table.] Set down, Harriet. HARRIET [Torn between curiosity and a sense oj being oi*e too many.] Maybe I d best go to home and leave you two alone? MRS. CROSBY Shucks, ! <Ain t you like one o the family Caleb s sister and livin 5 right next door ever since you was all children playin together. We ain t got no secrets from you. Set down. [HARRIET does so with an uncertain glance at the frozen EMMA. MRS. CROSBY has efficiently bustled another rocker beside her daughter s and sits down with a comfort able sigh.] There. [She reaches over and takes one of her daughter s hands m hers.] And now, Emmer, what s all this fuss over? [As EMMA makes no re ply] Jack says as you ve sworn you was breakin with Caleb. Is that true? DIFF RENT 225 EMMA Yes. MRS. CROSBY Hmm. Caleb don t know this yet, does he? EMMA No. I asked Jack to tell him when he comes back. MRS. CROSBY J~ck says he won t. EMMA Then I ll tell him myself. Maybe that s batter, anyhow. Caleb ll know what I m driving at and see my reason [Bitterly.] which nobody else seems to. MRS. CROSBY Hmm. You ain t tried me yet. [After a pause.] Jack was a dumb fool to tell you bout them goin s-on at them islands they teched. Ain t no good repeatin sech things. EMMA [Surprised.] Did you know about it be fore Jack MRS. CROSBY Mercy, yes. Your Pa heard it from Jim Benson fust thing they landed here, and Pa told me that night. EMMA [Resentfully.] And you never told me! MRS. CROSBY Mercy, no. Course I didn t. They s trouble chough in the world without makin more. If you was like most folks I d told it to you. Me, I thought it was a good joke on Caleb. EMMA [With a shudder.] It ain t a joke to me. MRS. CROSBY That s why I kept my mouth shet. I knowed you was touchy and diff rent from most. EMMA [Proudly.] Yes, I am different and that s just what I thought Caleb was, too and he ain t. 226 DIFF RENT HARRIET [Breaking in excitedly. ] Is it that story about Caleb and that heathen brown woman you re talking about? Is that what you re mad at Caleb for, Emmer? MRS. CROSBY [As EMMA remains silent.] Yes, Harriet, that s it. HARRIET [Astonished.] Why, Emmer Crosby, how can you be so silly? You don t s pose Caleb took it serious, do you, and him makin them fire shots round her to scare her back to land and get rid of her? Good gracious! [A bit resentfully.] I hope you ain t got it in your head my brother Caleb would sink so low as to fall in love serious with one of them critters ? EMMA [Harshly.] He might just as well. HARRIET [Bridling.] How can you say sech a thing! [Sarcastically.] I ain t heard that Caleb offered to marry her, have you? Then you might have some cause But d you s pose he s ever give her another thought? Not Caleb! I know him bet- ter n that. He d forgot all about the Lull thing be fore they was out o sight of land, I ll bet, and if them fools hadn t started this story going, he d never remembered it again. MRS. CROSBY [Nodding.] That s jest it. Har riet s right, Emmer. EMMA Ma ! MRS. CROSBY Besides, you don t know they was nothin wrong happened. Nobody kin swear that for sartin. Ain t that so, Harriet? DIFFERENT HARRIET [Hesitating then frankly.] I don t know. Caleb ain t no plaster saint and I reckon he s as likely to sin that way as any other man. He wasn t married then and I s pose he thought he was free to do as he d a mind to till he was hitched up. Goodness sakes, Emmer, all the men thinks that and a lot of em after they re married, too. MRS. CROSBY Harriet s right, Emmer. If you ve been wide awake to all that s happened in this town since you was old enough to know, you d ought to realize what men be. HARRIET [Scornfully.] Emma d ought to fallen in love with a minister, not a sailor. As for me, I wouldn t give a durn about a man that was too goody-goody to raise cain once in a while before he married me, I mean. Why, look at Alf Rogers, Emmer. I m going to marry him some day, ain t I? Bui; I know right well all the foolin he s done and still is doing, I expect. I ain t sayin I like it but I do like him and I got to take him the way he is, that s all. If you re looking for saints, you got to die first and go to heaven. A girl d never git married here abouts if she expected too much. MRS. ROGERS Harriet s right, Emmer. EMMA [Resentfully.] Maybe she is, Ma, from her side. I ain t claiming she s wrong. Her and me just looks at things diff rent, that s all. And she can t understand the way I feel about Caleb. HARRIET Well, there s one thing certain, Emmer. 228 DIFF RENT You won t find a man in a day s walk is any better n Caleb or as good. EMMA [Wearily.] I know that, Harriet. HARRIET Then it s all right. You ll make up with him, and I s pose I m a fool to be takin it so serious. [As EMMA shakes her head.] Oh, yes, you will. You wouldn t want to get him all broke up, would you? [As EMMA keeps silent irritably.] Story book no tions, that s the trouble with you, Emmer. You re gettin to think you re better n the rest of us. EMMA [Vehemently.] No, I don t! Can t you MRS. CROSBY Thar, now! Don t you two git to fightin to make things worse. HARRIET [Repentantly, coming and putting her arms around EMMA and kissing her] I m sorry, Emmer. You know I wouldn t fall out with you for nothing or nobody, don t you? Only it gits me riled to think of how awful broke up Caleb d be if But you ll make it all up with him when he comes, won t you? [EMMA stares stubbornly before her. Before she has a chance to reply a roar of laughter comes from the next room as JACK winds up his tale] ROGERS [From the next room] Gosh, I wished I d been there! [He follows JACK into the room. Both are grinning broadly. ROGERS says teasmgly] Reckon I ll take to whalin* stead o fishin after this. You won t mind, Harriet? From what I hears o them brown women, I m missin a hull lot by stay in* to home. DIFFERENT HARRIET [In a joking tone with a meaning glance at EMMA.] Go on, then! There s plenty of fish in the sea. Anyhow, I d never git jealous of your f oolin with one o them heathen critters. They ain t worth notice from a Christian. JACK Oho, ain t they! They re purty as pic tures, Benson says. [With a wink] And mighty accommodatin in their ways. [He and ROGERS roar delightedly. EMMA shudders with revulsion.] MRS. CROSBY [Aware of her daughter s feeling smilingly but firmly.] Get out o this, Jack. You, too, Alf. Go on up street if you want to joke. You re in my way. JACK Aw right, Ma. Come on up street, Alf. HARRIET Wait. I ll go with you a step. I got to see if Caleb s got back with them supper things. [They all go to the door in rear. JACK and ROGERS pass out, talking and laughing. HARRIET turns m the doorway sympathetically.] I ll give Caleb a talking to before he comes over. Then it ll be easy for you to finish him. Treat him firm but gentle and you ll see he won t never do it again in a hurry. After all, he wasn t married, Emmer and he s a man and what can you expect? Good-bye. [She goes.] EMMA [Inaudibly] Good-bye. MRS. CROSBY [After a pause in which she rocks back and forth studying her daughter s face plac idly.] Harriet s right, Emmer. You give him a good talkin -to and he won t do it again. 230 DIFF RENT EMMA [Coldly. ] I don t care whether he does or not. I ain t going to marry him. MRS. CROSBY [Uneasy persuasively. ] Mercy, you can t act like that, Emmer. Here s the weddin on y two days off, and everythin fixed up with the minister, and your Pa and Jack has bought new clothes speshul for it, and I got a new dress EMMA [Turning to her mother pleadingly. ] You wouldn t want me to keep my promise to Caleb if you knew I d be unhappy, would you, Ma? MRS. CROSBY [Hesitatingly.] N-no, Emmer. [Then decisively.] Course I wouldn t. It s because I know he ll make you happy. [As EMMA shakes her head.] Shaw, Emmer, you can t tell me you ve got over all likin for him jest count o this one foolish ness o hisn. EMMA I don t love him what he is now. I loved what I thought he was. MRS. CROSBY [More and more uneasy.] That s all your queer notions, and I don t know where you gits them from. Caleb ain t changed, neither have you. Why, Emmer, it d be jest like goin agen an act of Nature for you not to marry him. Ever since you was children you been livin side by side, goin round together, and neither you nor him ever did seem to care for no one else. Shucks, Emmer, you ll git me to lose patience with you if you act that stubborn. You d ought to remember all he s been to you and forget this one little wrong he s done. EMMA I can t, Ma. It makes him another per- DIFFERENT 231 son not Caleb, but someone just like all the others. MRS. CROSBY Waal, is the others so bad? Men is men the world over, I reckon. EMMA No, they ain t bad. I ain t saying that. Don t I like em all? If it was one of the rest like Jim Benson or Jack, even had done this I d thought it was a joke, too. I ain t strict in judging em and you know it. But can t you see, Ma? Caleb al ways seemed diff rent and I thought he was. MRS. CROSBY [Somewhat impatiently. } Waal, if he ain t, he s a good man jest the same, as good as any sensible girl d want to marry. EMMA [Slowly.] I don t want to marry nobody no more. I ll stay single. MRS. CROSBY [Tauntingly.] An old maid! [Then resentfully.] Emmer, d you s pose if I d had your high-fangled notions o what men ought to \>e when I was your age, d you s pose you d ever be set- tin there now? EMMA [Slowly.] No. I know from what I can guess from his own stories Pa never was no saint. MRS. CROSBY [In a tone of finality as if this set tled the matter] There, now! And ain t he been as good a husband to me as ever lived, and a good father to you and Jack? You ll find out Caleb ll turn out the same. You think it over. [She gets up bustlingly] And now I got to git back in the kitchen. EMMA [ Wringing her hands desperately.] Oh, DIFF RENT Ma, why can t you see