The Easiest Way Part 27

LAURA. Yes, I am foolish and I've been foolish all my life, but I'm getting a little sense now. [_Kneels in armchair, facing_ WILL; _her voice is shaky with anger and tears._] All my life, since the day you first took me away, you've planned and planned and planned to keep me, and to trick me and bring me down with you. When you came to me I was happy. I didn't have much, just a little salary and some hard work.

WILL. But like all the rest you found that wouldn't keep you, didn't you?

LAURA. You say I'm bad, but who's made me so? Who took me out night after night? Who showed me what these luxuries were? Who put me in the habit of buying something I couldn't afford? You did.

WILL. Well, you liked it, didn't you?

LAURA. Who got me in debt, and then, when I wouldn't do what you wanted me to, who had me discharged from the company, so I had no means of living? Who followed me from one place to another? Who, always entreating, tried to trap me into this life, and I didn't know any better?

WILL. You didn't know any better?

LAURA. I knew it was wrong--yes; but you told me everybody in this business did that sort of thing, and I was just as good as anyone else. Finally you got me and you kept me. Then, when I went away to Denver, and for the first time found a gleam of happiness, for the first time in my life--

WILL. You're crazy.

LAURA. Yes, I am crazy. [_Rises angrily, crosses and sweeps table-cover off table; crosses to dresser, knocks bottles, &c., off upper end; turns, faces him, almost screaming._] You've made me crazy.

You followed me to Denver, and then when I got back you bribed me again. You pulled me down, and you did the same old thing until this happened. Now I want you to get out, you understand? I want you to get out.

WILL. Laura, you can't do this. [_Starts to sit on trunk._

LAURA. [_Screaming, crossing to_ WILL; _she attempts to push him._]

No, you won't; you won't stay here. You're not going to do this thing again. I tell you I'm going to be happy. I tell you I'm going to be married. [_He doesn't resist her very strongly. Her anger and her rage are entirely new to him. He is surprised and cannot understand._] You won't see him; I tell you, you won't tell him. You've got no business to. I hate you. I've hated you for months. I hate the sight of your face. I've wanted to go, and now I'm going. You've got to go, do you hear? You've got to get out--get out. [_Pushes him again._

WILL. [_Throwing her off;_ LAURA _staggers to armchair, rises, crosses left._] What the h.e.l.l is the use of fussing with a woman.

[_Exit._

LAURA. [_Hysterically._] I want to be happy, I'm going to be married, I'm going to be happy.

[_Sinks down in exhausted state in front of trunk._

CURTAIN, SLOW.

ACT IV.

SCENE. _The same scene as Act III. It is about two o'clock in the afternoon._

AT RISE. _When the curtain rises, there are two big trunks and one small one up stage. These are marked in the usual theatrical fashion.

There are grips packed, umbrellas, and the usual paraphernalia that accompanies a woman when she is making a permanent departure from her place of living. All the bric-a-brac, &c., has been removed from dresser. On down-stage end of dresser is a small alligator bag containing night-dress, toilet articles, and bunch of keys.

The dresser drawers are some of them half open, and old pieces of tissue-paper and ribbons are hanging out. The writing-desk has had all materials removed and is open, showing sc.r.a.ps of torn-up letters, and in one pigeon-hole is a New York Central time-table; between desk and bay-window is a lady's hat-trunk containing huge picture hat. It is closed. Behind table is a suit-case with which_ ANNIE _is working when curtain rises. Under desk are two old millinery boxes, around which are scattered old tissue-paper, a pair of old slippers, a woman's shabby hat, old ribbon, &c. In front of window at end of pianola is thrown a lot of old empty boxes, such as are used for stocking and shirtwaist boxes. The picture-frame and basket of flowers have been removed from pianola. The stool is on top of pianola, upside down.

