GEORGE
Walking about Mother — I guess I’ve got to get out of here. I don’t know what I’ll do or where I’ll go, but I’ve got to go away. Something father just said has made me think I ought to go away.
ELIZABETH Becoming all alive I expect you both think you’d better go away to the city now and begin making money. You both think that would be better for you — to be a successful man — perhaps a business man — a hustler — your eye on the main chance — brisk — smart and alive — you both think that would be the best thing for you now, is that it?
GEORGE Walking nervously up and down the room Mother, I can’t make you understand, but, oh! I wish I could. I can’t talk to father about it. There isn’t any use trying. I don’t know what I’ll do. I just want to go away and look at people and think.
There is a moment of silence in the room and a soft smile comes to the mother s lips. The boy sits again in his chair by the desk ELIZABETH Softly Look at people and think? Oh, I see, George. You mustn’t try to decide things too quickly. I wouldn’t worry if I were you. You’ll be all right. I’m afraid you think about things too much. You work hard all week and you spend too much time alone in your room here. You don’t go outdoors enough.
GEORGE
Suddenly embarrassed I guess maybe I don’t.
ELIZABETH
You ought to go out and spend more time with younger people. You’re so much with older folks. George, I like to think of you going about with all kinds of folks — listening to them, making friends, trying to understand how people live.
Arising from her chair I’d go out and take a walk if I were you. Put on your coat and do comb your hair and put on your tie. You must fix up more. I like to have you look nice.
GEORGE crosses to the coat tree and gets his coat. He puts on his necktie
GEORGE
But mother, I wish you’d stay. You don’t come in to see me often. Do sit down and let’s talk awhile. — I think you ought to go outdoors more yourself, mother.
ELIZABETH She goes around the table and stands to the left of it I just came in for a moment, George. I must go He down now.
GEORGE Going to the Exit he stands looking a little nervous and embarrassed Well, as long as you’re going to lie down anyway, mother, I guess I’ll go. — Good-by, mother.
ELIZABETH
Good-by, son...
He exits and ELIZABETH comes around to stand near the chair at the back of the table. She becomes aware of the scissors in her hands. Suddenly her figure straightens and she stands tense. She raises the arm holding the scissors That man — I’ll stab him. — He has chosen to be the voice of evil and I’ll kill him.
She starts to Exit, right, but stops and comes back to sit in the chair at the desk under the light. The scissors drop from her hand and make a clattering noise on the desk. She prays Oh, God. — Even though I die, I will in some way keep defeat from George. If I am dead and see him becoming a meaningless, drab figure like myself I will come back. God — I ask you now to give me that privilege. I demand it! I will pay for it! God — you may beat me with your fists. I will take any blow you may give me, if only my boy be allowed to express something for us both.
She arises and putting up her hands snaps off the light. The stage is in darkness. Her voice comes out of the darkness And God — do not let him become too smart or successful either.
CURTAIN
SCENE VI
THE SAME AS Scene 3. HELEN WHITE’S house. Before the rise of the curtain and during the short intermission we hear the refrain, “A Hot Time In the Old Town Tonight.”
AT RISE: — HELEN WHITE is seated in swing reading a book SETH RICHMOND comes in from the right rear holding a switch in his hands. It is a small branch from a tree with a few leaves left at the tip. He makes several kittenish movements at HELEN but she is unaware. Finally he touches her on the neck with the tip of the switch, — HELEN jumps up
HELEN
Annoyed Oh, it’s you? Well, you do think you’re smart, don’t you, Seth Richmond?
SETH Feeling rebuffed Now don’t get into a huff, Helen. I was only fooling. HELEN stands looking at him
HELEN
I hate people who slip up on me.
SETH He goes to sit in — the — swing Gee whiz, Helen — you do fly off the handle these days. You were in a bad humor the last time I came to see you. You won’t let a fellow have any fun.
Eagerly Do you know why I came?
HELEN
Sharply No, why?
SETH
Are you alone, Helen?
HELEN
I guess so. Yes, I think father and mother are out. Why?
SETH
Eagerly I want to take you downtown. Come on. The military company is going to drill in the street. Let’s go and watch.
HELEN
With dignity No, thank you, Seth. I don’t think I want to go.
SETH
Ah, come on, Helen.
HELEN
Sharply No. Not tonight. I don’t feel like going.
SETH
Going over to the step Well, you are in a nice mood. May I sit down?
HELEN
She remains standing Yes, of course. Why not?
SETH sits and looks up at her SETH
Every time I’ve seen you lately, Helen, you’ve been in a bad humor. I guess I know what it’s about. You’ve had a quarrel with George Willard. Gee, if you’re so stuck on him, after all he’s been up to with women here in town, why don’t you and he make it up?
HELEN
Looking down at him — very angry Seth Richmond, I don’t think that’s nice. Why do you think you can ask me such questions? Do you think that just because you’ve got a job in father’s bank you can come here and talk like this to me?
SETH
Also angry Oh, Helen — there you go. Everything I’ve told you is for your own good. I’m not trying to run you, but since I’ve been working in the bank I pick the people I go with. When any one gets into a mess, like George Willard’s done, I just drop him.