what I feel? Of course, Pa s good as good as good can be CAPTAIN CROSBY [From outside the door which he has approached without their noticing him in a jovial bellow. ] What s that bout Pa bein good? [He comes m laughing. He is a squat, bow-legged, powerful man, almost as broad as he is long sixty yeors old but still in the prime of health and strength, with- a great, red, weather-beaten face seamed by sun wrinkles. His sandy hair is thick and dishevelled. He is dressed in an old baggy suit much the worse for wear striped cotton shirt open at the neck. He pats EMMA on the back with a playful touch that almost jars her off her feet] Thunderin Moses, that s the fust time ever I heerd good o myself by listenin ! Most times it s: "Crosby? D you mean that drunken, good-for-nothin , mangy old cuss?" That s what I hears usual. Thank ye, Emmer. [Turning to his wife.] What ye got to say now, Ma? Here s Emmer tellin you the truth after you hair-pullin me all these years cause you thought it wa n t. I always told ye I was good, ain t I good as hell I be! [He shakes with laughter and kisses his wife a resounding smack. ] Mus, CROSBY [Teasing lovingly.] Emmer don t know you like I do. CROSBY [Turning back to EMMA again.] Look- a-here, Emmer, I jest seen Jack. He told me some fool story bout you fallin out with Caleb. Reckon he was joshin , wa n t he? DIFFERENT 233 MRS. CROSBY [Quickly.] Oh, that s aU settled, John. Don t you go stirrin* it up again. [EMMA seems about to speak but stops helplessly after one glance at her father.} CROSBY An all count o that joke they re tellin bout him and that brown female critter, Jack says. Hell, Emmer, you ain t a real Crosby if you takes a joke like that serious. Thunderin Moses, what the hell d you want Caleb to be a durned, he-virgin, sky-pilot? Caleb s a man wo th ten o most and, spite o his bein on y a boy yit, he s the smartest skipper out o this port and you d ought to be proud you d got him. And as for them islands, all whalin men knows em. I ve teched thar for water more n once myself, and I know them brown females like a book. And I tells you, after a year or more aboard ship, a man d have to be a goll-durned geldin if he don t MRS. CROSBY [Glancmg uneasily at EMMA.] Ssshh! You come out in the kitchen with me, Pa, and leave Emmer be. CROSBY God A mighty, Ma, I ain t sayin nothin agen Emmer, be I? J knows Emmer ain t that crazy. If she ever got religion that bad, I d ship her off as female missionary to the damned yellow Chinks. [He laughs.} MRS. CROSBY [Taking his arm.] You come with me. I want to talk with } 7 ou bout somethin . CROSBY [Going] Aye-aye, skipper! You re boss aboard here. [He goes out right with her, DIFF RENT laughmg. EMMA stands for a while, staring stonily before her. She sighs hopelessly, clasping and wv- clasping ~her hcmds, looking around the room as if she longed to escape from it. Finally she sits down helplessly and remains fixed in a strained attitude, her face betraying the conflict that is tormenting her. Slow steps sound from the path in front of the house. EMMA recognizes them and her face freezes into an expression of obstinate intolerance. CALEB appears outside the screen door. He looks in, coughs then asks uncertainly.] It s me, Emmer. Kin I come in? EMMA [Coldly.] Yes. CALEB [Comes in and walks down beside her chair. His face is set emotionlessly but his eyes can not conceal a worried bewilderment, a look of un comprehending hurt. He stands uncomfortably, fumbling with his hat, waiting for her to speak or look up. As she does neither, he finally blurts out.] Kin I set a spell? EMMA [In the same cold tone.] Yes. [He low ers himself carefully to a wooden posture on the edge of a rocker near hers.] CALEB [After a pause.] I seen Jim Benson. I give him hell. He won t tell no more tales, I reckon. [Another pause.] I stopped to home on the way back from the store. I seen Harriet. She says Jack d told you that story they re all tellin as a joke on me. [Clenching his fists angrily.] Jack s a durn fool. He needs a good lickin from someone. DIFF RENT 235 EMMA [Resentfully.] Don t try to put the blame on Jack. He only told me the truth, didn t he? [Her voice shows that she hopes against hope for a denial.] CALEB [After a long pause regret f idly.] Waal, I guess what he told is true enough. EMMA [ Wounded.] Oh ! CALEB But that ain t no good reason for tellin it. Them sort o things ought to be kept among men. [After a pause gropingly.] I didn t want nothin like that to happen, Emmer. I didn t mean it to. I was thinkin o how you might feel even down there. That s why I stayed aboard all the time when the boys was ashore. I wouldn t have b lieved it could happen not to me. [A pause.] I wish you could see them Islands, Emmer, and be there for a time. Then you might see It s hard s hell to explain, and you havin never seen em. Every thing is diff rent down there the weather and the trees and water. You git lookin at it all, and you git to feel diff rent from what you do to home here. It s purty hereabouts sometimes like now, in spring but it s purty there all the time and down there you notice it and you git feelin diff rent. And them native women they re diff rent. A man don t think of em as women like you. But they re purty in their fashion and at night they sings and it s all diff rent like something you d see in a painted picture. [A pause.] That night when she swum out and got aboard when I was alone, she caught me 236 DIFF RENT by s prise. I wasn t expectin nothin o that sort. I tried to make her git back to land at fust but she wouldn t go. She couldn t understand enough Eng lish for me to tell her how I felt and I reckon she wouldn t have seed my p int anyhow, her bein a na tive. [A pause.] And then I was afeerd she d catch cold goin round all naked and wet in the moonlight though it was warm and I wanted to wrap a blan ket round her. [He stops as if he had finished. ] EMMA [After a long, tense pause dully. ] Then you own up there really was something happened? CALEB [After a pause, .] I was sorry for it, after. I locked myself in the cabin and left her to sleep out on deck. EMMA [After a pause fixedly. ] I ain t going to marry you, Caleb. CALEB Harriet said you d said that ; but I didn t b lieve you d let a slip that make such a difference. EMMA [With finality.] Then you can believe it now, Caleb. CALEB [After a pause] You got queer, strict notions, Emmer. A man ll never live up to em with never one slip. But you got to act accordin to your lights, I expect. It sort o busts everythin to bits for me [His voice betrays his anguish for a second but he instantly regains his iron control.] But o course, if you ain t willin to take me the way I be, there s nothin to do. And whatever you think is best, suits me. EMMA [After a pause gropingly. ] I wish I DIFF RENT 237 could explain my side of it so s you d understand. I ain t got any hard feelings against you, Caleb not now. It ain t plain jealousy what I feel. It ain t even that I think you ve done nothing terrible wrong. I think I can understand how it happened and make allowances. I know that most any man would do the same, and I guess all of em I ever met has done it. CALEB [With a glimmer of eager hope.] Then you ll forgive it, Emmer? EMMA Yes, I forgive it. But don t think that my forgiving is going to make any difference cause I ain t going to marry you, Caleb. That s final. [After a pause intensely. ~\ Oh, I wish I could make you see my reason. You don t. You never will, I expect. What you done is just what any other man would have done and being like them is exactly what ll keep you from ever seeing my meaning. [After a pause in a last effort to make him un derstand.] Maybe it s my fault more n your n. It s like this, Caleb. Ever since we was little I guess I ve always had the idea that you was diff rent. And when we growed up and got engaged I thought that more and more. And you was diff rent, too! And that was why I loved you. And now you ve proved you ain t. And so how can I love you any more? I don t, Caleb, and that s all there is to it. You ve busted something way down inside me and I can t love you no more. CALEB [Gloomily.] I ve warned you often, ain t DIFF RENT I, you was settin me up where I d no business to be. I m human like the rest and always was. I ain t diff - rent. [After a pause wncertamLy.] I reckon there ain t no use sayin nothin more. I ll go to home. [He starts to rise. } EMMA Wait. I don t want you to go out of here with no hard feelings. You n me, Caleb, we ve been too close all our lives to ever get to be enemies. I like you, Caleb, same s I always did. I want us to stay friends. I want you to be like one of the family same s you ve always been. There s no reason you can t. I don t blame you as a man for what I wouldn t hold against any other man. If I find I can t love you that way no more or be your wife, it s just that I ve decided things being what they be and me being what I am I won t marry no man. I ll stay single. [Forcmg a smile.] I guess there s worse things than being an old maid. CALEB I can t picture you that, Emmer. It s natural in some but it ain t in you. [Then with a re newal of hope. ] And o course I want to stay frit-rids with you, Emmer. There s no hard feelin s on my side. You got a right to your own way even if [Hopefully.] And maybe if I show you what I done wasn t natural to me by never doin it again may be the time ll come when you ll be willin to for- g*t EMMA [Shaking her head slowly.] It ain t a question of time, Caleb. It s a question of some- DIFF RENT 239 thing being dead. And when a thing s died, time can t make no difference. CALEB [Sturdily.] You don t know that for sure, Emmer. You re human, too, and as liable to make mistakes as any other. Maybe you on y think it s dead, and