The Gardener's Son (11 page)

They sit in silence a moment. Martha folds the handkerchief.

M
ARTHA
I’ll laundry this and bring it back.

M
RS
G
REGG
I look at you and I try to see some sign. Try to see something in your face. These things must have beginnings somewhere. Be put in motion at some point. . . But when I look at you I see nothing. I can see nothing in you to do with death and murder.

The maid comes into the room and sets down a tray on the table between them. There is a teapot and cups and a plate of sliced cakes and other things.

M
AID
Did you want me to make the service Mam?

M
RS
G
REGG
No thank you, Daphne. That’s fine.

The maid exits. Mrs Gregg turns back to Martha.

M
ARTHA
Them lawyers wouldnt let him tell his part.

Mrs Gregg is watching her. Martha raises her face to look at her.

M
ARTHA
They said it would go better if he’d not testify.

M
RS
G
REGG
We have to put ourselves in the hands of those who know best.

M
ARTHA
I felt like he wanted to do the right thing.

M
RS
G
REGG
Yes.

M
ARTHA
I know that he felt worst of all about you . . .

M
RS
G
REGG
I cant hate him. We must have failed him somewhere. But I’ve had to put my feelings aside.

M
ARTHA
Yes mam. I caint help but think it was just a mistake of some kind. If they’d of got me up there I thought about it and I wonder what I would of said. I mean if they ast me. I’d of maybe had to tell em about that gold piece and it would of sounded worse than what it was. I mean, he never meant nothin by it. He done that with ... I mean he would do stuff like that, you know, just in fun?

Mrs Gregg's face darkens and she draws slightly back from Martha.

M
RS
G
REGG
Do what?

M
ARTHA
Well, you know. Like offer ye money. It didnt mean nothin. Bobby could not have knowed nothin about it. You know I wouldnt of told him hotheaded as he was.

M
RS
G
REGG
(softly, cynically, with surprise)
Oh you are a little darling, arent you?

Martha leans toward her.

M
ARTHA
Mam, it will just kill Daddy. I know I dont have no right to ast nothin of you. But Daddy just swore by Mr Gregg. Your husband . . .

Mrs Gregg rises from her chair.

M
RS
G
REGG
My son was right about you people. I wouldnt listen to him. He used to make fun of my husband’s idealism and I wouldnt listen to it. I wouldnt hear it.

Martha rises from her chair. She is not listening. Her face is anguished and she is prepared now to launch a plea for clemency.

M
ARTHA
I wouldnt ast nothin for myself. Not for him even. Mrs Gregg. Much as he loved his boys I believe your husband would of wanted you to do somethin . . .

M
RS
G
REGG
The poor and the downtrodden. He was so cynical.

M
ARTHA
They’d just as well put that rope around Daddy’s neck when they get done. Mrs. Gregg.

Mrs Gregg has turned and taken up the hell. She rings it vigorously as if to drown out the pleas of the supplicant. Her eyes are almost shut.

M
ARTHA
I meant not to ast nothin of ye. But afore God . . .

Mrs Gregg rings the hell again. The maid appears in the doorway, eyes wide at the urgency of the hell.

M
RS
G
REGG
Daphne, the young lady will be leaving now. Will you show her out?

M
AID
Yes Mam.

The maid comes forward and takes Martha by the elbow.

M
ARTHA
I dont blame you Mam.

M
RS
G
REGG
Please leave.

Martha turns to the door. She stops and looks back a final time at Mis Gregg.

M
ARTHA
God bless you Mam.

Mrs Gregg turns from her and puts her hands over her ears.

Interior. The photographer's shop. Day. A flash of powder from the photographers lights and then Robert McEvoy's portrait staring straight ahead. Then the photographer moving behind his shroud, coming out and attending to his camera. McEvoy sitting in front of a painted backdrop of the period perhaps with Greek columns. He wears a stiff new suit and his hair is cut. In the corner of the shop sits a guard with a rifle across his knees. The photographer comes forward.

P
HOTOGRAPHER
Now, Mr McEvoy just turn slightly sideways here. Yes. That’s it. No, look toward the camera. That’s the way. We’ll take a three-quarter view. Sit up straight now.

The photographer takes his camera back several paces.

M
C
E
VOY
Will my leg show?

P
HOTOGRAPHER
No no. Not at all. This will just be from about the waist up.

The photographer ducks under his shroud again and the flashpowder explodes. McEvoy sits stiffly even after the picture is taken. The photographer comes forward.

P
HOTOGRAPHER
I think that should do it now, Mr McEvoy.

