GRANNY MAUMEE
THE RIDER OF DREAMS
SIMON THE CYRENIAN
[Illustration]
THE MACMILLAN COMPANY
NEW YORK · BOSTON · CHICAGO · DALLAS
ATLANTA · SAN FRANCISCO
MACMILLAN & CO., LIMITED
LONDON · BOMBAY · CALCUTTA
MELBOURNE
THE MACMILLAN CO. OF CANADA, LTD.
TORONTO
Granny Maumee
The Rider of Dreams
Simon The Cyrenian
_Plays for a Negro Theater_
BY
RIDGELY TORRENCE
New York
THE MACMILLAN COMPANY
1917
_All rights reserved_
COPYRIGHT, 1917,
BY RIDGELY TORRENCE
COPYRIGHT, 1917,
BY THE MACMILLAN COMPANY
Set up and printed. Published September, 1917.
For permission to perform these plays application must be made
to the author in care of the publishers.
To O. H. D. T.
GRANNY MAUMEE
GRANNY MAUMEE
SCENE: _Living room in an old cabin with walls blackened by
age. Red cotton curtains and red covers on the chairs and
table. In left corner back, an open fire smoulders in a great
rough fireplace. There is a door at back leading out of doors.
There are also doors left and right. A bed at left covered
with a white counterpane. The room is neat and there are many
growing flowers about potted in rude wooden boxes. Toward the
right is an iron flower stand consisting of a basin mounted
on a tripod. This stand is filled with a mass of bright red
geraniums. A large chest against the wall at right is covered
with red. A table near centre bears candles. Beside the table
in a high-backed chair sits GRANNY MAUMEE. She is seen to
be blind. She is black and thin, with white hair and a face
so seared by burns that it masks her great age. Her great
granddaughter PEARL, a girl of nineteen, is moving briskly
about the room straightening chairs and rearranging flowers._
PEARL
Seem kinder funny fer me to be fixin’ up for Sapphie. Seem like I’m
wukin’ for her by the day. Mebbe she will tek’n hiah me now she’s
married. Seem kinder odd to be hiahed by a blood sisteh.
GRANNY
Spread my fine-spun sheets on de baid.
PEARL
I got the nex’ bes’.
GRANNY
Fol’ um up an’ git out de fines’.
PEARL
Hit weahs um out so to wash um, an’ Sapphie an’ that man of her’n aint
used to such goodness. An’ to muss um up des for one night!
GRANNY
Hit’s de night er all nights. Hit’s de boy babe wif ’em dat I wants de
fineness fer.
PEARL
That’s right, the baby. I keeps fohgittin’ hit. I’ll change’m. I’ll git
the linum sheets on an’ then I’ll lay the big covehled.
[_She draws coverlid off, hauls box from under the bed, and
opening it takes out bed clothes and remakes the bed._]
You’n me’ll have to lay in the broke baid this night. You won’t git no
rest.
GRANNY
No matteh, heah’s a good baid fer de babe an’ I’ll soon git all my res’.
PEARL
I hope’s Sapphie’s husband aint too hefty, for the th’ee might break this
heah’n same as the otheh’n is broke.
GRANNY
De husban’ shain’t sleep da nohow. You c’n lay him a bunk in de wash
house.
PEARL
What! You aint goin’ to leave him lay heah?
GRANNY
Dis baid my Sam bought fo’ me. Onliest man kin eveh lay in hit shill be
Sam’s own blood. De babe an’ his motheh’ll lay heah dis night erlone.
PEARL
Well, the babe’ll have plenty room and softness.
GRANNY
W’en my Sam wuz er babe we laid on cotton sack. We didn’ have no baid,
an’ w’en he little shaveh he say, “Mammy, I goin’ git you nice baid w’en
I git er man.” An’ sho’ nuff, w’en he grow up he took ’n do hit, an’ he
mek pu’chus in de attehnoon an’ de baid come nex’ day. But at midnight
betwix’ dee tuk ’n bu’nt ’im.
PEARL
Now, Granny—
GRANNY
In de black dahk dee come on ’im, de bloody-handed mens, an’ wheah dee
cotch ’im dah dee bu’nt ’im, de right man settin’ de wrong man afieh at
de i’un hitchin’ pos’.
PEARL
[_Going to her._] Granny Maumee, don’t leave yo’self go that away. Don’t
leave youah mine run on.
GRANNY
[_Rocking back and forth._] My Sam, my man babe-um.
PEARL
Hit git you all wuk up an’ wore out. You won’t look good to company.
GRANNY
Look! Has I looked fo’ fifty yeah sence I rush in de fieh fo’ my Sam,
which hit de las’ sight deze eyes seen? Oh, whuffo’ dee drag me out an’
hilt me back? I bo’ one man an’ him dee tuk’n bu’nt. An’ ’e slep’ right’n
dis room w’en de man wuz shot w’ich dee ’cuze ’im er! Whuffo’ dee drag me
back f’um de fieh?
PEARL
I sees the wisdom of Gawd in hit, Granny Maumee. Fifty yeahs ergo me and
Sapphie’s granpap been burnt and yet you was to live to git a new Sam.
GRANNY
W’ich ’e neveh come. Dee wuz all gals fum dat on, you an’ yo’ sisteh
Sapphie an’ yo’ mammy an’ yo’ mammy’s mammy, all down from my breas’: all
gals.
PEARL
You fuhgits what Sapphie’s fetchin’ you.
GRANNY
Dat I don’t, but not twell I sees ’im will Sam be cool off in my heaht.
PEARL
Granny, you can nurse the child but course you cain’t espect to see him.
GRANNY
Deze eyes shill yit behole—
PEARL
No, Granny Maumee, your eyes they’re scorched and swiveled with the fire.
But your arms ain’t burnt, is they? An’ they shall hold the baby! Tain’t
often old person live to heft a great-great-gran’baby.
GRANNY
Befo’ my las’ houah deze eyes shill look an’ see ergin. [_She rises._]
PEARL
Wheah you goin’?
GRANNY
Has you lay out my raid gown?
PEARL
Yes, it’s all on the sofy.
GRANNY
Den I goes to primp up an’ mek ready to receive.
PEARL
Yes, it’s only perlite to put on ouah best to meet the husband.
GRANNY
I dresses fer none but de chile. [_She goes slowly out at left._]
PEARL
[_Calling._] Betteh lay down fust, they won’t be here for two hour yet.
I’ll be there pres’n’ly.
[_She continues to bestir herself about the room and then
starts to follow GRANNY. There is a faint tap at the door at
right. PEARL stops and listens. The tapping is repeated. She
goes and opens the door. A young woman, looking much like PEARL
and of about the same age, but gaudily dressed and carrying a
baby, stands in the doorway._]
PEARL
[_With a half-smothered exclamation._] Sapphie!
[_SAPPHIE motions her to be silent and softly, fearfully enters
the room._]
SAPPHIE
[_In a low voice._] Wheah Granny Maumee?
PEARL
She in the baid-room fixin’ up. Wheah’s youah husband?
SAPPHIE
[_After a pause._] He—didn’—come—
PEARL
Oh, that’s too bad, but it’s good to see you, and let’s see the baby.
