Fathers and daughters -- Drama; New York (N.Y.) -- Drama; Young women -- Drama
MARTHY--Honest! Only, he's a simple old guy, see? He's got nutty
notions. But he means well, honest. Listen to me, kid--[She is
interrupted by the opening and shutting of the street door in the bar
and by hearing CHRIS' voice.] Ssshh!
ANNA--What's up?
CHRIS--[Who has entered the bar. He seems considerably sobered up.] Py
golly, Larry, dat grub taste good. Marthy in back?
LARRY--Sure--and another tramp with her. [CHRIS starts for the entrance
to the back room.]
MARTHY--[To ANNA in a hurried, nervous whisper.] That's him now. He's
comin' in here. Brace up!
ANNA--Who? [Chris opens the door.]
MARTHY--[As if she were greeting him for the first time]. Why hello,
Old Chris. [Then before he can speak, she shuffles hurriedly past him
into the bar, beckoning him to follow her.] Come here. I wanta tell yuh
somethin'. [He goes out to her. She speaks hurriedly in a low voice.]
Listen! I'm goin' to beat it down to the barge--pack up me duds and
blow. That's her in there--your Anna--just come--waitin' for yuh. Treat
her right, see? She's been sick. Well, s'long! [She goes into the back
room--to ANNA.] S'long, kid. I gotta beat it now. See yuh later.
ANNA--[Nervously.] So long. [MARTHY goes quickly out of the family
entrance.] LARRY--[Looking at the stupefied CHRIS curiously.] Well,
what's up now?
CHRIS--[Vaguely.] Nutting--nutting. [He stands before the door to the
back room in an agony of embarrassed emotion--then he forces himself to
a bold decision, pushes open the door and walks in. He stands there,
casts a shy glance at ANNA, whose brilliant clothes, and, to him,
high-toned appearance awe him terribly. He looks about him with pitiful
nervousness as if to avoid the appraising look with which she takes in
his face, his clothes, etc--his voice seeming to plead for her
forbearance.] Anna!
ANNA--[Acutely embarrassed in her turn.] Hello--father. She told me it
was you. I yust got here a little while ago.
CHRIS--[Goes slowly over to her chair.] It's good--for see you--after
all dem years, Anna. [He bends down over her. After an embarrassed
struggle they manage to kiss each other.]
ANNA--[A trace of genuine feeling in her voice.] It's good to see you,
too.
CHRIS--[Grasps her arms and looks into her face--then overcome by a
wave of fierce tenderness.] Anna lilla! Anna lilla! [Takes her in his
arms.]
ANNA--[Shrinks away from him, half-frightened.] What's that--Swedish? I
don't know it. [Then as if seeking relief from the tension in a voluble
chatter.] Gee, I had an awful trip coming here. I'm all in. I had to
sit up in the dirty coach all night--couldn't get no sleep, hardly--and
then I had a hard job finding this place. I never been in New York
before, you know, and--
CHRIS--[Who has been staring down at her face admiringly, not hearing
what she says--impulsively.] You know you vas awful pooty gel, Anna? Ay
bet all men see you fall in love with you, py yiminy!
ANNA--[Repelled--harshly.] Cut it! You talk same as they all do.
Public-domain text, read in full here on John Shaqi.
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