"I'm awake, ma, an' I tell you it ain't no use. You might as well lemme alone. I ain't goin' to git up."
"But you'll lose your job!" she cried.
"I ain't goin' to git up," he repeated in a strange, passionless voice.
She did not go to work herself that morning. This was sickness beyond any sickness she had ever known. Fever and delirium she could understand; but this was insanity. She pulled the bedding up over him and sent Jennie for the doctor.
When that person arrived, Johnny was sleeping gently, and gently he awoke and allowed his pulse to be taken.
"Nothing the matter with him," the doctor reported. "Badly debilitated, that's all. Not much meat on his bones."
"He's always been that way," his mother volunteered.
"Now go 'way, ma, an' let me finish my snooze."
Johnny spoke sweetly and placidly, and sweetly and placidly he rolled over on his side and went to sleep.
At ten o'clock he awoke and dressed himself. He walked out into the kitchen, where he found his mother with a frightened expression on her face.
"I'm goin' away, ma," he announced, "an' I jes' want to say good-bye."
She threw her apron over her head and sat down suddenly and wept. He waited patiently.
"I might a-known it," she was sobbing.
"Where?" she finally asked, removing the apron from her head and gazing up at him with a stricken face in which there was little curiosity.
"I don't know-anywhere."
As he spoke, the tree across the street appeared with dazzling brightness on his inner vision. It seemed to lurk just under his eyelids, and he could see it whenever he wished.
"An' your job?" she quavered.
"I ain't never goin' to work again."
"My God, Johnny!" she wailed, "don't say that!"
What he had said was blasphemy to her. As a mother who hears her child deny God, was Johnny's mother shocked by his words.
"What's got into you, anyway?" she demanded, with a lame attempt at imperativeness.
"Figures," he answered. "Jes' figures. I've ben doin' a lot of figurin' this week, an' it's most surprisin'."
"I don't see what that's got to do with it," she sniffled.
Johnny smiled patiently, and his mother was aware of a distinct shock at the persistent absence of his peevishness and irritability.
"I'll show you," he said. "I'm plum' tired out. What makes me tired? Moves. I've ben movin' ever since I was born. I'm tired of movin', an' I ain't goin' to move any more. Remember when I worked in the glass-house? I used to do three hundred dozen a day. Now I reckon I made about ten different moves to each bottle. That's thirty-six thousan' moves a day. Ten days, three hundred an' sixty thousan' moves. One month, one million an' eighty thousan' moves. Chuck out the eighty thousan'"-he spoke with the complacent beneficence of a philanthropist-"chuck out the eighty thousan', that leaves a million moves a month-twelve million moves a year.
"At the looms I'm movin' twic'st as much. That makes twenty-five million moves a year, an' it seems to me I've ben a movin' that way 'most a million years.
"Now this week I ain't moved at all. I ain't made one move in hours an' hours. I tell you it was swell, jes' settin' there, hours an' hours, an' doin' nothin'. I ain't never ben happy before. I never had any time. I've ben movin' all the time. That ain't no way to be happy. An' I ain't going to do it any more. I'm jes' goin' to set, an' set, an' rest, an' rest, and then rest some more."
"But what's goin' to come of Will an' the children?" she asked despairingly.
"That's it, 'Will an' the children,'" he repeated.
But there was no bitterness in his voice. He had long known his mother's ambition for the younger boy, but the thought of it no longer rankled. Nothing mattered any more. Not even that.
"I know, ma, what you've ben plannin' for Will-keepin' him in school to make a book-keeper out of him. But it ain't no use, I've quit. He's got to go to work."
"An' after I have brung you up the way I have," she wept, starting to cover her head with the apron and changing her mind.
"You never brung me up," he answered with sad kindliness. "I brung myself up, ma, an' I brung up Will. He's bigger'n me, an' heavier, an' taller. When I was a kid, I reckon I didn't git enough to eat. When he come along an' was a kid, I was workin' an' earnin' grub for him too. But that's done with. Will can go to work, same as me, or he can go to hell, I don't care which. I'm tired. I'm goin' now. Ain't you goin' to say goodbye?"
She made no reply. The apron had gone over her head again, and she was crying. He paused a moment in the doorway.
"I'm sure I done the best I knew how," she was sobbing.
He passed out of the house and down the street. A wan delight came into his face at the sight of the lone tree. "Jes' ain't goin' to do nothin'," he said to himself, half aloud, in a crooning tone. He glanced wistfully up at the sky, but the bright sun dazzled and blinded him.
It was a long walk he took, and he did not walk fast. It took him past the jute-mill. The muffled roar of the loom room came to his ears, and he smiled. It was a gentle, placid smile. He hated no one, not even the pounding, shrieking machines. There was no bitterness in him, nothing but an inordinate hunger for rest.
The houses and factories thinned out and the open spaces increased as he approached the country. At last the city was behind him, and he was walking down a leafy lane beside the railroad track. He did not walk like a man. He did not look like a man. He was a travesty of the human. It was a twisted and stunted and nameless piece of life that shambled like a sickly ape, arms loose-hanging, stoop-shouldered, narrow-chested, grotesque and terrible.
He passed by a small railroad station and lay down in the grass under a tree. All afternoon he lay there. Sometimes he dozed, with muscles that twitched in his sleep. When awake, he lay without movement, watching the birds or looking up at the sky through the branches of the tree above him. Once or twice he laughed aloud, but without relevance to anything he had seen or felt.
After twilight had gone, in the first darkness of the night, a freight train rumbled into the station. When the engine was switching cars on to the side-track, Johnny crept along the side of the train. He pulled open the side-door of an empty box-car and awkwardly and laboriously climbed in. He closed the door. The engine whistled. Johnny was lying down, and in the darkness he smiled.
A WICKED WOMAN
It was because she had broken with Billy that Loretta had come visiting to Santa Clara. Billy could not understand. His sister had reported that he had walked the floor and cried all night. Loretta had not slept all night either, while she had wept most of the night. Daisy knew this, because it was in her arms that the weeping had been done. And Daisy's husband, Captain Kitt, knew, too. The tears of Loretta, and the comforting by Daisy, had lost him some sleep.
Now Captain Kitt did not like to lose sleep. Neither did he want Loretta to marry Billy-nor anybody else. It was Captain Kitt's belief that Daisy needed the help of her younger sister in the household. But he did not say this aloud. Instead, he always insisted that Loretta was too young to think of marriage. So it was Captain Kitt's idea that Loretta should be packed off on a visit to Mrs. Hemingway. There wouldn't be any Billy there.
Before Loretta had been at Santa Clara a week, she was convinced that Captain Kitt's idea was a good one. In the first place, though Billy wouldn't believe it, she did not want to marry Billy. And in the second place, though Captain Kitt wouldn't believe it, she did not want to leave Daisy. By the time Loretta had been at Santa Clara two weeks, she was absolutely certain that she did not want to marry Billy. But she was not so sure about not wanting to leave Daisy. Not that she loved Daisy less, but that she-had doubts.