when I come back from the next vige and you ve had two years to think it over, you ll see diff rent and know I ain t as bad as I seem to ye now. EMMA [Helplessly.] But you don t seem bad, Caleb. And two years can t make no change in me that way. CALEB [Feeling himself somehow more and more heartened by hope.] I ain t givin up hope, Emmer, and you can t make me. Not by a hell of a sight. [With emphasis.] I ain t never goin to marry no woman but you, Emmer. You can trust my word for that. And I ll wait for ye to change your mind, I don t give a durn how long it ll take till I m sixty years old thirty years if it s needful! [He rises to his feet as he is speaking this last.] EMMA [With a mournful smile.] You might just as well say for life, Caleb. In thirty years we ll both be dead and gone, probably. And I don t want you to think it s needful for you to stay single cause I- CALEB I ain t goin to stay single. I m goin to wait for you. And some day when you realize men was never cut out for angels you ll EMMA [Helplessly.] Me n you ll never under stand each other, Caleb, so long as we live. [Get- 240 DIFF RENT ting up and holding out her hand.] Good-bye, Caleb. I m going; up and lie down for a spell. CALEB [Made hopeless again by her tone clasps her hand mechanically dully.] Good-bye, Emmer. [He goes to the door in the rear, opens it, then hesitates and looks back at her as she goes out the door on the right without turning around. Sud denly he blurts out despairingly.] You ll remember what I told ye bout waitin*, Emmer? [She is gone, makes no reply. His face sets in, its concealment mask of emotionlessness and he turns slowly and goes out the door as [The Curtam Falls.] ACT TWO SCENE Thirty years after the scene is the same but TIO t the same. The room has a grotesque aspect of old age turned flighty and masquerad ing as the most empty-headed youth. There is an obstreperous newness about everything. Orange curtains are at the windows. The car pet has given way to a varnished hardwood floor, its glassy surface set off by three small, garish-colored rugs, placed with precision in front of the two doors and under the table. The wall paper is now a cream color sprayed with pmk flowers. Eye-aching seascapes, of the paint ed-to-order quality, four in number, in cased in gilded frames, are hung on the walls at mathematically spaced intervals. The plush- covered chairs are gone, replaced by a set of varnished oak. The horsehair sofa lias been relegated to the attic. A cane-bottomed affair with fancy cushions serves in its stead. A Vic- trola is where the old mahogany chest , had been. A brand mew piano shines resplendently in th# far right corner by the door, and a bookcase with glass doors that pull up and slide in flanks the fireplace. This bookcase is full of install- 241 DIFF RENT ment-plan sets of uncut volumes. TTie table at center is of varnished oak. On it are piles of fashion magazines and an electric reading lamp. Only the old Bible, which still preserves its place of honor on the table, and the marble clock ort the mantel, have survived the renovation and serve to emphasize it all the more by contrast. It is late afternoon of a day in the early spring of the year 1920. As the curt am rises, EMMA and BENNY ROGERS are discovered. She is seated in a rocker by the table. He is standing by the Victrola on which a jazz band record is playing. He whis tles, goes through the motions of dancing to the music. He is a young fellow of twenty-three, a replica of his fathe\r in Act One, but coarser, more hardened and cocksure. He is dressed m the khaki uniform of a private in the United States Army. The thirty years have trans formed EMMA into a withered, scrawny woman. But there is something revoltingly incongruous about her, a pitiable sham, a too-apparent ef fort to cheat the years by appearances. The white dress she wears is too frilly, too youthful for Iwr; so are the high-heeled pumps and clocked silk stockings. There is an absurd sug gestion of rouge on her tight cheeks and thin lips, of pencilled make-up about her eyes. The black of her hair is brazenly untruthful. Above all there is shown m her simpering, self-consci- DIFFERENT ously coquettish manner that laughable and at the same time irritating and disgusting mockery of undignified age snatching greedily at the empty simulacra of youth. She resembles some passe stock actress of fifty made up for a heroine of twenty* BENNY [As the record stops switches off the machine.] Oh, baby! Some jazz, I ll tell the world! EMMA [Smiling lovingly at his back.] I m glad you like it. It s one of them you picked out on the list. BENNY Oh, I m a swell little picker, aw right. [Turning to her.] Say, you re a regular feller get tin them records for me. EMMA [Coquet tishly.] Well, if that ain t just like a man ! Who told you I got them just for you? BENNY Well, didn t you? EMMA No indeedy ! I only took your advice on what to get. I knew you d know, being growed to a man of the world now since you was overseas. But I got em because I like them jazz tunes myself. They put life and ginger in an old lady like me not like them slow, old-timey tunes. BENNY [Bends over chair kiddingly.] You ain t old. That s all bunk. EMMA [Flattered.] Now, now, Benny! BENNY You ain t. You re a regular, up-to-date sport the only live one in this dead dump. [With 244 DIFF RENT a grin.} And if you fall for that jazz stuff, all you got to do now is learn to dance to it. EMMA [Giggling.] I will if you ll teach me. BENNY [Struggling with a guffaw.] Oh, oui! Sure I will. We ll have a circus, me an* you. Say, you re sure one of the girls aw right, Aunt Emmer. EMMA Oh, you needn t think we re all so behind the times to home here just because you ve been to France and all over. BENNY You ain t, I ll say, Aunt Emmer. EMMA And how often have I got to tell you not to call me Aunt Emmer? BENNY [With a grin.] Oh, oui! My foot slipped. Scuse me, Emmer. EMMA [Delighted by his coarse familiarity.] That s better. Why, you know well enough I ain t your aunt anyway. BENNY I got to get used to the plain Emmer. They taught me to call you "aunt" when I was a kid. [EMMA looks displeased at this remark and BENNY hastens to add cajolmgly.] And you almost was my aunt-in-law one time from what I ve heard. [Winks at her cunningly.] EMMA [Flustered.] That was ages ago. [Catching herself quickly.] Not so awful long really, but it s all so dead and gone it seems a long while. BENNY [Unthinkingly.] It was before I was born, wasn t it? [Seeing her expression lie hurries on.] Well, that ain t so darned long. Say, here s DIFFERENT 45 something I never could make out how did you ever come to fall for Uncle Caleb? EMMA [Bridling quickly.] I never did. That s all talk, Benny. We was good friends and still are. I was young and foolish and got engaged to him and then discovered I didn t like him that way. That s all there ever was to it. BENNY [Resentfully.] I can t figure how any- body d ever like him anyway. He s a darn stingy, ugly old cuss, if you want my dope on him. I can t see him at all. I ve hated him ever since Pa died and Ma and me had to go live next door with him. EMMA You oughtn t to say that. He s kind at bottom, spite of his rough ways, and he s brought you up. BENNY [Grumpily.] Dragged me up, you mean, [ With a calculating look at her out of the corners of his eyes.] He s a tight-wad and I hate folks that re tight with their coin. Spend and be a good sport, that s my motto. [Flattermg.] He d ought to be more like you that way, Emmer. EMMA [Pleased condescendingly] Your Uncle* Caleb s an old man, remember. He s sot in his ways and believes in being strict with you too strict, I ve told him. BENNY He s got piles of money hoarded in the bank but he s too mean even to retire from whalin himself goes right on makin vige after vige to grab more and never spends a nickel less n he has to. It was always like pryin open a safe for me to separate 246 DIFFRENT him from a cent. [With extreme disgust. ~\ Aw, he s a piker. I hate him and I always did! EMMA [Looking toward the door apprehenr sively.] Ssshh ! BENNY What you scared of? He don t get in from New Bedford till the night train and even if he s got to the house by this he ll be busy as a bird dog for an hour getting himself dolled up to pay you a call. EMMA [Perfunctorily.] I hope he s had a good vige and is in good health. BENNY [Roughly.] You needn t worry. He s too mean ever to get real sick. Gosh, I wish Pa d lived or Uncle Jack. They wasn t like him. I was only a kid when they got drowned, but I remember enough about em to know they was good sports. Wasn t they? EMMA [Rather primly. ] They was too sporty for their own good. BENNY Don t you hand me that. That don t sound like you. You re a sport yourself. [After a pause.] Say, it s nutty when you come to think of it Uncle Caleb livin next door all these years and comin to call all the time when he ain t at sea. EMMA What s funny about that ? We ve always been good friends. BENNY [With a grm.] It s just as if the old guy was still mashin you. And I ll bet anything he s as stuck on you as he ever was the old fool ! EMMA [With a coquettish titter.] Land sakes, DIFF RENT 247 Benny, a body d think you were actually jealous of your uncle the way you go on. BENNY [With a mocking laugh. ] Jealous ! Oh, oui! Sure I am! Kin you blame me? [Then seri ously, with a calculating look at her.