SAPPHIE
[_Drawing back with the swathed and veiled child._] Not yet.
PEARL
Oh, he’s asleep, of course.
SAPPHIE
[_Pointing to doorway through which GRANNY passed._] Shut the door.
PEARL
[_Obeying wonderingly._] Well, hit do look good to see you ergin,
Sapphie. Hit don’t seem like er yeah now sence you lef’ home. Does youah
husband tek you to pictuh shows?
SAPPHIE
Puhl, what’s Granny Maumee like now, is she failed any? Is she fie’ce as
eveh ’bout the burnin’ and the w’ite mens?
PEARL
Why, of course she is. She don’t neveh change f’um year ter year. Come
on, let’s see baby. What youah husband’s name? You nevah sent us wu’d
what youah new name was.
SAPPHIE
That’s what I want to see you for before Granny Maumee comes out. Come
here. [_She lifts a veil from the child’s face._]
PEARL
[_Peering eagerly forward and then starting back._] W’ite!
SAPPHIE
[_Breathlessly._] How’ll she take hit? What’ll she do? I’m scared of her.
PEARL
A light-head merlatter! So youah husband didn’t come ’cause they ain’t no
husband. Who’s the man?
SAPPHIE
You know wheah I work.
PEARL
Lightfoot!
SAPPHIE
He des would have his way.
PEARL
So, he took you off to town with him, did he, and that’s how come you
have the luck to go. I praise King Jesus he kept me f’um such luck.
SAPPHIE
How’ll she take hit?
PEARL
Take hit! Does you spose we can take’n tell her? Thank my Makeh she’s
blind. It’s the mussy of Gawd her eyes was swiveled in w’ite man’s fire
before she see the w’ite man mix with her blood. You—
SAPPHIE
Oh, I don’t care what you calls me if you’ll only help me and keep Granny
Maumee off’n me and baby.
PEARL
It’s only helpin’ to keep us all from ’struction that I’ll keep it from
her.
SAPPHIE
What you think she’d do if she found out?
PEARL
I don’t know. Sometimes when her mine runs on ’bout the burnin’ she
begins to go back’ards.
SAPPHIE
[_Fearfully._] What you mean?
PEARL
You knows what I means. Away from the love of Gawd, back to that Affykin
devil stuff.
SAPPHIE
[_Starting with a cry toward the door at back._] Oh, she might witch me
and the baby too.
PEARL
Don’t be scared. She won’t tech you ’cause she won’t know the sinneh you
been.
SAPPHIE
He des would have his way. [_A tap is heard outside GRANNY’S door._]
PEARL
She’s comin’.
[_SAPPHIE shrinks back toward opposite side of room as door
opens and GRANNY enters wearing a red dress with red apron and
red silk cap on her head. She pauses just inside and listens
intently._]
GRANNY
Who bin talkin’?
PEARL
Me. [_She guides GRANNY to her chair._]
GRANNY
Well, talk on. How I look? [_She straightens proudly in her chair._]
PEARL
Good. The red ain’t faded none.
GRANNY
Dat’s good, fer I needs hit bright dis day an’ night. De babe’ll wan’
tuh see hit. Red’s de fus’ coloh er baby notice an’ red allers goes wif
black. Red neveh go wif w’ite. Looks ghas’ly. I use allers tuh wrop my
Sam in red— [_She pauses and her voice grows shriller._] an’ red’s de
las’ way I seen ’im.
PEARL
Now, Granny—
GRANNY
Dat’s right, I mus’ tek my mine off er dat sight now. But I’ll tek’n’
wrop dis noo black babe in my red ap’un dat hilt my Sam. In red he shill
be wrop an’ black he shill shine. Royal black we is an’ royal black we
shill stay. Praise my Makeh, dey ain’ no drop er any yutheh coloh in ’im.
All us wimens wuz hones’, all de way down, an’ we kep’ clean er de w’ite
streak. We kep’ us clean, praise my King, an’ we will ter de een’. W’ite
blood were ’stroyin’ angel tuh my fambly f’um de beginnin’s, but hit
neveh yit mix wif us. We wuz save f’um dat las’ pizen.
[_SAPPHIE turns as though to go out through the door at right
with her child. PEARL motions her through side doorway at left.
She goes out softly._]
PEARL
Hattie Lee she uz hones’ an’ her baby’s w’ite. That w’ite man tuk’n marry
her with preacheh.
GRANNY
Married wif preacheh! Do dat change de trashy blood? I wudn’ have dat
kinder mud pumpin’ in er babe er my blood, not ef de sevumty eldehs had
j’ined a w’ite man tuh you er Sapphie.
PEARL
W’ite blood no wus’n black blood.
GRANNY
’Tis fer us! ’Tis fer dis house er sorrer. Hit’s bin fieh, hit’s bin
death, hit’s bin de crawlin’ stream er hell fer me an’ my fambly as fur
as I knows, an’ dat’s a hunderd yeah. But I lets all de yutheh go, ’ca’se
I hates um ernuff fer dis one thing—
[_She goes to red-covered chest at right, lifts the lid and
takes out two half-charred sticks of wood._]
PEARL
Now, Granny, put um back—
GRANNY
[_Waving the sticks._] Deze, w’ut I snatch f’um de fieh undeh Sam. Deze
is ernuff to mek us hate all er dat blood an’ keep hit fur f’um us.
PEARL
[_Going to her and taking the sticks._] Is this heah makin’ ready for
comp’ny? Now ca’m yo’se’f.
[_She lays the sticks on top of the chest._]
GRANNY
[_Seating herself and growing suddenly very still as though listening._]
Yo’re right. Time’s up, de houah is heah an’ de chile is neah. I feels
hit. Run an’ open de do’. Sapphie mus’ be comin’ up de paf. Mek ready. I
feel my noo man chile neah me.
[_PEARL goes out doorway at left. After a moment she and
SAPPHIE enter without the baby. GRANNY stands up._]
SAPPHIE
[_Going forward hesitatingly to GRANNY._] Granny Maumee.
GRANNY
Give ’im heah in deze ahms.
SAPPHIE
I lay him in yutheh room. I want to see you.
GRANNY
Fetch ’im.
SAPPHIE
Aint you glad to have me back?
GRANNY
Fetch de babe, be swif! [_PEARL motions to Sapphie; she goes out to get
the baby._]
PEARL
Her man, he couldn’t come with her.
GRANNY
No diffunce. I bless de man an’ wish ’im well, he’s su’ved his puhpose,
but he ain’ none er ouah blood. De boy babe’s de chief un. [_SAPPHIE
enters with the baby._] Give ’im heah, be swif’.
[_SAPPHIE hesitatingly lays the child in GRANNY’S outstretched
arms. As she does so a strange reaction, like an electrical
shock, seems to overtake the old woman. She holds out the child
as though she would give it back. After a moment, however, she
presses it to her breast, rocking back and forth and crooning
to it._]
Babe, man babe-um, er noo man, er puore-blood man raise’ up atter all dem
gals. Sam kin res’ now. ’Caze w’y— [_She begins to chant._] ’caze er noo
man bin raise up an’ he shill lay hol’ er de stahs an’ th’ow um down fer
vingince. He shill be er ’stroyin’ fieh er heavum tuh roll ergin de hell
fieh w’ut dey lit fer Sam an’ quinch hit out fuheveh. De wrath er Gawd
shill be wif ’im an’ de w’ite blood shill puhvail no more ergin ’im. De
sun an’ moon shill rise no mo’ on my house an’ fin’ on’y gals, ’caze we
got er puore-blood man fer to gyard an’ carry us on.