McEvoy rises and takes up his crutch and the guard rises with his rifle.

P
HOTOGRAPHER
Will you, eh . . . Will you be wanting to see these? I mean, should I just have them sent directly to the family?

M
C
E
VOY
Yeah. Sure. I dont need to see em.

P
HOTOGRAPHER
Well fine. I would like to ask you . . . Well I’d like to ask if you had any objection to me makin some copies. Like maybe make some copies of one of the pitchers . . .

McEvoy has taken a step toward the door, the guard behind him. He turns and squints at the photographer.

M
C
E
VOY
What for?

P
HOTOGRAPHER
Well, to have them. I thought maybe to print some, you know . . .

M
C
E
VOY
To sell.

P
HOTOGRAPHER
Well I thought perhaps your family might could use the money.

McEvoy turns to the guard.

M
C
E
VOY
What do you think, Virgil?

G
UARD
Well, I dont know Bob. Just whatever you think.

The guard has, looked down. McEvoy turns back to the photographer.

P
HOTOGRAPHER
I would be willing to share any... anything realized—on, say, a fifty fifty basis . . .

M
C
E
VOY
I’ll tell ye what I think. Virgil. I think we better go.

G
UARD
Sure Bob.

The guard glances at the photographer and comes past McEvoy and holds the door for him. McEvoy goes out. At the door he stops and looks back in at the photographer.

M
C
E
VOY
I dont give a big rats ass. If people are dumb enough to buy em. Dont you let my family know where the money come from. Virgil, you see about it for me, will ye?

G
UARD
Sure will, Bob.

Exterior. Main street. Day. McEvoy and the guard go up the street together. People watch covertly from doors or windows. McEvoy blinks in the sunlight and looks about. He sees a man he knows crossing to a store building. The man glances his way and looks away again as if he hadnt seen him. McEvoy calls to him.

M
C
E
VOY
Mornin, Louis.

The man goes on into the store.

M
C
E
VOY
Go on then, you son of a bitch. If you dont know me.

McEvoy turns to look at the guard walking beside him but his eye goes past him to see Martha coming up the street. She is hurrying and when she sees him look at her she slows but she comes toward them. He turns and goes on but she falls in behind them and follows and he looks over his shoulder at her and finally he looks at the guard and the guard looks at her following them and nods to McEvoy and he turns in the street and Martha comes up to him while the guard stands off a few paces and cuts himself a chew of twist. Martha stands in front of McEvoy with a face almost in tears.

M
ARTHA
Bobby.

McEvoy stands somewhat stiffly. She makes little plucking motions in the air at his chest as if she would touch him.

M
ARTHA
Bobby . . .

M
C
E
VOY
Go home little sister.

M
ARTHA
Tell me what to do, Bobby.

M
C
E
VOY
Go home.

M
ARTHA
I keep havin this dream and I dream that you got let off and I was so happy and then I wake up and it aint so. I caint quit cryin all the time.

M
C
E
VOY
They lied to me. They all said I’d ... I was never born to be hung. I could of been somebody.

M
ARTHA
Bobby ...

M
C
E
VOY
Other men has prospered by their mistakes.

M
ARTHA
Bobby.

M
C
E
VOY
I
know
he insulted you. The people in this town know what he was. They didnt want to hear it. They was not soul one would stand up and ...

M
ARTHA
Bobby.

M
C
E
VOY
I’d of
gone
to the penitentiary.

M
ARTHA
He never done it. Bobby. He never.

M
C
E
VOY
I caint stop thinking about it is all. I just caint seem to quit thinkin about it all the time. Like you wake up sometimes of the mornin and for a minute you feel good and then you remember it.

M
ARTHA
I’d of told em anything, Bobby. I swear it. They wouldnt let me. I’d of told em any kind of lie. I wouldnt care. I’d of swore it on ten Bibles if it sent my soul to hell forever and ever I wouldnt care.

M
C
E
VOY
Its all right.

M
ARTHA
I swear it, Bobby. Bobby.

M
C
E
VOY
Dont talk like that. It’s all right. I want you to forget all this. Find the best man. . . you find the best man in the world. Dont take no culls. And you make him be good to you. If he dont. . . And you have a good life. Little sister. The best that anybody ever had in this damned world. Now go on home.

He turns and goes on. He is almost crying. She is slumped and sobbing brokenly, standing there in the street.

Interior. McEvoy's cell. He is dressed in his suit and he is sitting on a box holding a bouquet of flowers. In the corner of the cell the priest Father Heidenkamp is standing in his robe reading silently to himself.