The photographer ducks under his shroud again and the flashpowder explodes. McEvoy sits stiffly even after the picture is taken. The photographer comes forward.
PHOTOGRAPHER I think that should do it now, Mr McEvoy.
McEvoy rises and takes up his crutch and the guard rises with his rifle.
PHOTOGRAPHER Will you, eh . . . Will you be wanting to see these? I mean, should I just have them sent directly to the family?
MCEVOY Yeah. Sure. I dont need to see em.
PHOTOGRAPHER 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.
MCEVOY What for?
PHOTOGRAPHER Well, to have them. I thought maybe to print some, you know . . .
MCEVOY To sell.
PHOTOGRAPHER Well I thought perhaps your family might could use the money.
McEvoy turns to the guard.
MCEVOY What do you think, Virgil?
GUARD Well, I dont know Bob. Just whatever you think.
The guard has, looked down. McEvoy turns back to the photographer.
PHOTOGRAPHER I would be willing to share any... anything realized—on, say, a fifty fifty basis . . .
MCEVOY I’ll tell ye what I think. Virgil. I think we better go.
GUARD 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.
MCEVOY 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?
GUARD 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.
MCEVOY Mornin, Louis.
The man goes on into the store.
MCEVOY 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.
MARTHA Bobby.
McEvoy stands somewhat stiffly. She makes little plucking motions in the air at his chest as if she would touch him.
MARTHA Bobby . . .
MCEVOY Go home little sister.
MARTHA Tell me what to do, Bobby.
MCEVOY Go home.
MARTHA 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.
MCEVOY They lied to me. They all said I’d ... I was never born to be hung. I could of been somebody.
MARTHA Bobby ...
MCEVOY Other men has prospered by their mistakes.
MARTHA Bobby.
MCEVOY 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 ...
MARTHA Bobby.
MCEVOY I’d of gone to the penitentiary.
MARTHA He never done it. Bobby. He never.
MCEVOY 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.
MARTHA 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.
MCEVOY Its all right.
MARTHA I swear it, Bobby. Bobby.
MCEVOY 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.
Exterior. Jail. Mr McEvoy arrives and bangs at the door. He is half addled with grief. He is admitted but the jailer shakes his head no. Another jailer is brought into the room.
FIRST JAILER I done told him. You tell him. Look at him.