} No, all kiddin aside, I know he ll run me down first second he sees you. Ma ll tell him all her tales, and he ll be sore at me right off. He s always hated me anyway. He was glad when I enlisted, cause that got him rid of me. All he was hopin was that some German d get me for keeps. Then when I come back he wouldn t do nothin for me so I enlisted again. EMMA [Chiding playfully.] Now, Benny! Didn t you tell me you enlisted again cause you were sick o this small place and wanted to be out where there was more fun? BENNY Well, o course it was that, too. But I could have a swell time even in this dump if he d loosen up a nd give me some kale. [Again with the calculating look at her.] Why, look here, right now there s a buddy of mine wants me to meet him in Boston and he ll show me a good time, and if I had a hundred dollars EMMA A hundred dollars ! That s an awful pile to spend, Benny. BENNY [Disgustedly.] Now you re talkin tight like him. EMMA [Hastily] Oh, no, Benny. You know better n that. What was you sayin if you had a hundred dollars ? 248 DIFFERENT BENNY That ain t such a much these days with everything gone up so. If I went to Boston I d have to get dolled up and everything. And this buddy of mine is a sport and a spender. Easy come, easy go is his motto. His folks ain t tight wads like mine. And I couldn t show myself up as a cheap skate by travellin round with him without a nickel in my jeans and just spongin on him. {With the calctdatmg glance to see what effect his words are having pretending to dismiss the subject. ] But what s the good of talkin ? I got a swell chance tellin that to Uncle Caleb. He d give me one look and then put a double padlock on his roll. But it ain t fair just the same. Here I m sweatin blood in the army after riskin my life in France and when I get a leave to home, everyone treats me like a wet dog. EMMA [Softly.] Do you mean me, too, Benny? BENNY No, not you. You re diff rent from the rest. You re regular and you ain t any of my real folks either, and ain t got any reason. EMMA [Coquet tishly.~\ Oh, yes, I have a reason. I like you very, very much, Benny better than any one in the town especially since you ve been to home these last few times and come to call so often and I feel I ve growed to know you. When you first came back from France I never would have recog nized you as Harriet s Benny, you was so big and strong and handsome. BENNY [Uncomfortably.] Aw, you re kiddin . DIFF RENT But you can tell how good I think you are from me bein over here so much so you know I ain t lyin . [Made more and more uncomfortable by the ardent looks Emma is casting at him.] Well, guess I ll be movin along. EMMA [Pleadingly.] Oh, you mustn t go yet! Just when we re gettin so friendly! BENNY Uncle Caleb ll be over soon and I don t want him to catch me here nor nowhere else till he gets calmed down after hearin Ma s kicks about me. So I guess I better beat it up street. EMMA He won t come for a long time yet. I know when to expect him. [Pleading ardently and kittenishly.] Do set down a spell, Benny! Land sakes, I hardly get a sight of you before you want to run away again. I ll begin to think you re only pretending to like me. BENNY [Seemg his calculations demand it.~\ Aw right jest for a second. [He looks about him, seeking a neutral subject for conversation.] Gee, you ve had this old place fixed up swell since I was to home last. EMMA [Coquet tishly.] Guess who I had it all done for, mostly? BENNY For yourself, of course. EMMA [Shaking her head rougishly.] No, not for me, not for me ! Not that I don t like it but I d never have gone to the trouble and expense for my self. [With a sigh.] I s pose poor Ma and Pa turned over in their graves when I ordered it done. 250 DIFF RENT BENNY [With a sly grin.] Who d you have it done for, then? EMMA For you! Yes, for you, Benny so s you d have a nice, up-to-date place to came to when you was on vacation from the horrid old army. BENNY [Embarrassed.] Well, it s great aw right. And it sure looks swell nothing cheap about it. EMMA [Delighted.] As long as you like it, I m satisfied. [Then suddenly, wagging an admonishing finger at him and hiding beneath a joking manner an undercurrent of uneasiness.] I was forgetting I got a bone to pick with you, young man! I heard them sayin to the store that you d been up callin on that Tilly Small evenin before last. BENNY [With a lady-killer s carelessness.] Aw, I was passin by and she called me in, that s all. EMMA [Frowning.] They said you had the piano goin and was singing and no end of high jinks. BENNY Aw, these small town boobs think you re raising hell if you re up after eleven. EMMA [Excitedly.] I ain t blamin you. But her she ought to have better sense at her age, too, when she s old enough to be your mother. BENNY Aw, say, she ain t half as old [Catching himself.] Oh, she s an old fool, you re right there, Emmer. EMMA [Severely.] And I hope you know the DIFF RENT 251 kind of woman she is and has been since she was a girl. BENNY [With a wink.] I wasn t born yester day. I got her number long ago. I ain t in my cradle, get me! I m in the army? Oui! [Chuckles.] EMMA [Fidgetting nervously. ] What d you what d you do when you was there? BENNY Why, nothin . I told her to cut the rough work and behave and a nice time was had by all. [He grins provokingly.] EMMA [Springs to her feet nervously.] I don t know what to think when you act so queer about it. BENNY [Carelessly.] Well, don t think nothing wrong cause there wasn t. Bill Tinker was with me and we was both wishin we had a drink. And Bill says, "Let s go see Tilly Small. She always has some buried and if we hand her a line of talk maybe she ll drag out the old bottle." So we did and she did. We kidded her for a couple of drinks. [He snickers.] EMMA [Standing in front of him ftdgetting.] I want you to promise you won t go to see her no more. If you if you want liquor now and again maybe I maybe I can fix it so s I can get some to keep here for you. BENNY [Eagerly.] Say, that d be great ! Will you? [She nods. He goes on carelessly.] And sure I ll promise not to see Tilly no more. Gosh, what do you think I care about her? Or about dame in this town, for that matter ceptin DIFF RENT you. These small town skirts don t hand me nothin . [With a grm.] You forgot I was in France and after the dames over there these birds here look some punk. EMMA [Sits down wetting her lips.] And what what are those French critters like? BENNY [With a wink.] Oh, boy! They re some pippins ! It ain t so much that they re better lookin as that they ve got a way with em lots of ways. [He laughs with a lascivious smirk.] EMMA [Unconsciously hitches her chair nearer his. The turn the conversation has taken seems to Have aroused a hectic, morbid intensity in her. She continually wets her lips and pushes back her hair from her flushed face as if it were stifling her.~\ What do you mean, Benny? What kind of ways have they got them French girls? BENNY [Smirking mysteriously.] Oh, ways of dressin and doin their hair and lots of ways. EMMA [Eagerly.] Tell me ! Tell me all about em. You needn t be scared to talk open with me. I ain t as strict as I seem about hearin things. Tell me! IVe heard French girls was awful wicked. BENNY I don t know about wicked, but they re darned good sports. They d do anything a guy d ask em. Oui, tooty sweet! [Laughs foolishly.] EMMA And what what d you ask em, for in stance? BENNY [With a wink.] Curiosity killed a cat! Ask me no questions and I ll tell you no lies. DIFFRENT 53 EMMA [With queer, stupid insistence.] But won t you tell me? Go on! BENNY Can t be did, Aunt Emmer, can t be did! [With a siUy laugh.] You re too young. No, all I ll say is, that to the boys who ve knocked around over there the girls in town here are just rank amatoors. They don t know how to love and that s a fact. [He gets to his feet.] And as for an old bum like Tilly not me! Well, I guess I ll hike along EMMA [Getting up and putting a Jiand on his arm feverishly.] No, don t go. Not yet not yet. No, don t go. BENNY -[Stepping away with an expression of repulsion.] Why not? What s the matter with you, Aunt Emmer? You look sif you was gettin sick. [Before she can reply, HARRIET S voice is heard call ing.] HARRIET Benny! Benny! [This acts like a pail of cold water on EMMA who moves away from BENNY quickly.] EMMA That s Harriet. It s your Ma calling, Benny. BENNY [Impatiently.] I know. That means Uncle Caleb has come and she s told him her stories and it s up to me to go catch hell. [Stoppmg EMMA as she goes toward the door as if to answer HARRIET S haU.] Don t answer, Aunt Emmer. Let her come over here to look. I want to speak to her and find out how I stand before he sees me. 254. DIFF RENT EMSMA [Doubtfully .] I don t know as she ll come. She s been actin funny to me lately, Har riet has, and she ain t put her foot in my door the last month. BENNY [As his mother s voice is heard much nearer, calling "Benny!"] There ! Sure she s comin*. EMMA [Flustered.] Land sakes, I can t let her see me this way. I got to run upstairs and tidy my self a little. [She starts for the door at right.] BENNY [Flatteringly.] Aw, you look swell. Them new duds you got looks great. EMMA [Turning in the doorway coquet tishly.] Oh, them French girls ain t the only ones knows how to fix up. [She flounces out. BENNY stands looking after her with a derisive grm of contempt. There is a sharp knock on the door in the rear. BENNY goes to open it, his expression turning surly and sullen. HARRIET enters. She wears an apron over her old-fashioned black dress with a brooch at the neck. Her hair is gray, her face thin, lined, and careworn, with a fretful, continuously irritated expression. Her shoulders stoop, and her -figure is flabby and ugly. She stares at her son with resentful annoy ance.] HARRIET Ain t you got sense enough, you big lump, to answer me when I call, and not have me shouting my lungs out? BENNY I never heard you callin . HARRIET You re "lyin* and you know it. [Then DIFFERENT 255 severely.] Your uncle s to home. He s waitin to talk to you. BENNY Let him wait. [In a snarling tone.] I s pose you ve been givin him an earful of lies about