He looks up at her Helen, working in a bank isn’t like working in a factory or in an office. It’s almost like being in a church.
HELEN
So you feel like that, do you?
SETH
Yes, I do.
HELEN
You feel that way about a bank — about father’s bank. Well, father ought to be pleased. You ought to be very valuable to him.
SETH
I want to be valuable to him. I’m going to be.
HELEN
Taking a step toward Exit right. She turns Well, Seth, this isn’t a bank. You have been here two or three times lately trying to give me advice about George Willard. I don’t like him any more but whether I do or not is none of your affair. Good night.
She exits SETH Jumping up Why, Helen White!
HELEN doesn’t answer but runs angrily offstage Well, the devil! The little spitfire. She is stuck on George Willard.
SETH goes toward Exit, right, and calls after HELEN You wait! You’ll see! You’ll find out!
BELLE CARPENTER comes down to the little strip of fence, right, and SETH turns and sees her. He is amazed
SETH
Why, hello! Good evening, Miss Carpenter!
BELLE
Sharply — frowning at him Do you know whether Mr. White is at home?
SETH
Taking a step toward her — with mock politeness — bowing Why, I’m not sure, Miss Carpenter. I think not. Are you looking for Mr. White.
He turns and looks back furtively toward the house — offstage right Wouldn’t some one else in the family do? Are you making a social call?
BELLE is angry and glares at him.
SETH grows bolder. He smiles I tell you what I’ll do, Miss Carpenter. I’ll find out. You wait. I know Miss Helen is here. I’ll call her.
He turns and takes a quick step or two toward the house but BELLE calls to him sharply
BELLE
SETH runs over to the right and BELLE speaks more sharply Wait, I tell you! Not so fast, young man. When I want you to do anything for me I’ll ask you.
SETH feels that he has BELLE at a disadvantage. The fence is between them. He keeps smiling
SETH
Oh, Miss Carpenter, you don’t understand. I’d just love to do anything I could for you.
He calls loudly Helen! Oh, Helen!
BELLE is upset. She starts to leave and stops, SETH is dancing about as HELEN enters from the right
HELEN
Seth, what are you waiting for? I told you I wasn’t going with you.
SETH to HELEN
Oh, I’m not waiting for you, Helen. There’s some one here. Here’s some one wants to see you.
Now that he has got HELEN out of the house and facing BELLE, he is both frightened and proud of his achievement. He dances about excitedly and speaks in a shrill voice Come on, Helen. Let me introduce you. I want you to meet Miss Carpenter.
The two women are now aware of each other and they are both confused. HELEN quickly gets control of herself and runs down the steps. She speaks to SETH
HELEN
Of course Miss Carpenter and I know each other.
BELLE
Nervously Miss White — I — I HELEN Interrupting Come right in, Miss Carpenter.
SETH is still moving about filled with delight in the situation. He runs and stands at the back of the swing, BELLE speaks to HELEN hurriedly
BELLE
I only came to see your father.
SETH
Helen!
HELEN turns to him impatiently
HELEN
Yes?
SETH
Do you really want to see George Willard? If I see him, shall I send him up here?
HELEN draws herself up. She is coldly polite
HELEN
Thank you, Seth. Good night. If I want George Willard I’ll send for him.
She turns to BELLE again, ignoring SETH Do come in, Miss Carpenter.
SETH dances about nervously. Suddenly begins to laugh hysterically. He runs off laughing and the two women turn and stand listening. The two women turn to face each other
BELLE
Well! Well! What’s wrong with him?
HELEN
Being very dignified Oh, please don’t mind him, Miss Carpenter. It’s just something between him and me. He’s only trying to plague me.
BELLE
She speaks nervously Well, Miss White, I’ll go. I told him not to call you. You see I’m in a hurry. I happened to be passing and wanted to speak to your father. It was a matter of business, but there’s really no hurry.
HELEN is trying to be very dignified and cordial
HELEN
Of course. Of course. But do come in. Father’s out just now but he may return any minute.
BELLE
She turns and starts away No. No. I can’t. I can’t really. I’m sorry. I must be going.
BELLE starts to leave and goes offstage right and HELEN, who is now standing near the swing, is agitated. She takes a step forward and calls in an excited voice
HELEN
Miss Carpenter!
BELLE is startled and turns. She takes a step or two back toward HELEN
BELLE
Why, Miss White. What is it, Miss White?
She is looking directly at HELEN who is fighting to gain control of herself
HELEN
Why, nothing. Nothing. I didn’t want you to go.
She gains control of herself. She smiles I just didn’t want you to go off like that. You see — you see — Brightly This is the first time you’ve ever been here.
BELLE is amazed by HELEN’S words. She comes nearer and stands by the fence looking hard at HELEN. The expression on her face softens a bit
BELLE
Do you really want me to come in and sit with you?
HELEN
Why, yes — yes — of course — certainly I do.
She is agitated again and keeps laughing in a little broken way struggling to get control of herself You see, I’m lonesome and then — and then — well, you see, Miss Carpenter, Seth Richmond and I —
She laughs We had a quarrel. I guess it has upset me.
