He immediately grows solemn again Business in business hours, it is said. The hour for business is past. It is evening — the time for frivolity, for love and laughter. But, my dear, you are a woman. I am sure you will understand me. Business displeases me.
HELEN is for a moment absorbed in DOCTOR PARCIVAL’S talk, but as he talks she keeps looking about at GEORGE. Seeing that GEORGE is also absorbed in the talk, she immediately becomes annoyed, PARCIVAL has got GEORGE’S attention and she loses interest in him and keeps looking around watching GEORGE, PARCIVAL is unaware. He is absorbed in his own speech.
A bank with its little pile of money, always behind iron cages. Your father, Miss White, sits so solemnly at his desk in the bank. Is a man a monkey that he must climb wire cages to get what money he needs?
GEORGE is more and more amused and pleased by PARCIVAL’S talk. HELEN is suddenly angry
HELEN
George, is he calling Father a monkey?
GEORGE is amazed by her sudden change of tone. He looks at her, puzzled for a moment, then laughs at her
GEORGE
Why, no, Helen, don’t be silly.
He laughs again
PARCIVAL Overhearing — to HELEN
A mere symbol, young woman, a mere symbol. All men were once monkeys and there is still a good deal of the monkey in every man.
PARCIVAL starts offstage but stumbles and falls just offstage and GEORGE runs to him HELEN Angrily Look what you’ve done now. You’ve spoiled Father’s hedge.
GEORGE is helping PARCIVAL back to the stage and brushing his clothes
PARCIVAL
Hedge? Hedge? Hedge us not about with hedges, young woman.
GEORGE has run to get PARCIVAL’S hat.
HELEN is angry at them both and turns and goes angrily into the house, PARCIVAL addresses GEORGE
George, I merely came here, to this house, to try to negotiate a loan, a small accommodation as it were. Now, I have fallen over a hedge and it seems I have called some one a monkey. A slip of the tongue, George, a mere slip of the tongue.
GEORGE
It’s all right, Doctor Parcival. It’s all right.
He is at the moment so absorbed in PARCIVAL that he does not notice that HELEN has gone
PARCIVAL
It was a mere figure of speech, George. Hedges. Monkeys. Money. They are all mere symbols, George.
He is absorbed in his own speech Money, young man, is a symbol. It is a bit of paper. The world of finance is mysterious. You get money — a bit of paper with words and pictures printed on it. There is a picture of Abraham Lincoln or of George Washington. There are white spaces. Well, my dear boy, they are usually not very white. They are like this vest I have on. It, also, was once white.
He looks down at his vest Alas, how time flies. Soiled! Life, George, soils everything like that.
PARCIVAL has gone over and is bracing himself by holding to the back of the swing So I take one of these pieces of paper on faith and others, when they take it from me, have the same faith. That is the most amazing thing of all, George.
He bows to GEORGE
George, now that I’m here, I am on the whole relieved that this banker is not at home. Lending money to me would indeed be an adventure and I daresay that this man, this banker, is not an adventurous man. I came. I depart. I had — perhaps, George, it was the effect of drink — the illusion that if I caught this banker off guard, at home, in the evening, away from his bank — but he would have refused, no doubt. I daresay a banker is seldom off guard. I seek to embarrass no man.
GEORGE has been unaware of HELEN’S departure. Suddenly he misses her and looks about for her. PARCIVAL also misses her Ah! She’s gone. We have offended her. George, I fear we have been rude to this young lady.
PARCIVAL
laughs Rude, and to the daughter of a banker. It is bad policy — bad policy. Look out, George — you’ll never rise in the world by being rude to the daughters of bankers.
PARCIVAL exits muttering and GEORGE who is annoyed calls to HELEN. He calls softly at first then louder HELEN enters, GEORGE takes a step toward her
GEORGE
Helen! What’s the matter? What made you act like that?
HELEN
Angrily Act? Well, see how you acted. Go on away with your friend. Don’t bother about me.
GEORGE
Also growing more angry All right, I don’t care if I was rude.