[_From time to time during her words she has paused and bent
intently over the baby, striving to see it._]
An’ my King’ll not keep de cuss on me now an’ leave me go down to de
grave wifouten sight er you, my babe-um. Dese eyes shill yit behole.
[_She rises with the child in her arms._] Go on out er heah, Puhl
an’ Sapphie, lemme be alone now wif my babe. [_She waves them out
imperiously._]
PEARL
Whuffo’?
GRANNY
I wan’s ter see dis chile befo’ I dies.
PEARL
Why, Granny Maumee, your eyes is swiveled up with the fire. You couldn’t
see.
GRANNY
Go. I won’ be long.
PEARL
[_To SAPPHIE._] Come on, don’t cross her.
SAPPHIE
[_Whispering._] I’m ’fraid—
PEARL
You know she couldn’t—— [_They go out doorway at left._]
[_GRANNY stands staring down at the child in her arms for some
time. She then goes over to the bed and lays the child upon it,
bending over it and striving to see. At last she turns, goes
swiftly over to the red-covered chest and taking from its top
the two charred sticks, turns, lights them at the fireplace,
comes forward to the middle of the room and holding the flaming
faggots before her face peers steadily at them._]
GRANNY
[_Suddenly in a loud voice with upraised face._] Sam—ask Gawd tuh give
back my sight dis night er all nights an’ leave me look at de noo man
w’ut bin handed down ter us. Fer we kep’ de blood puore. Ask an’ we shill
receive— [_In a still louder tone, stretching upward her hands._] Lawd, I
believe.
[_She suddenly sways, turns, drops the sticks on the hearth,
puts her hands before her eyes and staggers forward. After a
moment she takes her hands from her face and looks tremblingly
about._]
Yes—he give hit back—I sees—Oh, my black babe!
[_She moves swiftly to the bed and bends over the child. There
is a moment’s pause._]
W’ut dis? Cain’ I see yit? De wrong coloh.
[_She turns swiftly, seizes a white cloth from a chair and
a black one from another, holds them up and looks at them
alternately._]
W’ite—black.
[_Then turning to the bed she stares again at the child. After
a moment she straightens and reaching her hands upward she
gives a cry._]
W’ite! Debbils!
[_SAPPHIE and PEARL appear in doorway. GRANNY bends over the
child with clawlike fingers raised as though she were about to
strangle it. SAPPHIE darts forward and snatches the child.
GRANNY turns and looks at SAPPHIE and PEARL in turn._]
PEARL
She sees!
SAPPHIE
Granny Maumee, the babe’ll be ouah’n an’ we can raise him right. He’s a
good baby and don’t cry none. I don’t want live’n town. I want to live
here with you and Puhl. Baby’ll love you. And we won’t be no trouble to
keep ’caze I got money. Look—take this.
[_She draws from her bosom a crumpled handful of bills which
she stuffs into GRANNY’S hands._]
GRANNY
Wheah you git dis? [_She stands immovably staring before her._]
SAPPHIE
_He_ give it to me.
GRANNY
[_Shaking off the money onto the table._] W’ite man money.
SAPPHIE
He des would have his way, but he’s good to me and he takes care of me.
He’s comin’ heah tonight to see me.
GRANNY
W’ut de name?
SAPPHIE
Young Lightfoot.
GRANNY
De gran’pap er dat man tetch off de fieh w’ut bu’n up my Sam.
SAPPHIE
But this’n ain’t that away, Granny Maumee. He’s always kind.
GRANNY
W’en’s de man comin’?
SAPPHIE
He’ll be here soon and if you’ll only listen he’ll sure talk you round.
GRANNY
[_Pointing to the baby._] Hit wants out. Take it out an’ come yer.
[_SAPPHIE obeys, going through doorway at left. GRANNY suddenly
turns to the flower-basin mounted on a tripod. Seizing it she
empties both flowers and earth in the fireplace, where she
refills the basin with live coals. Then bringing it forward she
replaces it upon its tripod._]
PEARL
Granny Maumee, you’re slippin’ backwuds, please don’t fuss with that
conju’n foolishness, they ain’t nuthin’ into hit an’ hit des keeps you
’cited.
GRANNY
Debbils calls out debbils.
[_She goes to several places where upon the walls are hung
bunches of dried herbs. From several of these she seizes
handfuls._]
Come, my seedin’ Jimson, come, ole Rattlesnake-Marsteh, come, my
Black-Ball, w’ut Pap Jack han’ me up.
[_SAPPHIE reënters the room and stands watching GRANNY in
terror, GRANNY closes all the doors to the room, then going to
the red-covered chest on the right and opening it she drags
forth several coils of blackened iron chain which she casts
upon the table. She sprinkles a few of her handful of herbs on
the fire in the brazier. A dense smoke arises._]
SAPPHIE
[_With a scream._] Don’t! Oh, don’t conjuh me.
PEARL
[_Scornfully._] Don’t fuss, Sapphie, she won’t do no harm. What the
chains for, Granny?
GRANNY
Dem’s de chains w’ut bine Sam w’en dey tuk’n bu’n ’im.
PEARL
What you worry yourself by gittin’ um out for?
GRANNY
I ain’ worried no mo’. [_She throws more herbs on the fire in the
brazier._] Dem chains fer de w’ite man.
PEARL
What you mean?
GRANNY
[_Pointing to the door at left back._] W’en de w’ite man knock de do’
shill be open an’ dat shill be de beginnin’ er his trials.
PEARL
What you mean?
GRANNY
De smoke in dis room will strankle de man’s will in his breas’ an’ I’ll
use ’im den as I choose.
SAPPHIE
What you goin’ do to ’im?
GRANNY
I goin’ lead ’im out tuh de i’un hitchin’ pos’ w’ut dey fas’en Sam ter
an’ I goin’ tuh chain ’im da wif dese chains an’ I goin’ tuh bring ’im
tuh ’imself an’ den I goin’ tuh bu’n ’im lak he gran’pappy bu’n Sam.
SAPPHIE
[_With a scream._] You shan’t.
PEARL
You spose we leave you do hit?
[_The girls start forward toward the doorway at left back.
As they near GRANNY she swiftly seizes a handful of burning
herbs from the brazier and waves them smoking across the faces
of the girls under their nostrils, so that they breathe the
fumes. They take a few steps farther, staggering, and then
stand motionless and silent. She takes them by the hands and
leads them back. The fumes of stramonium, solanum and other
herbs have produced catalepsia. GRANNY goes to the fireplace
at back and from the mantel takes a wooden bowl, a short stick
and a large dry gourd. She returns, gives the bowl and stick to
SAPPHIE, causing her to beat rhythmically on the inverted bowl
with the stick, a motion which SAPPHIE continues in imitative
hypnosis. GRANNY gives the gourd to PEARL, causing her to shake
it. The gourd gives forth a dry rattle from seeds or pebbles
within it. GRANNY then places the two girls on either side
of the tripod and they continue their drumming and rattling
rhythmically. She then takes her place back of the tripod and
casts more herbs upon the fire._]
GRANNY
Sistehs, kin yo’ heah me speak? Answeh, Sapphie.