BELLE
She smiles. She — is growing more comfortable Oh, I see.
BELLE feels she has begun to get the situation in hand Well, Miss White, — I didn’t come here to make a social call. I only stopped a moment to see your father on business. Do you really mean what you say? Would you really like me to come in there and sit with you?
HELEN
Now in control — of herself — proudly Certainly, Miss Carpenter, I mean it. Of course I do.
BELLE
Smiling Well, you are nice.
She laughs You are your father’s daughter all right. And you’d really like me to come in and sit with you — talk with you — well, say as a friend — Miss White —
She hesitates May I say Helen?
HELEN has become more self-possessed. She speaks earnestly
HELEN
Oh, really, Miss Carpenter, I do mean it. I hardly know you. I wish I knew you better. And I am lonesome.
BELLE
Come over here, Helen — come here to me.
HELEN walks over toward her, at first hesitatingly and then suddenly with a new womanly dignity, and the two women stand near each other with nothing but the fence between Helen — I’m going to call you “Helen” — let me take your hand.
HELEN puts out her hand which BELLE takes. She holds HELEN’S hand in her two hands Helen, I can’t do what you ask. I can’t come and sit with you. There’s something between us — something more than this fence.
She looks down at the fence and smiles You don’t know what it is and I guess you never will, Helen.
She is now looking directly into HELEN’S eyes and HELEN with womanly dignity is returning the look I can tell you this, Helen White — I can’t come and sit with you but it isn’t because of what I think you have on your mind. It may be that I know what you’ve been thinking about me and some one else, and it isn’t true.
She drops HELEN’S hand but the two women still stand facing each other and looking at each other Helen, I’m going away. I’m leaving Winesburg. I may never see you again.
Her voice seems about to break and she begins s pea bin g rapidly in a low voice I’m not like you, Helen. The town here is full of stories about me. But I’m no fool, Helen, and I want you to know that most of the stories you hear about me aren’t true. I want you to know that the story that has been bothering you isn’t true.
She turns quickly and goes rapidly toward the gate and HELEN stands with her eyes full of wonder looking at her
HELEN
Oh, Miss Carpenter — don’t go — not yet — wait!
BELLE turns at the gate and the two women stand again looking hard at each other. There’s a long sustained pause before BELLE speaks
BELLE
Helen!
HELEN
Yes, Miss Carpenter!
BELLE
You might call me “Belle” just once — before I go. You won’t see me again. I’m a lot older than you are but I’d like it — just once.
HELEN
Belle.
There is another sustained pause, the two women looking at each other BELLE
Helen, you are very beautiful. You’ll be a beautiful woman. You’re one now. Don’t be afraid. It’s a great thing for a woman to know — that she is beautiful.
BELLE goes rapidly away and HELEN stands a moment by the fence. She seems in a daze. She turns and takes a few steps towards the house and stops. She goes to sit in the swing HELEN
Oh! She is nice! She is! She is!
She sits with her face in her hands. She looks up, a strained look on her face She says it isn’t true! I wonder what she meant. Oh, I wonder, I wonder.
Again her face drops into
her hands and her shoulders shake. She is crying, BANKER WHITE comes on the stage from the left and sees HELEN. He is dressed in white linen clothes and carries a cane and has his hat in his hand. He comes gaily along until he sees HELEN sitting with her face in her hands crying and then he drops his hat and cane and runs to her. He sits quickly down beside her and puts his arms around her
WHITE
Why, Helen, Helen! What’s the matter, Helen?
HELEN does not answer at once. She is struggling to gain control of herself Helen! Helen!
She looks up
HELEN
It’s nothing, daddy. Really — it’s nothing.
WHITE
Well, Helen! It looks like a rainstorm to me.
HELEN is getting herself quickly in hand. She takes her handkerchief and wipes her eyes. She smiles at him. He arises to stand near her
HELEN
Really it isn’t anything, daddy. I was upset about something.
WHITE stands before her. He puts a hand on her shoulder and looks at her
WHITE
I can see you’re upset, child. Now tell me what it is. What has upset you?
HELEN has gained control of herself. She looks away from him
HELEN
It really isn’t anything, daddy — honest it isn’t. It was some one came here.
WHITE
His hand still on her shoulder Some one came here? Who, Helen?
HELEN
Still not looking at him Oh, it was a woman, daddy. It was Miss Carpenter.
WHITE is startled. He takes his hand from her shoulder and turns his face away from her. He takes a step toward the house. He drops his hat and cane
WHITE
Miss Carpenter? What Miss Carpenter, Helen?
HELEN
She looks at her father but he is not looking at her Oh, you know her well enough, father — Miss Carpenter — you know the milliner. She came to see you.
WHITE is thoroughly upset. He stands for a moment trying to get control of himself
WHITE
Oh, look what I did!
He picks up his hat and cane. He is nervous and upset. HELEN does not notice his confusion. He hurries out right, speaking as he goes Just a moment, Helen. I want to speak to your mother. I’ll be right back.
Complete Works of Sherwood Anderson Page 307