HELEN
You were rude all right. And, George Willard, there’s something else. I wasn’t going to speak of it. I didn’t believe it, when I heard it, but now I do believe.
GEORGE
Taking a step toward her You didn’t believe what?
HELEN
It’s about you. I thought you ran around with certain people here in town because you liked them. Now I know what you wanted.
She is growing more angry You didn’t think I’d find out but I have. What about Belle Carpenter?
GEORGE Startled
Well, what about her?
HELEN
She’s going to have a child — that’s what about her. And I know who its father is.
GEORGE
He is more and more upset, startled and angry So you’ve heard that, and you have to go and believe it. Well, I’ll tell you something — it’s a darn lie!
HELEN She starts to turn away from him, shrugging her shoulders
Oh, I know how you men treat women. That woman who worked for Mother — the one who had the child — she told me some things. Oh, I can’t bear it when men treat women that way!
HELEN exits and GEORGE dances with anger
GEORGE
Oh, I see... Hoity-toity, eh?
He has reached the picket fence and turns to look back but she isn’t in sight. He, however, goes on with his speech I don’t care what you think. And I don’t care what happens to me, either. I’ll tell you that. You aren’t the only girl in this town.
He goes angrily offstage and as he goes HELEN reappears. She runs to the edge of the stage and looks around but sees that GEORGE has gone. She comes slowly to the swing. There is a puzzled look on her face and she puts her finger to her lips. She takes a step or two and then sits in the swing. She begins to swing. She laughs.
CURTAIN
Between Scene 3 and Scene 4 and while the house is dark there is a clattering sound of horses’ hoofs trotting and pacing. Records easily obtainable can be got of this.
SCENE IV
THE SCENE IS a village street in front of Louise Trunion’s house and is again very simple. It is night and the stage is quite dark. At the rear of the stage, right, there is a small woodpile and at the front of the stage, left, a small bench AT RISE: — GEORGE WILLARD comes on the stage from the left and goes to the Exit, right. He is nervous and is about to call, but stops. Voices of people approaching are heard and he dodges behind the woodpile. SETH RICHMOND and FRED Enter from the front, right, SETH’S voice being heard before they come onstage SETH RICHMOND Offstage approaching Louise Trunion lives here.
Both boys enter right FRED
I wouldn’t mind having her for myself, but you’ve got to be careful in a town like this.
SETH
That’s right, Fred. If you’re going to get anywhere, you’ve got to watch your step.
FRED
What do you say, Seth, shall we try to get her to come out?
FRED is about to call to LOUISE but SETH puts out his hand and stops him
SETH
Gee! Be careful, Fred! She’s just a little tart. Besides, Ed Hanby’s stuck on her. If you get caught foolin’ around’ with her, you’ll get beat up.
FRED
Aw, who’s afraid of Ed Hanby? Let’s get her out.
SETH
It’s not Ed Hanby I’m afraid of. What’s the use taking chances of getting into trouble on account of a little tart like that?
They move near the lumber pile and as they stop, SETH looks longingly toward the house
FR
ED
Seth — did you ever have a piece?
SETH Craftily Did you?
FRED
I did once.
Starts left offstage But don’t tell any one. It was over at Moll Hunter’s place-over at Bidwell. I drove over there late one night. It cost me two dollars. Gee, I was scared! If my dad knew, he’d raise hell. Gee — I wouldn’t have any of the nice girls here in town know.
As this last speech is completed the boys have walked offstage, SETH allowing FRED to go first as he lingers behind a bit taking a last longing look toward LOUISE’S house, presumably offstage left. GEORGE comes cautiously from behind the woodpile and stands looking, to be sure they’re gone. He decides to give up the adventure and starts offstage right. He stops and comes back. He stoops and picks up a handful of small stones from the street. He throws them
GEORGE
Hey, Louise.
LOUISE Offstage Who is it?
GEORGE
Half whispering It’s me — George Willard.
LOUISE giggles — lightly — and comes — on — from — left
What do you want?