SAPPHIE
[_In a dull tone._] Yes.
GRANNY
Answeh, Puhl. Does yo’ heah me?
PEARL
[_Also dully._] Yes.
GRANNY
Does yo’ see?
BOTH GIRLS
Yes.
GRANNY
Den watch me mek my w’ite man Lightfoot outer Lightfoot money.
[_She seizes the bunch of bills from the table and plucking
strands of hair from her head she begins tying the money
together; taking the candle from the table she holds it over
the tripod until it is soft and then kneads it with the
money until the whole grows into the rude semblance of a
human figure. Stooping then to the hearth she takes up the
two charred sticks of her son’s pyre and with one of these
she stabs the wax mannikin through the breast. Holding up the
impaled figure she stands over her tripod and again speaks_:]
Say dis atter me:—
By de fieh at night, by de black boy down,
THE SISTERS
“By the fire at night, by the black boy down,”
GRANNY
By de skunt-off face an’ de red on de groun’,
[_The sisters repeat each line after her in unison, keeping up
their rhythm with drum and rattle._]
By de w’ip an’ de rope an’ de chain dat swung,
By de bloody mouf an’ de bit-off tongue,
By de eat-up heaht an’ de spit-out gall,
We scream, we beg, we whoop, we squall
Tuh git poweh, tuh git stren’th tuh put de trickon um all.
[_After this the remainder of GRANNY’S curse is spoken by her
alone. The sisters continue their sounds with the drum and
rattle._]
Let um git no res’ in bed, er good at vittals, er hope at wu’k, er he’p
at home, er peace wif fren’s er kin, er tryin’ tuh tek pleasuah, er in
any place dey kin go er hide.
Th’ee fingeh Jack my Obi pap,
He’p me, ole Marsteh.
Keep de promise wif um all.
[_She lifts the mannikin on the stick and looks at it._]
Now, my Lightfoot, yore tu’n’s come.
Dis is Lightfoot, Ole Marsteh.
Let me slit ’im an’ bu’n ’im an’ was’e ’im an’ cut ’im an’ choke an’ weah
’im an’ teah ’im as Sam ’uz slit an’ choked an’ bu’nt an’ was’e an’ cut
an’ woah an’ toah.
[_She waves the mannikin to the four points of the compass._]
Fo’ times fo’ times fo’ times fo’,
Fly an’ call an’ open de do’.
De chains is ready, de man is neah, an’ almos’ heah an’ de chahm shill
hol’.
Spile ’im as I spile ’im.
[_She casts the mannikin and the sticks with ferocity into the
fire on the tripod and then bends down staring intently into
the fire. There is a moment’s silence and then she gives a
cry, as she looks into the fire._]
Sam! Is dat you in da? You instid er he? W’ut dis? Is we bin trick?
’Tain’t you—’tis you—Sam! Ah-h!
[_With a cry she snatches the blazing mannikin from the brazier
and folds it in her caught-up apron, staggering and beating
the air as though battling with unseen forces. Suddenly a gust
of wind blows open the door at the right and a breeze fills
the room, blowing the smoke and fluttering the garments of
the women. The drum and rattle cease and fall to the floor.
Immediately GRANNY raises her face in awe, seeing a vision. She
stretches out her arms toward it, speaking brokenly._]
Sam! Yes, I sees yo’. I heahs yo’. Yes, my Babe-um.—Talk on.—Tell
me.—W’at!
[_She pauses, listening intently, with eyes fixed on the
unseen._]
Leave ’im go!—Oh, how kin I?—Gi’ me stren’th.
[_She pauses again and bows her head. After a moment she again
raises her face to the vision._]
I knows.—I fuhgot. I’ll do hit.—I des wen’ backerds but I’m wif yo’
now.—Yas—Ez we fuhgives uthehs—yas—I knows—we’ll do hit.—We will be
tuhgetheh.—Ez we fuhgives uthehs.
[_A knocking is heard on the door back, at left of the
fireplace. GRANNY turns her head and listens. After a pause
the knocking begins again more imperatively. She turns, seizes
the tripod brazier, casts it into the fireplace, and staggers
toward the door, taking her stand beside it. The knocking
pauses._]
Go back, w’ite man. Roll back, w’ite wave er de fiery lek. Once you lit
de fieh an’ bu’n me. Once you po’ de blood an’ pizen me, but dis time Sam
an’ me we’s de stronges’ an’ we leaves you go, we leaves you live tuh mek
yore peace wif Gawd. We’re puore bloods heah, royal black—all but one an’
we’ll do de bes’ we kin erbout ’im. He shill be name Sam. Go back, w’ite
man, an’ sin no mo’.
[_She pauses and listens. There is no further sound from
without. GRANNY staggers over to the sisters and shakes them,
saying in a faint voice_:]
Wake up, Sapphie; come tuh, Puhl. [_As she does so she looks upward again
and cries out_:] Sam, we done hit, an’ we stays tuhgetheh!
[_She sinks down slowly to the floor. The sisters have stirred
and looked about stupidly. PEARL now sees GRANNY and bends
over her._]
PEARL
[_With a cry._] Ah—Granny Maumee’s dead.
[_She runs terror-stricken to the door at back, crouching
beside it. SAPPHIE then, after gazing intently at GRANNY,
suddenly runs toward the door and dragging it open rushes out,
followed by her sister._]
BOTH GIRLS
[_Outside._] Granny Maumee’s dead! Granny Maumee’s dead!
[_Their voices gradually die away in the distance, the door
blows shut. The body of GRANNY MAUMEE is left alone in the
room._]
CURTAIN.
THE RIDER OF DREAMS
THE RIDER OF DREAMS
SCENE: _Night in a room used for kitchen, dining-room and
laundry by a colored family. A lamp is set upon a central table
laid with a spotless table cloth. Baskets of clothes stand on
several chairs. At the back is a cook-stove and to the left of
this a door. There are also doorways at the right and left of
the room. LUCY SPARROW, a worn, sweet-faced woman of forty, is
sprinkling clothes at an ironing-board at left with her back
turned to the table beside which, on a high stool, is perched a
small boy, BOOKER SPARROW. Both the boy and the woman as well
as the room show a painstaking neatness despite the disorder
necessary in the process of a professional “wash.”_
LUCY
Who make you?
BOOKER
God. Ain’t the mush done now?
LUCY
It’s done but I ain’t done wif you. You got to learn good befo’ you can
eat good. Who redeem you?
BOOKER
Christ. I’ll stop being hungry for it if I don’t get it now.
LUCY
Bettah lose youah wishes an’ youah ahms an’ laigs an’ everything youah
body’s fix wif an’ keep youah immortal soul. Who sanctify you?
BOOKER
The Holy Ghost. I don’t want nothing but mush.