me? HARRIET I told him the truth, if that s what you mean. How you stole the money out of the bureau drawer BENNY [Alarmed but pretending scorn.] Aw, you don t know it was me. You don t know nothin about it. HARRIET [Ignormg this.] And about your dis- gracin him and me with your drunken carryin s-on with that harlot, Tilly Small, night after night. BENNY Aw, wha d you know about that? HARRIET And last but not least, the sneakin way you re makin a silly fool out of poor Emmer Crosby. BENNY [With a grin] You don t notice her kickin about it, do you? [Brusquely] Why don t you mind your own business, Ma? HARRIET [Violently] It s a shame, that s what it is ! That I should live to see the day when a son of mine d descend so low he d tease an old woman to get money out of her, and her alone in the world. Oh, you re low, you re low all through like your Pa was and since you been in the army you got bold so you ain t even ashamed of your dirtiness no more! BENNY [In a snarling whisper] That s right I 256 DIFF RENT Blame it all on me. I s pose she ain t got nothin to do with it. [With a wink.] You oughter see her perform sometimes. You d get wise to something then. HARRIET Shut up! You ve got the same filthy mind your Pa had. As for Emmer, I don t hold her responsible. She s been gettin flighty the past two years. She couldn t help it, livin alone the way she does, shut up in this house all her life. You ought to be shamed to take advantage of her con dition but shame ain t in you. BENNY Aw, give us a rest! HARRIET [Angrily. ] Your Uncle Caleb ll give you a rest when he sees you! Him and me s agreed not to give you another single penny if you was to get down on your knees for it. So there ! You can git along on your army pay from this out. BENNY [Worried by the finality in her tone placatingly.] Aw, say, Ma, what s eatin you? What ve I done that s so bad? Gosh, you oughta know some of the gang I know in the army. You d think I was a saint if you did. [Trying a confiden tial tone.] Honest, Ma, this here thing with Aunt Emmer ain t my fault. How can I help it if she goes bugs in her old age and gets nutty about me? [With a sly grin in a whisper. ~\ Gee, Ma, you oughter see her to-day. She s a scream, honest! She s upstairs now gettin calmed down. She was gettin crazy when you re callin* stopped her. Wait till she comes down and you git a look! She ll put DIFF RENT 257 your eye out all dolled up like a kid of sixteen and enough paint on her mush for a Buffalo Bill In dian HARRIET [Staring at him with stern condemna tion.} You re a worthless loafer, Benny Rogers, same as your Pa was. BENNY [Frustrated and furious .] Aw, g wan with that bunk ! [He turns away from herJ\ HARRIET And I m goin to tell Emma about you and try to put some sense back into her head. BENNY Go ahead. You ll get fat runnin me down to her! HARRIET And if my word don t have no influ ence, I ll tell your Uncle Caleb everything, and get him to talk to her. She ll mind him. BENNY [Defiantly.] You just try it, that s all! HARRIET I ve been scared to do more n hint about it to him. I m hopin any day Emma ll come out of this foolishness, and he ll never know. BENNY Aw ! HARRIET If shame was in you, you d remember your Uncle Caleb s been in love with Emma all his life and waited for her year after year hopin in the end she d change her mind and marry him. And she will, too, I believe, if she comes out of this fit in her sane mind which she won t if you keep fus- sin with her. BENNY [With revengeful triumph. ] She ll never marry the old cuss I ll fix that! "HARRIET Now you re showin yourself up for 258 DIFF RENT what you are! And I kin see it s come to the p int where I got to tell your Uncle Caleb everythin no matter how it breaks him up. I got to do it for Emmer s sake as well as his n. We got to get her cured of your bad influence once and for all. It s the only hope for the two of em. BENNY You just try it ! HARRIET And as for you, you get back to the army where you b long! And don t never expect another cent from me or Caleb cause you won t get it ! And don t never come to see us again till you ve got rid of the meanness and filth that s the Rogers part of you and found the honesty and decency that s the Williams part if you got any of me in you at all, which I begin to doubt. [Goes to the door in rear.] And now I m goin back to Caleb and you better not let him find you here when he comes less n you want a good hidin for once in your life. [She goes out.] BENNY [Stammering between fear and rage shouting after her.] G wan! Tell him! What the hell do I care? I ll fix him! I ll spill the beans for both of you, if you try to gum me ! [He stands in the middle of the room hesitating whether to run away or stay, concentrating his thoughts on finding some way to make good his bluff. Suddenly his face lights up with a cruel grin and he mutters to himself with savage satisfaction.] By God, that s it! I ll bet I kin work it, too ! By God, that ll fix em ! [He DIFFERENT 259 chuckles and goes quickly to the door on right and calls up to the floor above.] Emmer! Emmer! EMMA [Her voice faintly heard answering.] Yes, Benny, I m coming. BENNY [He calls quickly] Come down! Come down quick ! [He comes back to the center of the room where he stands waiting, planning his course of action.] EMMA [Appears in the doorway. Her face is profusely powdered with nervous excitement.] Benny! What s the matter? You sounded so why where s your Ma? BENNY Gone. Gone back to home. EMMA [Offendedly.] Without waiting to see me? Why, I only sat down for a minute to give you a chance to talk to her. I was coming right down. Didn t she want to see me? Whatever s got into Harriet lately? BENNY She s mad as thunder at you cau?ie I come over here so much stead of stayin to home with her. EMMA [Pleased.] Oh, is that why? Well, if she ain t peculiar! [She sits in a rocker by the table.] BENNY [With a great pretence of grief, taking one of her hands in his.] Say, Emmer what I called you down for was I want to say good-bye and thank you for all you ve done EMMA [F rightenedly .] Good-bye? How you say that! What ? 260 DIFF RENT BENNY Good-bye for good this time. EMMA For good? BENNY Yep. I ve got to beat it. I ain t got no home here no more. Mia and Uncle Caleb, they ve chucked me out. EMMA Good gracious, what re you saying? BENNY That s what Ma come over to tell me that Uncle Caleb d said I d never get another cent from him, alive or after he s dead, and she said for me to git back to the army and never to come home again. EMMA [Gasping.] She was only joking. She they couldn t mean it. BENNY If you d heard her you wouldn t think she was joking. EMMA [As he makes a movement as if to go away.] Benny! You can t go! Go, and me never see you again, maybe ! You can t ! I won t have it ! BENNY I got to, Emmer. What else is there for me to do when they ve thro wed me out ? I don t give a damn about leaving them but I hate to leave you and never see you again. EMMA [Excitedly grabbing his arm."] You can t! I won t let you go! BENNY I don t want to but what can I do? EMMA You can stay here with me. BENNY [His eyes gleaming with satisfaction.] No, I couldn t. You know this dump of a town. Folks would be sayin all sorts of had things in no time. I don t care for myself. They re all down DIFF RENT 261 on me anyway because I m difPrent from small-town boobs like them and they hate me for it. EMMA Yes, you are different. And I ll show em I m diff rent, too. You can stay with me and let em gossip all they ve a mind to ! BENNY No, it wouldn t be actin square with you. I got to go. And I ll try to save up my pay and send you back what I ve borrowed now and again. EMMA [More and more wrought up.~] I won t hear of no such thing. Oh, I can t understand your Ma and your Uncle Caleb bein so cruel ! BENNY Folks have been lyin to her about me, like I told you, and she s told him. He s only too glad to believe it, too, long as it s bad. EMMA I can talk to your Uncle Caleb. He s al ways minded me more n her. BENNY [Hastily.] Don t do that, for God s sake! You d only make it worse and get yourself in Dutch with him, too ! EMMA [Bewilder edly.~\ But I don t see BENNY [Roughly.] Well, he s still stuck on you, am t he? EMMA [With a flash of coquetry.] Now, Benny ! BENNY I ain t kiddin . This is dead serious. He s stuck on you and you know it. EMMA [Coyly.] I haven t given him the slight est reason to hope in thirty years. BENNY Well, he hopes just the same. Sure he does ! Why Ma said when she was here just now 262 DIFF RENT she d bet you and him d be married some day yet. EMMA No such thing ! Why, she must be crazy ! BENNY Oh, she ain t so crazy. Ain t he spent every durn evenin of the time he s to home between trips over here with you for the last thirty years? EMMA When I broke my engagement I said I wanted to stay friends like we d been before, and we always have; but every time he d even hint at bein* engaged again I d always tell him we was friends only and he d better leave it be that way. There s never been nothing else between us. [With a coy smile. } And besides, Benny, you know how little time he s had to home between viges. BENNY I kin remember the old cuss marchin over here every evenin he was to home since I was a kid. EMMA [With a titter of delight. ] D you know, Benny, I do actually believe you re jealous! BENNY [Loudly to lend conviction.] Sure I m jealous! But that ain t the point just now. The point is he s jealous of me and you can see what a swell chance you ve got of talkin him over now, can t you ! You d on y make him madder. EMMA [Embarrassedly.] He s getting foolish. What cause has he got BENNY When Ma tells him the lies about us EMMA [Excitedly. ] What lies? BENNY I ain t goin to repeat em to you but you kin guess, can t you, me being so much