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. 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. F IRST J AILER I done told him. You tell him. Look at him. S ECOND J AILER Mr McEvoy, you better just go on home. You’re not in no condition to help your son. Mr McEvoy looks from one to the other of them in disbelief. M R M C E VOY You got to let me see him. F IRST J AILER You’re drunk. M R M C E VOY I’m not. F IRST J AILER You caint see him. M R M C E VOY Whynot? F IRST J AILER You’re drunk. S ECOND J AILER You’d better go along now. Dont let your son see you like this. M C E VOY I swear to God. I’ve not had a drink . . . S ECOND J AILER Tommy, if he wont go peaceably you’ll have to take him out. We caint have this here. This is a sacred time. F IRST J AILER Let’s go. He takes Mr McEvoy by the arm and escorts him to the door. M R M C E VOY Please.... Jailer opens door and eases Mr McEvoy outside and shuts the door. Mr McEvoy raises his hand as if he'd bang on the door but then he merely touches the door and lets his forehead fall against it. Exterior. Jail. Two men arrive on a wagon in front of the doors and one climbs down and taps at the door with the butt of his whip. The door opens and the jailer looks out. The teamster nods toward the wagon and they talk and the jailer nods and the teamster goes back to the wagon and the two teamsters slide a black wooden