LUCY
Well, you ain’ goin’ to git hit twell you luhns de questions. What de
chief en’ of man?
BOOKER
Chief end of man is to glorify God and enjoy himself for ever.
LUCY
[_Coming swiftly forward and confronting him with a threatening look_:]
Enjoy _hisself_! I ain’ neveh teach you dat. You know betteh’n dat. Man
got no right to enjoy hisself. He got to enjoy Gawd. You knows dat as
well as you knows eatin’. An’ you got to say it an’ what’s mo’ you got
to live it. Now what de chief en’ of man?
BOOKER
Enjoy God forever.
LUCY
Dat’s mo’ like it. [_She turns her back and going to the ironing-board
resumes her labours, still talking._] I’m raisin’ you fo’ de Kingdom an’
you’ah goin’ in de Kingdom ef pushin’ ’ll lan’ you dere. Because dis time
anutheh yeah you may be in some lonesome graveyard. [_Singing_:]
In some lonesome graveyard,
Oh, Lawd, no time to pray.
[_As she sings BOOKER stealthily slips off his stool and going
around to the opposite side of the table takes a spoon with
which he approaches a dish set upon a warming-shelf fixed to
the stove. He furtively dips his spoon in the dish and begins
to eat. LUCY continuing her singing._]
Play on youah harp, little David,
Little Davy, how ole are you?
“I’m only twelve yeahs ole.”
[_She turns and discovers BOOKER._] What! You stealin’! I’ll show you!
[_She gives him a cuff and a shake, depositing him again upon his
stool._] You shorely is on de way to de fieh but I’m goin’ pluck you out
ef it skins you alive. Steal, will you? What de sevenf commandment?
BOOKER
[_Sniveling._] Thou shalt not steal.
LUCY
See dat. You knows it but you des won’t live hit. Well, I’m goin’ live it
into you. I’m goin’ slap sin out of you. [_She gives him another shake._]
An’ de grace into you. Now you say dat commandment sevumty times sevun.
Begin. Say hit.
BOOKER
Thou shalt not steal. Thou shalt not steal—
[_The door at back opens and MADISON SPARROW stands in the
doorway looking on the scene within the room. He is a tall,
loose-jointed, lazy-looking man. In one hand he carries a long
green bag._]
MADISON
[_After a survey of the situation._] What de boy do?
LUCY
He steal, dat what he do.
MADISON
Um. What he steal?
LUCY
Mush. I tole him not to tech it.
MADISON
Well, he was hongry, weren’t he?
LUCY
Dat ain’ de p’int. Tweren’t his till I give it to him.
MADISON
[_Places the bag carefully by the doorway, throws his hat upon it, then
seats himself at the table._] Bring on dat mush. I’m tia’hd of dese fool
doin’s. Dey ain’t no git ahead wif um. Ef de boy wants mush let him git
mush.
LUCY
[_Placing food before him on the table._] Yes, but not rob it.
MADISON
Who talkin’ ’bout robbin’?
LUCY
Madison, dat’s de wrong kin’ of trash fo’ dis baby to heah. Go lay down,
honey. Tek de bowl wif you.
[_BOOKER whines but takes a dish and goes to doorway at Left._]
MADISON
No, hit’s de right kin’ of preachin’. I’m tia’hd of all dat ol’ fashion
way of doin’. Ef I wuz to wuk my ahms off dat ol’ fashion way I couldn’t
git no furder.
LUCY
What you bin wukin’ at dis yeah, Madison?
MADISON
Dat’s it. You know dat I’m bin lookin’ fo’ it and couldn’t find hit.
LUCY
What you wuk at last yeah?
MADISON
You knows I wuk in de strippin’ factory.
LUCY
Jes’ two weeks.
MADISON
You knows I wuk till I strain my back. But neveh min’ about all dat. I
done tuhn oveh a new leaf. I goin’ to be a business man. I goin’ to let
de otheh man wuk.
LUCY
’Sposin’ everybody was to do dat away.
MADISON
Let ’em do hit. I don’ ask nothin’ of nobody. I goin’ to have every toof
in my haid covehed wif gol’. I’ll get youah’n an’ Book’s fix dat way too.
I goin’ to have plenty society grub in me all de time. I ain’ goin’ to
let my fam’ly suffeh. I got too sweet a disposishun fo’ dat. I’ll git ’em
whateveh I want.
BOOKER
[_Lingering in doorway._] When you get rich will you get you the guitar,
Daddy?
[_LUCY waves BOOKER through doorway. He vanishes._]
MADISON
I’ll git it an’ I got it. Watch me now. [_He goes over to the bag by the
door and reaching in it produces a handsome guitar._] Dat’s de beginnin’
er good times, boy.
LUCY
[_With sickening apprehension._] Madison, where you git dat insterment?
MADISON
Dat’s de Lawd’s insterment, Lucy. He done pervide it.
LUCY
Oh, Madison, dat ain’ youah’n.
MADISON
’Tis now, honey.
LUCY
No, youah las’ dime you spent Sunday an’ I ain’ give you no money since.
You got it wifout payin’ for it. You charged it.
MADISON
Yassah, I got it wifout payin’ for it an’ I goin’ to keep on a-gittin’ it
wifout payin’ for hit as long as de gittin’s good.
LUCY
How you like to be treat dat way?
MADISON
What way?
LUCY
If you was keepin’ a store, to have folks charge things when dey didn’
know how dey could pay.
MADISON
I’m willin’ fo’ to be treat dat way ef dey can do hit. Let ’em come an’
git my things if dey finds any.
LUCY
[_Breaking down._] Oh, I cain’ stan’ hit. Youah sinkin’ fas’ down to de
fiery lake an’ you’s pullin’ my Baby down too.
MADISON
No, I’s raisin’ him up an’ I goin’ to lan’ us all in a sof’ place on dat
Easy Street I heah ’em singin’ ’bout so long wifout seein’.
LUCY
[_Suddenly examining the guitar._] Wheah you git dis guitar?
MADISON
What guitar?
LUCY
Dis. Oh, Madison, dis is ’Zek’l Williams’ own guitar dat he wouldn’ sell.
Dis is de guitar dat nobody couldn’ buy. How you come by it?
MADISON
Look heah, woman. You act like I _stole_ de guitar. You don’t think I’m a
thief, do you?
LUCY
How you come by hit?
MADISON
I got it off Wilson Byrd.
LUCY
Dat sneakin’ w’ite man. How’d he git it?
MADISON
I didn’ ask him.
LUCY
What you give him fo’ hit?
MADISON
Oh, dat’s anotheh story. Him an’ me’s goin’ in business togetheh.
LUCY
Oh, Madison, dat w’ite man stole dis guitar. Oh, take it back dis minute
an’ snatch youah soul from de bu’nin’.
MADISON
Who, me? What you tak me fo’, gal? Take back a guitar to de rich man, de
man what own de very house we live in!
LUCY
Well, we soon will buy hit.
MADISON
Dat’s right. We will. But dat ain’ de question. I didn’ git dis guitar
fo’ to return it, I git it fo’ to play it. I boun’ to play it cause I’m
goin’ to be er rich man soon an’ I got to have a plenty music in me.