over here ? DIFF RENT 263 EMMA [Springing to her feet shocked but pleased.] Oh! BENNY [Turning away from her.] And now I m going to blow. I ll stay at Bill Grainger s to night and get the morning train. EMMA [Grabbing his arm.] No such thing! You ll stay right here ! BENNY I can t Emmer. If you was really my aunt, things d be diff rent and I d tell em all to go to hell. EMMA [Smiling at him coquettishly.] But I m glad I ain t your aunt. BENNY Well, I mean if you was related to me in some way. [At some noise he hears from without, he starts f right enedly.] Gosh, that sounded like our front door slamming. It s him and he s coming over. I got to beat it out the back way. [He starts for the door on the right.] EMMA [Clinging to him.] Benny! Don t go! You musn t go ! BENNY [Inspired by alarm and desire for re venge suddenly blurts out.] Say, let s me n you git married, Emmer tomorrow, eh? Then I kin stay! That ll stop em, damn em, and make em leave me alone. EMMA [Dazed with joy.] Married? You n me? Oh, Benny, I m too old. [She hides Tier head on his shoulder.] BENNY [Hurriedly, zvith one anxious eye on the door.] No, you ain t! Honest, you ain t! You re 264 DIFF RENT the best guy in this town ! [Shaking her m his anxiety.] Say yes, Emmer! Say you will first thing tomorrow. EMMA [Choking with emotion.] Yes I will if I m not too old for you. BENNY [Jubilantly.] Tell him. Then he ll see where he gets off ! Listen ! I m goin to beat it to the kitchen and wait. You come tell me when he s gone. [A knock comes at the door. He whispers. That s him. I m goin . EMMA [Embracing him, fiercely] Oh, Benny! [She kisses him on the lips. He ducks away from her and disappears off right. The knock is re peated. EMMA dabs tremblingly at her cheeks with a handkerchief. Her face is beaming with happiness and looks indescribably silly. She trips lightly to the door and opens it forcmg a light, careless tone] Oh, it s you, Caleb. Come right in and set. I was kind of expecting you. Benn^ I d heard you was due to home tonight. [He comes in and shakes the hand she holds out to him in a limp, vague, absent-minded manner. In appearance, he has changed but little in the thirty years save that his hair is now nearly white and his face more deeply lined and wrinkled. His body is still erect, strong and vigorous. He wears dark clothes, much the same as he was dressed in Act One] CALEB [Mechanically] Hello, Emmer. [Once inside the door, he stands staring about the room, frownmg. Th& garish strangeness of everything DIFF RENT 265 evidently repels and puzzles him. His face wears its set expression of an emotionless mask but his eyes cannot conceal an inward struggle, a baffled and painful attempt to comprehend, a wounded look of bewildered hurt.] EMMA [Blithely indifferent to this pleas antly. ] Are you looking at the changes I ve made? You ain t seen this room since, have you? Of course not. What am I thinking of? They only got through with the work two weeks ago. Well, what d you think of it? CALEB [Frowning hesitatingly.] Why it s all right, I reckon. EMMA It was so gloomy and old-timey before, I just couldn t bear it. Now it s light and airy and young-looking, don t you think? [With a sigh.] I suppose Pa and Ma turned over in their graves. CALEB [Grimly.] I reckon they did, too. EMMA Why, you don t mean to tell me you don t like it neither, Caleb? [Then as he doesn t reply, resentfully.] Well, you always was a sot, old- fashioned critter, Caleb Williams, same as they was. [She plumps herself into a rocker by the table then, noticing the lost way m which he is looking about him.] Gracious sakes, why don t you set, Caleb? You give me the fidgets standing that way! You ain t a stranger that s got to be invited, are you? [Then suddenly realizing the cause of his dis comfiture, she smiles pityingly, not without a trace of malice.] Are you looking for your old chair 266 DIFF RENT you used to set in? Is that it? Well, I had it put up in the attic. It didn t fit in with them new things. CALEB [Dully.] No, I s pose it wouldn t. EMMA [Indicating a chair next to hers.] Do set down and make yourself to home. [He does so gmgerly. After a pause she asks perfunctorily.] Did you have good luck this voyage? CALEB [Again dully. ] Oh, purty fair. [He begins to look at her as if he were seeing her for the first time, noting every detail with a numb, stwrmed astonishment.] EMMA You re looking as well as ever. CALEB [Dully.] Oh, I ain t got nothin to com plain of. EMMA You re the same as me, I reckon. [Hap pily.] Why I seem to get feelin younger and more chipper every day, I declare I do. [She becomes un comfortably aware of his examination nervously.] Land sakes, what you starin at so? CALEB [Brusquely blurting out his disap proval.] You ve changed, Emmer changed so I wouldn t know you, hardly. EMMA [Resentfully.] Well, I hope you think it s for the best. CALEB [Evasively.] I ain t enough used to it yet to tell. EMMA [Offended.] I ain t old-timey and old- maidy like I was, I guess that s what you mean. Well, I just got tired of mopin alone in this house, waiting for death to take me and not enjoyin any- DIFF RENT 267 thing. I was gettin old before my time. And all at once, I saw what was happenin and I made up my mind I was going to get some fun out of what Pa d left me while I was still in the prime of life, as you might say. CALEB [Severely.] Be that paint and powder you got on your face, Emmer? EMMA [Embarrassed by this direct question] Why, yes I got a little mite it s awful good for your complexion, they say and in the cities now all the women wears it. CALEB [Sternly] The kind of women I ve seed in cities wearin it [He checks himself and asks abruptly] Warn t your hair turnin gray last time I was to home? EMMA [Flustered] Yes yes so it was but then it started to come in again black as black all of a sudden. CALEB [Glancing at her shoes, stockings, and dress.] You re got up in them things like a young girl goin to a dance. EMMA [Forcing a defiant laugh] Maybe I will go soon s I learn and Benny s goin* to teach me. CALEB [Keeping his rage m control heavily] Benny EMMA [Suddenly bursting into hysterical tears] And I think it s real mean of you, Caleb nasty mean to come here on your first night to home and make fun of my clothes and every thing. [She hides her face in her hands and sobs] 238 DIPF RENT CALEB [Overcome by remorse forgetting his rage instantly gets up and pats her on the shoul der with rough tenderness. ] Thar, thar, Emmer! Don t cry, now! I didn t mean nothin . Don t pay no tention to what I said. I m a durned old fool! What the hell do I know o women s fixin s any how? And I reckon I be old-fashioned and sot in my ideas. EMMA [Reassured pressing one of his hands gratefully.] It hurts hearing you say me n you such old friends and CALEB Forgit it, Emmer. I won t say no more about it. [She dries her eyes and regains her com posure. He goes back to his seat, his face greatly softened, looking at her with the blind eyes of love. There is a pause. Finally, he ventures in a gentle tone.] D you know what time this be, Emmer? EMMA [Puzzled.] I don t know exactly, but there s a clock in the next room. CALEB [Quickly.] Hell, I don t mean that kind o time. I mean it was thirty years ago this spring. EMMA [Hastily.] Land sakes, don t let s talk of that. It only gets me thinking how old I am. CALEB [With an affectionate smile.] We both got to realize now and then that we re gettin old. EMMA [Bridling.] That s all right for you to say. You re twelve years older n me, don t forget, Caleb. DIFF RENT 269 CALEB [Smiling.] Waal, even that don t make you out no spring chicken, Emmer. EMMA [Stiffly.] A body s as old as they feels and I feel right young. CALEB Waal, so do I as far as health goes. I m as able and sound as ever. [After a pause.] But, what I meant was, d you remember what happened thirty years back. EMMA I suppose I do. CALEB D you remember what I said that day? EMMA [Primly] You said a lot that it s better to forget, if you ask me. CALEB I don t mean that part of it. I mean when I was sayin good-bye, I said [He gasps then blurts it out.} I said I d wait thirty years if need be. [After a pause.} I know you told me time and again not to go back to that. On y I was thinkin all this last vige that maybe now when the thirty years are past I was thinkin that maybe [He looks at her humbly, imploring some encouragement. She stares straight before her, her mouth set thinly. He sighs forlornly and blunders on.] Thirty years that s a hell of a long time to wait, Emmer makin vige after vige always alone and feelin even more alone in between times when I was to home livin right next door to you and callin on you every evenin . [A pause.