GEORGE shuffles around nervously and draws nearer. He takes a crumpled note from his pocket GEORGE
You gave me this note at Windpeter Winters’ funeral. I guess you remember.
LOUISE
Taunting You didn’t pay much — attention — to — me — there, — did — you?
GEORGE
Aw, gee, Louise — I was scared stiff about something. But it’s all right now.
LOUISE
Scared? — About what?
GEORGE
Aw, — nothing — nothing.
GEORGE goes hesitatingly toward LOUISE. He touches her arm with his hand in a half-frightened way. But she knocks his hand aside
LOUISE
Now don’t start gettin’ gay....
GEORGE
Ah, Louise — I — I....
He makes a sudden rush at her and they begin wrestling, LOUISE giggles. There are a few minutes of rather awkward wrestling, LOUISE giggling and GEORGE getting bolder. Suddenly he takes her in his arms Louise — Louise — Will you? Will you?
LOUISE
She thrusts him away No, I won’t.
GEORGE
Aw, come on. There won’t nobody know.
He is pleading now If you won’t — what did you want to write me that note for? You said you would.
LOUISE
No, I didn’t neither.
GEORGE
Well, you said you’d be mine — what’d you mean by that?
LOUISE
Ah, I was just fooling with you.
Again they begin half playing, GEORGE punches her in the side with his finger and jumps back. She rushes at him with her fist. Again he punches her in the side Quit! You tickle!
GEORGE
Pleading Anyway, Louise, you wrote me that note. You meant it, didn’t you?
LOUISE
Well, you followed me halfway home one night — you know you did.
GEORGE
Yes, and what did you do? — I saw you. You went off with Ed Hanby. You’re stuck on him.
LOUISE
I’m not!
GEORGE
You are, too.
LOUISE
Well, what about Belle Carpenter? — I heard something.
She laughs tauntingly Say, she’ll get you into trouble. You’ll see.
GEORGE
Angrily That’s a lie! It’s not true about Belle Carpenter.
LOUISE
Well, I know something else. — It’s Helen White you’re stuck on. She’s just a stuck-up thing, that’s what she is.
At the mention of Helen White, GEORGE becomes really angry. He winces, then assumes a dignified look and walks away from LOUISE as though about to leave. He stops and turns to speak to her.
GEORGE
Aw, there’s nothing in that. Helen White doesn’t want me. I hardly know her. Anyway she’s mad at me.
LOUISE
Taunting him Yes, you do know her. I saw you with her on Main Street. I saw you go into the drug store with her.
GEORGE leaves LOUISE as though in anger and goes backstage right as LOUISE keeps speaking Ah, she’s a swell. She thinks she’s high society. Who am I? I’m only old Joe Trunion’s girl. I ain’t got no swell clothes. You don’t want nothin’ from me but just one thing.
GEORGE WILLARD shrugs his shoulders. LOUISE fearing that she is about to lose him, changes her tone. She calls to him pleadingly George — I bet you wouldn’t be seen on Main Street with me. You wouldn’t take me to the drug store, where every one could see us together.
GEORGE’S pride is stung. He comes directly back to her
GEORGE
Yes, I would too, Louise. I’m not afraid of any one. There doesn’t any one own me.
GEORGE’S tone changes again and he becomes nervous and at the same time tender. He speaks softly. He goes to where she stands and touches her, almost reverently. She leans back, her face suddenly white and still. His hands move over her, touching her hips, her shoulders, her cheeks. Suddenly he puts his arm about her and kisses her passionately. She becomes helpless in his arms. GEORGE is bold now. With his arm still about her he draws her away Come on....
LOUISE
But, George — there isn’t any place. Besides father might come home....
GEORGE
Yes, there is. Come on....
He is slowly drawing her toward the woodpile
LOUISE
Oh! George... let’s not.
GEORGE
Yes! Yes!
As they are passing back of the lumber pile, LOUISE is still pleading
LOUISE
Oh, George! George! Let’s not, George! Let’s not!