LUCY
You goin’ to git rich playin’ guitar?
MADISON
[_Laughing comfortably._] Eh, yah, yah. Whoopee! No indeedy. I flies
higher dan music flies. I’m one er dese heah kine er ’lectioneerin’ mens
which make dere money work fo’ um. Dey sen’s one dollah out in de heat
an’ sweats her twell she rolls home wif anutheh.
LUCY
How you goin’ to put money out, Madison, lessen you wuks an’ gits de
money?
MADISON
[_Cunningly._] Oh, don’ yo’ botheh youah haid long er dat. I bin down
low and folks trample me des same as a wu’m, but now I’m goin’ spread
my wings an’ sting ’em like a king bee. Whaffo’ I lay dere an’ let’m
trample me? ’Twere because I lack conferdence. I puts my ’pen’ance on dis
promis’, I puts my ’pen’ance on dat, an’ dey all fails me.
LUCY
You ain’t neveh put youah trus’ in Gawd.
MADISON
Yassuh, I did, an’ Gawd He up an’ gimme de go-by too. What He bin doin’
fo’ me? Nuthin’. Now I goin’ spit on my han’s an’ whu’l in an’ trus’
myse’f. An’ I feels lots betteh. I can feel conferdence wukin’ all oveh
me. I casts ’em all off. I’m lookin’ out fo’ myse’f. M-m-m—It took me
long time to git heah but now I’m heah let ’em look out for me. [_His
voice rises to a chant._]
M—m—m—Midnight on de sea. All de lights out. I’m carryin’ hod on Jacob’
laddeh to build me a new house an’ I’m buildin’ it high, man. Don’ tech
me. I’m a flame of fieh an’ I’ll singe you sho’. If dey asks fo’ me tell
’em say, “I saw somethin’ sailin’ up but he was headin’ fo’ a high hill
on de sun an’ my eyes failed me.” Tell ’em say, “He had de fo’ win’s
runnin’ like stallions to fetch up wif him but dey carried ’em out, an’
buried ’em in de valley. He bus’ dere hea’ts!” Tell ’em say, “He was
herdin’ lightnin’s like sheep an’ dey wuz too slow an’ he picked ’em up
an’ sheared ’em an’ sent ’em home.”
Dat’s me, I’m de one you’ll be talkin’ bout. Fer why? ’Cause I cas’ off
ever’thing an’ I puts my trus’ in myself an’ nuthin’ can’t hole me. De
mo’ I says it de mo’ I feels conferdence. I feels it a wukin’.
LUCY
You goin’ to wuk, Madison?
MADISON
Yes, indeedy. I got to wuk an’ wuk ha’d. I can’t shirk none.
LUCY
What wuk you goin’ to do?
MADISON
I’m a stock brokin’ man. I goin’ into de stock brokin’ business tomorrer.
LUCY
How?
MADISON
Buyin’ an’ sellin’, dat’s how an’ which too.
LUCY
De Devil’s wrastlin’ wif you, Madison, an’ you’s perishin’ fas’. Ef you
keeps on in dis paf you’ll lan’ mongs’ de rocks er mournin’. You’s let
somebody tu’n you roun’.
MADISON
Not me. Nobody can’t tu’n me roun’. I dreamed it an’ I dreamed it right,
face fo’mos’ an’ on de run.
LUCY
How dream?
MADISON
Las’ night an’ day befo’ yistiddy night an’ night befo’ dat. I wuz layin’
groanin’, “O Lawd, how long,” an’ I heah a voice say, “Git up an’ come
a-runnin’.” Looks up an’ sees a fine w’ite saddle hoss. Hoss say,
“Ride me right an’ I’ll guide you right.”
On I gits an’ off he goes, slick as a rancid transom car. Comes to high
hill lookin’ down on de sun an’ moon. Hoss stop an’ say,
“Brung you heah to give you noos
De worl’ is youahn to pick an’ choose.”
I ax him “How dat?” Hoss say:
“How is how an’ why is why,
Buy low an’ sell high.”
I say to him, “I got no money to buy. Wheah I goin’ git de fun’s to buy
low?” Hoss respon’:
“Trus’ yo’se’f an’ take youah own,
Git de meat an’ leave de bone,
Bus’ de nut an’ fling em de shell,
Ride an’ let em walk a spell,
Findeh’s keepeh’s, loseh’s weepeh’s,
I hope dese few lines find you well.”
I ax him who tole him all dis an’ hoss say:
“Ole hoss _Grab_ will nevah balk,
All dis heah is w’ite man talk.”
Dat what de hoss say to me in my true dream ev’y night dis week an’ I’m
a-goin’ to bide by hit twell de las’ er pea time. ’Cause I’m er true
dreameh an’ my mammy she wuz befo’ me.
LUCY
What come of de hoss in de dream, Madison?
MADISON
Dat’s all. Hoss went up in smoke an’ I come down in bed.
LUCY
Hoss went up in smoke! No, hit went down in smoke an’ fiah.
MADISON
Now look-a heah, woman. I’m goin’ to make you a good livin’ f’um now on.
I’m goin’ into business termorrer. I’m goin’ in de specalatin’ wu’k. I’m
goin’ to buy low an’ sell high.
LUCY
What kin you buy wif? You got no money.
MADISON
[_Hesitating but collecting his forces gradually._] Oh, ain’t I tell you
’bout dat? I got it in de dream.
LUCY
In de dream?
MADISON
Um Hmmm. You know dat hoss I tole you ’bout. Well’m, jes’ fo’ we pa’ted
he prance up th’ough a starry fiel’ an’ come to a gyarden fence. Oveh dat
fence he lep an’, man, she was a fine gyarden. “Whose patch dish yer?” I
say to him. Hoss say:
“If you asks me grab what you see.”
Den he reaches down an’ pulls up a tu’nip wif his teef an’ gives it to me
an’ say,
“Dis gyarden truck will fetch you luck.”
[_He watches LUCY furtively._] An’ I takes an’ sta’ts to peel dis tu’nip
an’ what does I find? I finds she’s a fine fat roll er bills, dem tu’nip
tops is greenbacks.
LUCY
So youah money is dream money?
MADISON
Well, no, not ezackly. De hoss whispeh sumpin in my eah an’ told me how
to make dat dream money real money. An’ I took de hint an’ done it today.
An’ on dat money I’ll buy low an’ gouge ’em all good.
LUCY
How much you got?
MADISON
Well’m— [_He hesitates._] I got a little an’ den some. I got erbout—fifty
er so.
LUCY
Wheah you git it? [_She catches hold of him._]
MADISON
Tu’n me loose, woman. I goin’ to baid. I got to make early sta’t. [_He
pulls off his coat._]
LUCY
[_Wildly._] I ain’ goin’ to let you stay in sin. [_She snatches the coat
from him._] I goin’ take dis money an’ make you say wheah you got it.
[_She begins hastily searching through the pockets of the
coat._]
MADISON
[_Calmly regarding her with great good humour and breaking into a laugh
as she fails in her search._] Eh, yah, yah, sea’ch an’ look, sea’ch an’
look.
LUCY
Oh, Madison, ain’ yo’ got no honin’ ter be hones’ at all?