} I ve made money enough, I know but what the hell good s that to me long as you re out of it? [A pause.] Seems to me, Emmer, thirty o the best 270 DIFFERENT years of a man s life ought to be proof enough to you to make you forget that one slip o mine. EMMA [Rousing herself forcing a careless tone.] Land sakes, I forgot all about that long .ago. And here you go remindin me of it ! CALEB [Doggedly.] You ain t answered what I was drivin at, Emmer. [A pause; then, as if sud denly afraid of what her answer will be, he breaks out quickly.] And I don t want you to answer right now, neither. I want you to take time to think it all over. EMMA [Feebly evasive.] All right, Caleb, I ll think it over. CALEB [After a pause.] Somehow seems to me sif you might really need me now. You never did before. EMMA [Suspiciously.] Why should I need you now any more n any other time. CALEB [Embarrassedly.] Oh, I just feel that way. EMMA It ain t count o nothin Harriet s been tellin you, is it? [Stiffly.] Her V me ain t Such good friends no more, if you must know. CALEB [Frowning.] Her n* me nearly had a fight right before I came over here. [EMMA starts.] Harriet lets her tongue run away with her and says dumb fool things she don t really mean. I didn t pay much tention to what she was sayin but it riled me jest the same. She won t repeat such foolishness after the piece o my mind I gave her. DIFF RENT 271 EMMA What did she say? CALEB Oh, nothin worth tellin . [A pause.] But neither you nor me ought to get mad at Har riet serious. We d ought, by all rights, to make allowances for her. You know s well as me what a hard time she s had. Bern married to Alf Rogers for five years d pizin any woman s life. EMMA No, he wasn t much good, there s no de- nyin . CALEB And now there s Benny drivin her crazy. EMMA [Instantly defensive.] Benny s all right! CALEB [Staring at her sharply after a pause.] No, that s jest it. He ain t all right, Emmer. EMMA He is, too! He s as good as gold! CALEB [Frowning with a trace of resentment.] You kin say so, Emmer, but the facts won t bear you out. EMMA [Excitedly.] What facts, Caleb Wil liams? If you mean the nasty lies the folks in this town are mean enough to gossip about him, I don t believe any of em. I ain t such a fool. CALEB [Bitterly.] Then you ve changed, Em mer. You didn t stop about believin the fool stories they gossiped about me that time. EMMA You owned up yourself that was true! CALEB And Benny d own up if he was half the man I was ! [Angrily.] But he ain t a man noways. He s a mean skunk from truck to keelson! EMMA [Springing to her feet.] Oh! CALEB [Vehemently.] I ain t judged him by 273 DIFF RENT what folks have told me. But I ve watched him grow up from a boy and every time I ve come to home I ve seed he was gittin more n more like his Pa and you know what a low dog Alf Rogers turned out to be, and what a hell he made for Harriet. Waal, I m say in this boy Benny is just Alf all over again on y worse! EMMA Oh ! CALEB They ain t no Williams blood left in Benny. He s a mongrel Rogers ! [Trymg to calm himself a little and be convincing.] Listen, Emmer. You don t suppose I d be sayin it, do you, if it wasn t so? Ain t he Harriet s boy? Ain t I brought him up in my own house since he was knee-high? Don t you know I got some feelin s bout it and I wouldn t hold nothing agen him less n I knowed it was true? EMMA [Harshly.] Yes, you would! You re only too anxious to believe all the bad you can about him. You ve always hated him, he says and I can see it s so. CALEB [Roughly .] You know damned well it ain t, you mean ! Ain t I talked him over with you and asked your advice about him whenever I come to home? Ain t I always aimed to do all I could to help him git on right? You know damned well I never hated him! It s him that s always hated me! [Vengefully.] But I m begining to hate him now and I ve good cause for it ! EMMA [F right enedly.] What cause? DIFF RENT 273 CALEB [Ignoring her question.] I seed what he was comin to years back. Then I thought when the war come, and he was drafted into it, that the army and strict discipline d maybe make a man o him. But it ain t ! It s made him worse ! It s killed whatever mite of decency was left in him. And I reckon now that if you put a coward in one of them there uniforms, he thinks it gives him the privilege to be a bully ! Put a sneak in one and it gives him the courage to be a thief! That s why when the war was over Benny enlisted again stead o goin whalin with me. He thinks he s found a good shield to cover up his natural-born laziness and crooked ness! EMMA [Outraged] You can talk that way about him that went way over to France to shed his blood for you and me ! CALEB I don t need no one to do my fightin for me against German or devil. And you know durned well he was only in the Quartermaster s De partment unloadin and truckin groceries, as safe from a gun as you and me be this minute. [With heavy scorn] If he shed any blood, he must have got a nose bleed. EMMA Oh, you do hate him, I can see it! And you re just as mean as mean, Caleb Williams ! All you ve said is a wicked lie and you ve got no cause CALEB I ain t, eh? I got damned good cause, I tell ye! I ain t minded his meanness to me. I 274 DIFF RENT ain t even give as much heed to his meanness to Har riet as I d ought to have, maybe. But when he starts in his sneakin thievery with you, Emmer, I put my foot down on him for good and all! EMMA What sneakin thievery with me? How dare you say such things? CALEB I got proof it s true. Why, he s even bragged all over town about bein able to borrow all the money from you he d a mind to boastin of what an old fool he was makin of you, with you fixin up your house all new to git him to comin over. EMMA [Scarlet Hazing] It s a lie ! He never said it! You re makin it all up cause you re cause you re CALEB Cause I m what, Emmer? EMMA [Flinging it at him like a savage taunt.] Cause you re jealous of him, that s what! Any fool can see that! CALEB [Getting to his feet and facing her slowly.] Jealous? Of Benny? How I don t see your meanin rightly. EMMA [With triumphant malice. ] Yes, you do! Don t pretend you don t! You re jealous cause you know I care a lot about him. CALEB [Slowly.]. Why would I be jealous count o that? What kind o* man d you take me for? Don t I know you must care for him when you ve been a rnost as much a mother to him for years as Harriet was? DIFFERENT 275 EMMA [Wounded to the quick furiously.] No such thing! You re a mean liar! I ain t never played a mother to him. He s never looked at me that way never! And I don t care for him that way at all. Just because I m a mite older n him can t them things happen just as well as any other what d you suppose can t I care for him same as any woman cares for a man ? And I do ! I care more n I ever did for you! And that s why you re lying about him! You re jealous of that! CALEB [Staring at her with stunned eyes m a hoarse whisper.] Emmer! Ye don t know what you re sayin , do ye? EMMA I do too ! CALEB Harriet said you d been actin out o your right senses. EMMA Harriet s mad because she knows Benny loves me better n her. And he does love me! He don t mind my bein older. He s said so! And I love him, too ! CALEB [Stepping bade -from her m horror.] Emmer ! EMMA And he s asked me to marry him to morrow. And I m going to! Then you can all lie all you ve a mind to ! CALEB You re going to marry Benny? EMMA First thing tomorrow. And since you ve throwed him out of his house in your mad jealous- ness, I ve told him he can stay here with me to night. And he s going to ! 276 DIFFERENT CALEB [His fists clenching tensely. ] Where where is the skunk now? EMMA [Hastily.] Oh, he ain t here. He s gone up street. CALEB [Starting for the door m rear.] I m goin to find the skunk. EMMA [Seizing his arms / right enedly.] What re you going to do? CALEB [Between his clenched teeth.] I don t know, Emmer I don t know On y he ain t goin to marry you, by God ! EMMA Caleb! [She tries to throw her arms about him to stop his going. He pushes her firmly but gently aside. She shrieks. ] Caleb! [She flings herself on her knees and wraps her arms arownd his legs m supplicating terror.] Caleb! You ain t going to kill him, Caleb? You ain t going to hurt him, be you? Say you ain t! Tell me you won t hurt him! [As she thinks she sees a relenting soft- ness come into his face as he looks down at her.] Oh, Caleb, you used to say you loved me! Don t hurt him then, Caleb, for my sake! I love him, Caleb! Don t hurt him just because you think I m an old woman ain t no reason and I won t marry you, Caleb. I won t not even if you have waited thirty years. I don t love you. I love him! And I m going to marry him tomorrow. So you won t hurt him, will you, Caleb not when I ask you on my knees ! CALEB [Breaking away from her with a shudder DIFF RENT 277 of disgust.] No, I won t touch him. If I was wantin to git even with ye, I wouldn t dirty my hands on him. I d let you marry the skunk and set and watch what happened or else I d offer him money not to marry ye more money than the little mite you kin bring him and let ye see how quick he d turn his back on ye ! EMMA [Getting to Tier feet -frenziedly.] It s a lie ! He never would ! CALEB [Unheeding with a sudden ominous calm.] But I ain t goin to do neither. You ain t worth it and he ain t and no one ain t, nor noth- in*. Folks be all crazy and rotten to the core and I m done with the whole kit and caboodle of em. I kin only see one course out for me and I m goin to take it. "A dead whale or a stove boat?" we says in whalin and my boat is stove ! [He strides away from her, stops, and turns back savagely.] Thirty o the best years of my life flung for a yeller dog like him to feed on. God! You used to say you was diiF rent from the rest o folks. By God, if you are, it s just you re a mite madder n they be! By God, that s all ! [He goes, letting the door slam to behind him.] EMMA [In a pitiful whimper.] Caleb! [She sinks into a chair by the table sobbing hysterically* Benny sneaks through the door on right, hestitates for a while, afraid that his uncle may be coming back.] 278 DIFF RENT BENNY [Finally, in a shrill whisper.] Aunt Emmer ! EMMA [Raising her face to look at him for a second.] Oh, Benny ! [She falls to weeping again] BENNY Say, you don t think he s liable to come back, do you? EMMA No he ll never come back here no more. [Sobs bitterly] BENNY [His courage returning, comes forward into the room] Say, he s way up in the air, ain t he? [With a grin] Say, that was some ballin out he give you ! EMMA You you heard what he said? BENNY Sure thing. When you got to shoutin I sneaked out o the kitchen into there to hear what was goin on. [With a complacent grin] Say, you certainly stood up for me all right. You re a good old scout at that, d ? you know it? EMMA [Raising her absurd, besmeared face to