THE CURTAIN FALLS
SCENE V
TIME: — LATE afternoon — a few days later GEORGE WILLARD’S room in the New Willard house, in Winesburg. This is all again very simple. At the back, right, there is a coat tree on which hang GEORGE’S coat, hat, necktie, and a pair of boxing gloves. There is a chair sitting beside the coat tree. At the left a little off center and well down front there is a common kitchen table with a plain straight-back chair at each end and GEORGE is seated in the chair facing center. There are sheets of paper on the table, also a small dictionary. There is a small table, right front, with a chair beside it and in this chair sits FRED. An electric light with a shade hangs from a cord immediately over the center of the desk AT RISE: — GEORGE is at his desk writing. There is a roll of paper on the desk near him. It looks like a poster rolled up. Evidently the writing is proving a struggle to him. He runs his hands nervously through his hair, FRED is amused
FRED
Haven’t you got it done yet, George?
GEORGE
Ah, I told you, Fred, I’m not writing it. I’m just fixing it up.
FRED gets up and goes over to GEORGE. He stands by the table and ducks his head forward trying to see what GEORGE is writing but his forehead hits the shade of the lamp, GEORGE jumps up and stops the lamp swinging. They both laugh. They sit
FRED
Come on. Let’s hear it. Read it to me, George. You said you would.
GEORGE
Looking up Ah, it ain’t much.
FRED
Come on with it. Let’s hear it.
GEORGE
Annoyed I’m not a regular writer, Fred, you know that.
FRED
What’s it about?
He starts to pick up one of the sheets from the desk but GEORGE quickly puts his hand over them
GEORGE
Well, all right, Fred, I’ll read it to you.
He picks up one of the sheets It’s about a girl. It begins:
He reads “Thy hair is like a wind in trees.”
FRED
Laughing Some hair, I’d say.
GEORGE
Half angry Say, this isn’t regular writing. It’s poetry.
FRED
Slaps him on — the — back.
Ah, I was just kidding you, George. Come on, read the rest of it.
GEORGE
Reads “Thine eyes are azure blue.”
FRED
Interrupting... smiles Azure? What’s azure?
GEORGE
Putting sheet back on desk. Picks up a small dictionary and leaning over runs rapidly through it Look, Fred. Here it is... azure. There’s an n.... That means it’s a noun.
FRED
Interested. Takes book from GEORGE.... Reads What’s all this other stuff?
Reads “A blue color... the clear blue of the sky... also a pigment or metal... the blue vault above, the unclouded sky... Lapis Lazuli..
GEORGE
Snatching book. Sits at desk. Writes Gee, Fred, that’s swell.
FRED
What?
GEORGE
Lapis Lazuli!
He jumps up to read what he has written “Lapis Lazuli thy eyes.
Thy hurting beauty comes and goes.” FRED begins to laugh
FRED
Some poetry. Hot stuff, George.
GEORGE is now thoroughly annoyed and throws the sheets back onto the desk Ah, George... I wouldn’t fool with that stuff. I’m going to go to college and get into business. None of that stuff for me.
GEORGE
That’s all right for you, Fred, but with me it’s different.
FRED
How different? You got a job. You got a start.
GEORGE
I’m up against it. I got to take care of Mother. I got to work.
FRED Moving over to exit right Well, you’d better cut out the poetry.
Gets an idea. Comes back to GEORGE Say, who’s the girl?
Points Who you writing that stuff to?
Laughs Say, it wasn’t Belle Carpenter, was it?
GEORGE
Indignant... a little startled Who told you anything about her?
FRED
Never mind who told me.
GEORGE
Well, it wasn’t about her.
FRED
All right, George. I got to go. I got a date.
GEORGE
As FRED is near Exit right Wait, Fred.
GEORGE sits on the table and acts embarrassed Fred, if I tell you something will you promise you won’t tell any one?
FRED
Sure.
GEORGE
I was trying to write that poem to Helen White. Now don’t you tell. Gee, Fred, I think she’s the only girl in town with any get-up to her.
Complete Works of Sherwood Anderson Page 305