There is an empty White Rock bottle, with gla.s.s turned over it, standing between the legs of the stool. The big trunk is in front of sofa, and packed, and it has a swing tray under which is packed a fancy evening gown; the lid is down. On top of lid are an umbrella, lady's travelling-coat, hat and gloves. On left end of sofa are a large Gladstone bag, packed and fastened, a smaller trunk (thirty-four inch), tray with lid. In tray are articles of wearing apparel. In end of tray is revolver wrapped in tissue-paper. Trunk is closed, and supposed to be locked. Tossed across left arm of armchair are couple of violet cords. Down stage centre is a large piece of wide tan ribbon. The room has the general appearance of having been stripped of all personal belongings. There are old magazines and tissue-paper all over the place. A bearskin rug is thrown up against table in low window, the furniture is all on stage as used in Act III. At rise_ LAURA _is sitting on trunk with clock in hand._ ANNIE _is on floor behind table, fastening suit-case._ LAURA _is pale and perturbed._

ANNIE. Ain't yuh goin' to let me come to yuh at all, Miss Laura?

LAURA. I don't know yet, Annie. I don't even know what the place is like that we're going to. Mr. Madison hasn't said much. There hasn't been time.

ANNIE. Why, Ah've done ma best for yuh, Miss Laura, yes, Ah have. Ah jest been with yuh ev'ry moment of ma time, an' [_Places suit-case on table; crosses to centre._] Ah worked for yuh an' Ah loved yuh, an' Ah doan' wan' to be left 'ere all alone in dis town 'ere New York. [LAURA _turns to door;_ ANNIE _stoops, grabs up ribbon, hides it behind her back._] Ah ain't the kind of cullud lady knows many people. Can't yuh take me along wid yuh, Miss Laura?--yuh all been so good to me.

LAURA. Why, I told you to [_Crosses to door, looks out, returns disappointed._] stay here and get your things together [ANNIE _hides ribbon in front of her waist._], and then Mr. Brockton will probably want you to do something. Later, I think he'll have you pack up, just as soon as he finds I'm gone. I've got the address that you gave me.

I'll let you know if you can come on.

ANNIE. [_Suddenly._] Ain't yuh goin' to give me anything at all jes'

to remembuh yuh by? Ah've been so honest--

LAURA. Honest?

ANNIE. Honest, Ah have.

LAURA. You've been about as honest as most coloured [_Crosses to table; gets suit-case; crosses to sofa end puts suit-case on it._]

girls are who work for women in the position that I am in. You haven't stolen enough to make me discharge you, but I've seen what you've taken. [_Sits on end of sofa facing left._

ANNIE. Now, Miss Laura.

LAURA. Don't try to fool me. What you've got you're welcome to, but for heaven's sake don't prate around here about loyalty and honesty.

I'm sick of it.

ANNIE. Ain't yuh goin' to give me no recommendation?

LAURA. [_Impatiently looking around the room._] What good would my recommendation do? You can always go and get another position with people who've lived the way I've lived, and my recommendation to the other kind wouldn't amount to much.

ANNIE. [_Sits on trunk._] Ah can just see whah Ah'm goin',--back to dat boa'din'-house in 38th Street fo' me. [_Crying._

LAURA. Now shut your noise. I don't want to hear any more. I've given you twenty-five dollars for a present. I think that's enough.

[ANNIE _a.s.sumes a most aggrieved appearance._

ANNIE. Ah know, but twenty-five dollars ain't a home, and I'm [_Rises, crosses to rubbish heap, picks up old slippers and hat, puts hat on head as she goes out, looks into pier-gla.s.s._] losin' my home. Dat's jest my luck--every time I save enough money to buy my weddin' clothes to get married I lose my job.

[_Exit._

LAURA. I wonder where John is. We'll never be able to make that train.

[_She crosses to window, then to desk, takes out time-table, crosses to armchair and spreads time-table on back, studies it, crosses impatiently to trunk, and sits nervously kicking her feet. After a few seconds' pause the bell rings. She jumps up excitedly._] That must be he,--Annie--go quick. [ANNIE _crosses and opens the door in the usual manner._

JIM'S VOICE. [_Outside._] Is Miss Murdock in?

ANNIE. Ya.s.suh, she's in.

LAURA _is up stage and turns to receive visitor._ JIM _enters. He is nicely dressed in black and has an appearance of prosperity about him, but in other respects he retains the old drollness of enunciation and manner. He crosses to_ LAURA _in a cordial way and holds out his hand._ ANNIE _crosses, after closing the door, and exits through the portieres into the sleeping-apartment._

JIM. How-dy-do, Miss Laura?

LAURA. Jim Western, I'm mighty glad to see you.

JIM. Looks like as if you were going to move?