MADISON
Hones’! What kin’ er fool talk is dat? I done got my ear-string bus’ now
an’ dem preachah wu’ds can’t fool me no mo’. You’ll neveh fin’ it, honey.
’Cause why? ’Cause I’m got it in my pants an’ I goin’ to keep it f’um a
foolish woman.
LUCY
[_Running to him desperately._] You got to give it to me.
MADISON
Gal, ef you don’ tu’n me loose I’ll git ugly. Now, look heah. I wants to
heah de las’ er dis. I got new ideahs. I got big plots en plans. I done
give you de plankses in my flatfo’m an’ I’m a-goin’ to stan’ on hit. When
I makes a lot mo’ money in de broker business I’m a-goin’ to give you all
de gold youah ap’un’ll hold, ev’y day er youah life, an’ you won’ have
to wait long. But till dat day an’ to dat time I’m de treasu’eh er dis
lodge an’ I’m de stake holdeh er dis race an’ dat money stays in de pu’se
in de hip er my ol’ jeanses.
[_He says this last slowly and with growing emphasis and as he
ends, gives himself a resounding thwack on the hip over his
pocket. There is a moment’s pause. He puts his hand hurriedly
in the pocket and then dazedly into one on the other hip._]
What dis? Wheah dat roll?
LUCY
[_Fearfully._] I ain’ tech it. You know I ain’ bin neah you.
MADISON
[_Rushing to her._] Gimme de coat.
[_He snatches the coat and begins going through the pockets,
from time to time searching and slapping the garments he is
wearing._]
Didn’t you git it? You mus’ er tuk it.
LUCY
No, Madison, I ain’ see nor tech it. You watched me.
MADISON
Oh, Lawd, he’p me look.
[_He begins to run around the room, looking on the table,
picking up articles and letting them fall, dropping on his
knees and hunting under the table and chairs. As he searches he
grows more frantic._]
Oh, my Lawd, Oh, wheah is it? I got to have it. Oh, I couldn’ lose it,
hit ain’ mine ter lose. Stay by me, Lucy, an’ he’p me fin’ it, git down
on youah knees, Lucy. Oh, wheah did I drop it? I’m gittin’ old an’ needs
it. Ef I lose dis I lose all my push. I was jes’ goin’ into business an’
we all wuz goin’ to fly high. I got to fin’ it. I ain’ give up. Lemme
think. Oh, I hopes some hones’ puhson foun’ it. Lemme come on down—Know I
put it on dat side ’cause dat de side Mistah Long he wuz on—Oh, I’ll go
crazy— [_He strikes his forehead groaning._]
LUCY
[_Starting._] Mistah Long! He’s cashiah in de Dime Savin’s! How he give
you money?
MADISON
Oh, lemme see—he gimme de money an’ I put it right in yere. [_He fumbles
again distractedly in his pocket._]
LUCY
[_Pursuing him desperately._] Onliest money at de Dime Savin’s is _de_
money. You couldn’t draw _hit_ out. You didn’ do dat,—you couldn’—Tell
me if you did fo’ I’ll fin’ it out tomorrer—Oh, tell me true—you couldn’
when it’s in my name—tell me now fo’ I’ll find it out.
MADISON
Oh, I can’t stand it.
LUCY
Ef you wan’ me to he’p you den be free wif me. How you draw money from de
Bank? I give you no papeh. You _couldn’_ draw _de_ money.
MADISON
Wilson Byrd, he gimme de papeh.
LUCY
I give him no papeh.
MADISON
He write it fo’ you.
LUCY
Oh, Gawd, dat w’ite man write my name. You drawed de money—I see it now.
You had dealin’s wif a fo’geh, Wilson Byrd.
MADISON
Spar’ me an’ he’p me. He tol’ me ef I draw de money he’d take me into
business wif him an’ gimme de guitar besides.
LUCY
Did you spar’ me? Fifty dollahs! You said fifty, didn’ you? How could
you do hit? More’n six months’ ha’d slavin’. Six months mo’ befo’ I can
resto’ it back. I could a bought de house tomorrer mo’nin’ an’ now hit’s
six months off to pay in dat fifty. It _was_ fifty, didn’ you say? Maybe
’twuzn’ dat much. Tell me right. I’ll fin’ it out tomorrer.
MADISON
Dis yere’ll kill me ef I can’t think.
LUCY
How much you draw? Tell me right. Look at me. Were hit fifty? [_She holds
his eye._] Less? Mo’? How much? [_She continues to hold his lustreless
eyes, reading them._] A hunde’d? Two hunde’d? Eight hunde’d? [_A pause
ensues as she reads the truth in his face._] All of hit! [_She sinks in
a chair._] Twelve yeahs’ labour sence I married you an’ termorrer I wuz
goin’ to mek de payment an’ we’d a bin undeh owah own roof. I’m done. I
could a paid off pa’t, mebbe fifty, but I won’ las’ twelve yeahs mo’ at
de same thing. But I thank Thee, Lawd, dat it wuz stole f’um us all ef
hit had to be stole.
MADISON
Ef I could on’y think. Had hit in de bank—felt hit an’ had it on Thu’d
Street—slapped hit an’ had it at Joe’s house—slapped hit an’ had it
comin’ up de alley—jes’ fo’ I clum de hill—lemme see—clum de hill—went in
th’oo Wilson Byrd’s hedge fence—he gimme de guitar—scrape my back comin’
out— [_His face shows gradual recollection, and suddenly brightens._] I
knows now! Dat’s hit! In dat white man’s yard wheah he gimme de guitar!
I wuz jes’ goin’ to give him de money when somebody grabbed him f’um
behin’. He give a squawk an’ skeered me. I run out th’oo his hedge fence
an’ scrape my back. I scrape de pocketbook out. She’s dere! In dat Wilson
Byrd’s yard. I’ll git it yit. Watch me. [_He grabs his hat and runs
excitedly toward the door._]
LUCY
[_Rushing toward him._] No, sumpin’ might happen. You might git mix up
wif him ergin. Lemme go, but I mus’ resto’ dis guitar at Uncle Williams,
as I go by his house. I’ll slip it on his porch. Maybe he’ll neveh know
it wuz gone. Oh, if somebody had seen it heah! How could I have stood it?
[_She puts on a shawl and takes up the bag but as she lays her
hand on the door-knob a loud knock is heard on the door. Both
start back and wait. The knocking is repeated. She throws off
the shawl, places the bag in a corner and returning to the
door, opens it. She greets the visitor in a strained voice,
almost with a shriek._]
Uncle Williams! Step in, please.
[_A man enters. The newcomer is old, with white hair and beard.
He is probably of Moorish descent. He is so small and weazened
as to be almost a dwarf, but his whole demeanor indicates great
latent power. A strong personality, dominating the two others
from the first instant._]
WILLIAMS
Good evenin’, Lucy.