his, as if expecting him to kiss her] Oh, Benny, I m giving up everything I ve held dear all my life for your sake. BENNY [Turning away from her with a look of aversion] Well, what about it? Ain t I worth it? Ain t I worth a million played-out old cranks like him? [She stares at him bewilderedly : He takes a handful of almonds from his pocket and begins cracking and eatmg them, throwing the shells on the floor with an impudent carelessness] Hope you DIFF RENT 279 don t mind my havin a feed? I found them out in the kitchen and helped myself. EMMA [Pitifully] You re welcome to anything that s here, Benny. BENNY [Insolently.] Sure, I know you re a good scout. Don t rub it in. [After a pause boastfully.] Where did you get that stuff about askin him not to hurt me? He d have a swell chance! There s a lot of hard guys in the army have tried to get funny with me till I put one over on em. I d like to see him start something ! I could lick him with my hands handcuffed. EMMA [Revolted] Oh ! BENNY [Resentfully] Think I m bluffin ? I ll show you sometime. [He swaggers about the room finally stopping beside her. With a cunning leer] Say, I been thinkin it over and I guess I ll call his bluff. EMMA [Confusedly.] What do you mean? BENNY I mean what he said just before he beat it that he could get me not to marry you if he offered me more coin than you got. [Very inter estedly] Say, d you s pose the old miser really was serious about that? EMMA [Dazedly as if she could not realize the significance of his words] I I don t know, Benny. BENNY [Swaggering about again] If I was only sure he wasn t stallin ! If I could get the old cuss to shell out that way! [With a tickled 280 DIFF RENT chuckle.] Gosh, that d be the real stunt aw right, aw right. Oui, oui! Maybe he wasn t kiddin at that, the old simp! It s worth takin a stab at, damned if it ain t. I ain t got nothin to lose. EMMA [F right enedly.] What what re you talkin about, Benny? BENNY Say, I think I ll go over and talk to Ma after a while. You can go over first to make sure he ain t there. I ll get her to put it up to him straight. If he s willin to dig in his jeans for some real coin real dough, this time ! I ll agree to beat it and not spill the beans for him with you. [Threateningly.] And if he s too tight, I ll go right through with what I said I would, if only to spite him ! That s me ! EMMA You mean if he s willing to bribe you with money, you won t marry me tomorrow? BENNY Sure ! If he ll put up enough money. I won t stand for no pikin . EMMA [Whimpering.] Oh, Benny, you re only jokin , ain t you? You can t you can t mean it J BENNY [With careless effrontery.] Why can t I? Sure I mean it! EMMA [Hiding her face in her hands with a tortured moan.] Oh, Benny ! BENNY [Disgustedly.] Aw, don t go ballin ! [After a pause a bit embarrassedly.] Aw, say, what d you think, anyway? What re you takin it so damned serious for me askin you to marry me. I mean? I was on y sort of kiddin anyway just so you d tell him and get his goat right. [As she lool:* DIFFERENT tip at him with agonized despair. With a trace of something like pity showing in his tone.] Say, hon est, Aunt Emmer, you didn t believe you didn t think I was really stuck on you, did you? Ah, say, how could I ? Have a heart ! Why you re as old as Ma is, ain t you, Aunt Emmer? [He adds ruthless ly.] And I ll say you look it, too! EMMA [Cowering a$ if he had struck her.~\ Oh! Oh! BENNY [A bit irritated.] What s the use of blubberin , for God s sake? Can t you take it like a sport? Hell, I ain t lookin to marry no one, if I can help it. What do I want a wife for? There s too many others. [After a pause as she still sobs calculatmgly] Aw, come on, be a sport and say, listen, if he ain t willin to come across, I ll marry you all right, honest I will. [More and more calcuLat- ingly] Sure! If they mean that stuff about kickin me out of home sure I ll stay here with you! I ll do anything you want. If you want me to marry you, all you ve got to do is say so anytime ! Only not tomorrow, we d better wait and see EMMA [Hysterically.] Oh, go away! Go away! BENNY [Looking down at her disgustedly.] Aw, come up for air, can t you? [He slaps her on the back.] Buck up! Be a pal! Tell me what your dope is. This thing s got me so balled up I don t know how I stand. [With sudden fury.] Damn his hide ! I bet he ll go and leave all he s got to some lousey orphan asylum now. DIFFERENT EMMA Oh, go away ! Go away ! BENNY [Viciously.] So you re givin me the gate, too, eh? I d like to see you try it ! You asked me to stay and I ll stick. It s all your fool fault that s got me in wrong. And now you want to shake me! This is what I get for foolin around with an old hen like you that oughta been planted in the cemetery long ago! Paintin your old mush and dressin like a kid! Christ A mighty! EMMA [In a cry of despair.] Don t ! Stop ! Go away. BENNY [Suddenly alert sharply] Sh! I hear someone coming. [Shaking her] Stop now, Emmer ! Damn it, you gotta go to the door. Maybe it s him. [He scurries into the room on right. There is a faint knock at the door. Emma lifts her head. She looks horribly old and worn out. Her face is frozen mto an expressionless mask, her eyes are red, rimmed, dull and lifeless. The knock is repeated more sharply. EMMA rises like a weary automaton and goes to the door and opens it. HARRIET is revealed standing outside] HARRIET [Making no movement to come in coldly] I want to speak to Caleb. EMMA [Dully] He ain t here. He left a while back said he was goin up street I think. HARRIET [Worriedly] Oh, land sakes ! [Then hostilely] Do you know where Benny is? EMMA [Dully] Yes, he s here. HARRIET [Contemptuously] I might have DIFF RENT 283 guessed that! [Icily formal.] Would you mind tellin him I want to see him? EMMA [Turns and calls.] Benny! Here s your Ma! BENNY [Comes from the next room.] Aw right. [In a fierce whisper as he passes EMMA.] What d you tell her I was here for, you old fool? EMMA [Gives no sign of having heard him but comes back to her chair and sits down. BENNY slouches to the door sullenly.] What d you want, Ma? HARRIET [Coldly.] I wanted your Uncle Caleb, not you, but you ll have to do, bein the only man about. BENNY [Suspiciously.] What is it? HARRIET [A bit f right enedly.] I just heard a lot of queer noises down to the barn. Someone s in there, Benny, sure as I m alive. They re stealin the chickens, must be. BENNY [Carelessly.] It s only the rats. HARRIET [Angrily.] Don t play the idiot! This was a big thumpin noise no rat d make. BENNY What d any guy go stealin this early [As HARRIET turns away angrily placatingly.] Aw right, I m coming. I ll have a look if that ll satisfy you. Don t go gettin sore at me again. [While he is speaking he goes out and disappears after his mother. EMMA sits straight and stiff in her chair for a while, staring before her with waxy eyes. Then she gets to her -feet and goes from window to window DIPF RENT takmg down all the curtams with quick mechanical movements. She throws them on a pile in the middle of the floor. She lifts down* the framed pictures from the walls and piles them on the curtains. She takes the cushions and throws them on; pushes the rugs to the pile with her feet; sweeps everything off the table onto the floor. She does all this without a trace of change m her expression rapidly, but with no apparent effort. There is the noise of running footsteps from outside and BENNY bursts into the room panting for breath. He is terribly excited and badly frightened.] BENNY [Stops short as he sees the pile on the floor.] What the hell EMMA [Dully. ~\ The junk man s coming for them in the morning. BENNY [Too excited to be surprised.] To hell with that ! Say, listen, Aunt Emmer, he s hung him self Uncle Caleb in the barn he s dead ! EMMA [Slowly letting the words fall like a be ginner on the typewriter touching two new letters.] Caleb dead! BENNY [Voluble now.] Dead as a door nail! Neck s busted. I just cut him down and carried him to home. Say, you ve got to come over and help look after Ma. She s goin bugs. I can t do nothin with her. EMMA [As before.] Caleb hanged himself in the barn ? BENNY Yes and made a sure job of it. [With DIFF RENT 285 morbid interest in tine details.] Know how he did it? You know our barn. The same as yourn a most. Well, he got a halter same as you got on your cow and he made a noose of the rope for his neck and climbed up in the loft and hitched the leather end to a beam and then let himself drop. He must have kicked in that quick! [He snaps his fingers then urgently.] Say, come on. Come on over n help me with Ma, can t you? She s goin wild. I can t do nothin ! EMMA [Vaguely.] I ll be over in a minute. [Then with a sudden air of having decided some thing irrevocably .] I got to go down to the barn. BEN,NY Barn? Say, are you crazy? He ain t there now. I told you I carried him home. EMMA I mean my barn. I got to go down BENNY [Exasperated.] Oh hell ! You re as bad as Ma ! Everyone s lost their heads but me. Well. I got to get someone else, that s all. [He rushes out rear, slamming the door behind him.] EMMA [After a tense pause with a sudden out burst of wild grief.] Caleb! [Then in a strange whisper.] Wait, Caleb, I m going down to the barn. [She moves like a sleepwalker toward the door in the rear as [The Curtain Falls.] RETURN CIRCULATION DEPARTMENT TO + 202 Main Library LOAN PERIOD 1 HOME USE 2 3 4 5 6 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS RENEWALS: CALL (415) 642-3405^ DUE AS STAMPED BELOW APR 05 1988 FEB^fy- ttygmy fMR ? IQPft ffiff^ttf AUG^fist*) [.:.;. -= i3S3 ALIlO LJiSC M /" D O r r? PI n o A lift 4 * 1UM.U mmm 1 1 "*^ PvlAn /c, 7 2002 - - NOV^ 199 iS^g UNIVERSITY OF CALIFORNIA, BERKELEY FORM NO. DD6, 60m, 1 783 BERKELEY, CA 94720 $ GENERAL LIBRARY - U.C. BERKELEY