[_He seems to be unaware of the presence of MADISON. He comes
forward with little mincing steps and an old man’s gesture,
then takes off his hat and sees about him. The others stand
watching him, transfixed._]
Ain’ you goin’ shut de do’, Lucy? I feels draf’s. I’m gittin’ old an’
catches cold easy. Ain’ you goin’ take my hat? [_She reaches for it
mechanically, watching him apprehensively._] No, de hat—not de stick—ol’
pu’son like me always need good stout stick er club case er havin’
faintin’ spell—sumpin’ to lean on. Now, wheah a cheer, bettah fetch me er
cheer fo’ feah I might set on sumpin’ you wouldn’ choose fo’ me. [_She
obeys dumbly and brings a chair to him._] Set it neareh. Dat’s right. Now
gimme youah shouldeh an’ ease me down. Ah— [_He leans heavily on her and
sinks totteringly into the chair with a great show of feebleness._] Now
take a cheer yo’se’f. I ’spize to see a lady standin’ an’ me takin’ my
res’, old ez I is. [_She obeys, watching him with doubt and dread._] Set
it dah, wheah I can see you good. [_MADISON is standing up by the wall,
right, gazing at him as though paralyzed with fear._] Dah now. We kin be
ca’m and have a nice talk. Does you know what business I come yere fo’
tonight? [_He pauses._] You does, doesn’t you?
LUCY
[_Almost beside herself with nervous tension._] You—come to see—ef—
[_Recovering herself with a mighty effort._] Oh, yes, you come to look
oveh de stove an’ see ef you like to buy hit.
WILLIAMS
[_Musingly._] M-m. Well, I reckon—dat’s hit. Yes, dey tells me y’all has
a wahmin’ stove to sell an’ now katydid cease, fros’ ain’ fur off, an’ I
needs hit. Is dish yere de one?
LUCY
[_Rising and rushing toward door at side._] No, not dat. Hit’s outside—ef
you please to step out.
WILLIAMS
Well’m, I’ll take’n look her oveh. [_She hastily lights a candle as he
rises and totters in the wrong direction._]
LUCY
Th’oo heah, th’oo heah. De stove’s out in de woodshed. [_She grasps and
guides him._]
WILLIAMS
Ah—well’m. Um hm. I always gives things er good lookin’ oveh befo’ takin’
stock in ’m. You needn’ come erlong. I lived so long in dis house befo’
you wuz bawn dat I knows my way. Is de stove an easy wood eateh?
LUCY
Yes, yes.
[_She gives him the candle and almost pushes him through
doorway at side as she follows him out. MADISON, who has
watched fearfully from a dark corner, darts forward and looks
after them, listening. He then runs toward the door at back but
hesitates before it and turns as LUCY comes swiftly in from
outer room, closing the door softly._]
MADISON
What he say? Do he know?
LUCY
[_Desperately seizing the bag and pressing it into his hands as she turns
him again toward doorway at back._] Oh, I cain’ tell. On’y resto’ dis in
case he don’ know er case he do. Now’s de one chance to be hones’.
MADISON
Huh. What erbout dat eight hunderd dollah?
LUCY
I don’ know. Trus’ Gawd an’ be hones’.
MADISON
Huh uh. One of us has got to go look fo’ dat money.
LUCY
One of us has got to take back de guitar.
MADISON
I’m goin’ fo’ de money.
LUCY
Den I’ll take dis. [_She takes up the guitar and she and MADISON go
toward door at back. Then she halts._] Oh, Madison, you can do bofe. One
of us has got to stay wif Uncle Williams. But take back de guitar first.
MADISON
All right. I’ll go. An’ I ain’t played on dis heah but twice. [_He takes
the guitar from her._]
LUCY
Go now. Can you fin’ youah way to his porch in de dahk?
MADISON
Will we find de money? Dat’s de p’oblem I wants de answeh fo’.
[_LUCY opens door at back to go out. MADISON is at her side.
Both start back. WILLIAMS stands before them in the open
doorway._]
LUCY
[_Haltingly, after a pause._] How—you like—de stove?
WILLIAMS
[_Entering more vigorously than before._] Well’m, befo’ we goes any
furder we betteh come neareh de real p’int an’ question. I didn’ come fo’
no stove dis night. [_MADISON shrinks back into the shadows._]
LUCY
[_Slowly._] Yo’—don’—wan’—
WILLIAMS
No’m. To be sho’, I might tek de stove one er dese days, but dat ain’
my erran’ now. Hit’s dis; does you know when we mek de bargum about you
buyin’ dis heah house?
LUCY
Twelve yeah ago.
WILLIAMS
Gal, you dreamin’! ’Tweren’t but las’ year. ’Twere de fus’ er Octobah
las’ year an’ I say I gives you de refusals fer one yeah. ’Membeh dat?
LUCY
Yassuh.
WILLIAMS
So fur so good. Now does you know what day de month dis is?
LUCY
Fus’ er Octobah.
WILLIAMS
Dat’s true as preachin’. Well’m, time’s up.
LUCY
What you mean?
WILLIAMS
I’m er man er my wuhd. Pay me de money an’ tek de house.
LUCY
Termorrer—
WILLIAMS
No. Termorrer won’ do.
LUCY
Why you push me so? Oh, please spar’ me an’ wait—wait anutheh day.
WILLIAMS
No, I’m er business man. I kin sell de house fer mo’ money termorrer but
I hold’s to my wuhd ter sell it to you. I holds to it an’ loses money,
but it falls due dis day an’ night an’ I won’ stretch it one jump er my
hea’t.
LUCY
You know—de bank—ain’t open—
WILLIAMS
Sign de check fer hit. You kin do dat, cain’t you?
LUCY
I—s’pose—I—kin.
WILLIAMS
Den up an’ do hit. Heah’s er check, all wrote out but de signin’. [_She
takes the check he produces._] An’ heah’s one er dese fountum pins.
[_She takes the pen._] Octobeh fus’—pay to Zek’l Williams—eight hunderd
dollahs. Des write “Lucy Sparrow.” [_She mechanically turns to do so._]
Looks easy, sho’. But de law allows hit; dis writin’ out money. [_He
pauses, then adds impressively._] Dat is, _ef_ you got de money in de
bank. Co’se ef de money ain’ dah an’ you writes de check fer hit de law
puts you in State prism. [_She stops and stares at him._] [_The pen falls
from her hand and the check flutters to the floor._] What de matteh? You
wants de house, don’ you? [_LUCY’S head sinks._] An’ you got de money,
ain’ you?
MADISON
Dat’s de question. [_He comes forward out of the shadow._]
WILLIAMS
[_Seemingly observing MADISON for the first time during the evening._]
Why, heighyo, Madison. I bin lookin’ fer you dis very evenin’. Whah you
bin?
MADISON
Bin home.
WILLIAMS
Sho’ly not, Madison, sho’ly not all evenin’? Has you?
MADISON
Yes.
WILLIAMS
Well, ain’ dat de whu’lygig? I wuz lookin’ fer you at Pratt’s sto’ at
eight o’clock an’ dey say you jes’ lef’ dah. You wuz dah, weren’t you?
MADISON
No, suh.
WILLIAMS
Well, dere I am fool agin. An’ who you think done fool me?
MADISON
Dunno.
WILLIAMS
Well, suh, ’tweren’t no one but— [_He pauses a moment._] Wilson Byrd.
LUCY
Byrd! [_Springing to her feet with the shock._]
WILLIAMS