Complete Works of Sherwood Anderson

by Sherwood Anderson

  MABEL, who is now seated in the chair, looks at MARY HORTON with amazement. She is surprised and startled by the outbreak of words but is on her guard and ready to be defiant

  MABEL

  You asked me to come here. You sent me a note. You said if I didn’t come here you would come to me. I don’t want any trouble with you. I’m not looking for trouble.

  MARY HORTON

  Trouble? Why, what an idea! But yet... of course... I know. We all do have our troubles. Sometimes it’s one thing, sometimes another, It’s money, bad luck in business, or it’s sickness, or it’s some one else sick, or in trouble, some one you love, some one you care for. Life is so strange. It’s so hard sometimes. Why, I know just how you feel. A person sits and thinks. It seems sometimes every one is in trouble. You want to talk, if you’re a woman, to another woman.

  She seems to grow suddenly half gay. MABEL CLARK sits staring at her Oh, Miss Clark. Let’s forget troubles. Please, it’s hot in here, isn’t it? What a pretty dress you have on! Oh, I do so love beautiful clothes.

  She laughs gaily and, jumping up, stands before

  MABEL

  You wouldn’t think it, would you, to look at me?

  She tries to straighten her gown, brushes the skirt with her two hands, runs to the glass, rearranges the bit of lace at her neck, runs back to MABEL, who stares silently Look at me, will you.

  MARY HORTON runs across the room and draws her chair to sit near MABEL, looking directly at her. She is determined not to let MABEL CLARK get on top of the situation. She sits for a second and then jumps up again eagerly. She makes a motion about the room and smiles Oh, this life of mine, here in this hotel room! I can’t seem to make it homelike. Do you know, I am actually ashamed to have nice people, like you, people I admire, come in here to see me. You have such a nice home right in your own shop where you work, haven’t you? It is so nice to be as you are, creating beautiful clothes for people to wear. Oh, I envy you so. You live such a life. You are free, independent, free, free!

  MABEL CLARK is growing more amazed and contused

  MABEL

  Well, I don’t take orders from no one. You sent for me to come here. You sent a note, said that if I didn’t come to you, you’d come to me. I guess I know what you’re up to.

  MARY HORTON Interrupts. She jumps up and stands before MABEL, puts a hand on her shoulder, MABEL gets up — draws away from her Of course! Of course! You take orders! How absurd! You say you know what I’m up to, sending for you. I wonder. Oh, woman, woman... I wonder if you can know. A woman like you! Oh, how splendid! Oh, I like you, Mabel! You won’t mind my calling you Mabel — a woman like you? Oh, Mabel, I used to dream so of independence for myself. I wanted it — freedom — courage — courage to stand alone, on my own feet. Oh, I think it’s glorious! And so I sent for you, wrote you a note. I was so desperate, so lonely. I sat here thinking. Please don’t think I’m silly, will you. I thought of every woman in town. There are times, you know — you must know — when a woman must have another woman. I thought of you, so independent, so strong.

  MABEL

  She has become more and more puzzled Well, I guess I can take care of myself all right.

  MARY HORTON

  Of course, you can, of course! Who would dare question it? Do you know, Mabel, that’s what I say. How strong! How splendid! I’ve thought for a long time — but I’m afraid you’ll think it’s silly of me... I am so much older than you are. You are young and beautiful while I — what a beautiful dress you have on. I can see you have lovely taste in clothes. It’s so important in a woman, don’t you think?

  She laughs softly, again sitting near MABEL And will you look at me. What a frump I must seem, Mabel, I don’t know why I let myself go as I do. You see — after a woman marries — marriage is so important, don’t you think so, Mabel?

  MABEL’S defiance is a little broken down but she is puzzled and on her guard. She speaks hesitatingly

  MABEL

  Why, ye-e-e-s, Mrs. Horton — ye-e-e-s, of course.

  MARY HORTON

  Oh, do please call me Mary. I wish you would. You see I want to call you Mabel. I’m already doing it. How bold of me! You don’t mind, do you? You see I’ve been such a lonely person.

  MABEL

  I guess I don’t mind. It don’t make no difference to me.

  MARY HORTON She runs suddenly over to the door left, opens it and calls. For a moment she goes outside the door and her voice is heard offstage, calling. She calls Fizzy. Fizzy.

  She darts back into the room Mabel, I want to get you some tea. Some ice tea would be nice on such a hot day. But I should have had it ready for you. I knew you would come.

  MABEL

  Getting up from her chair But, Mrs. Horton, you see I can’t stay here. You sent for me. You wrote me that note. If you have anything special to say to me...

  MARY HORTON runs over to her, acting very hurt. She half forces MABEL back into her chair. She keeps moving restlessly about the room

  MARY HORTON

  But, Mabel, I have, I have, I have so much to say to you.

  She comes suddenly over and puts a hand on MABEL’S shoulder, MABEL is becoming more and more embarrassed It’s like this, Mabel.... Oh, where shall I begin? I have so much to say to you. You see — when I was young as you are now — you don’t remember — I’m so much older than you are — look at me, Mabel. You would not think, would you, that people once thought I was beautiful? Mabel, I want to tell you something. Do you know that, when I was young, as you are now — beautiful as you are now — people said all sorts of things about me. Oh, Mabel, they gossiped about me. They said terrible things.

  MABEL becomes interested

  MABEL

  They did?

  MARY HORTON

  Oh, yes, Mabel, they said terrible things. You see — it was like this. When I was still young... Oh, Mabel — such a woman as I was then, and as you are now — you are independent — you don’t care what people say, you stand on your own feet. Oh, I admire you so! People accused me of all sorts of things. They weren’t true. But Mabel —

  She becomes suddenly coy Now, Mabel, don’t you tell any one what I’m going to say to you. Some of the things they said about me were true.

  MARY HORTON begins to walk proudly up and down the room and MABEL CLARK sits looking at her, becoming all the time more puzzled. She is growing a little afraid. She jumps suddenly to her feet

  MABEL

  Mrs. Horton, I’m sorry, I must go, I can’t stay here.

  MARY HORTON runs over to stand before her

  MARY HORTON

  But no, no — no, not yet, please! Do stay! You must! You see, I have so much to say to you — I have so much to tell you.

  MABEL

  But I must. I’ll come see you again. I must go now. I have an engagement.

  She starts toward the door but stops, MARY HORTON has hold of her arm. For just a moment the two women confront each other. At this moment FIZZY appears at the door and MABEL CLARK again sits. She sits on the edge of her chair, while MARY HORTON turns to face FIZZY, FIZZY steps into the room and looks at the two women. The cigarette is still dangling from the corner of his mouth. He takes it out, grins, and then puts it back again

  FIZZY To MARYHORTON

  Did you call me, mum?

  MARY HORTON

  In the grand manner Yes, yes. Some ice tea — and some cakes — and at once.

  FIZZY

  Puzzled Tea, Mrs. Horton? But Mrs. Horton, it’s Sunday. There ain’t any tea. The cook’s gone. There ain’t even the girls here. They’ll all be gone all afternoon.

  MARY HORTON

  Still being imperious Make it yourself then and at once. Bring it here.

  FIZZY

  But there ain’t any ice for no tea.

  MARY HORTON

  Going over to him, half pushing him through the door Get some then. Go to the drug store. Go anywhere. Do as I tell you. Hurry now.

  She pushes FIZZY thro
ugh the door and turns to MABEL. Laughs Such people, Mabel — so stupid, you can’t do anything with them. But, Mabel, I do so admire independent, intelligent women like you. I so admire people you can depend on — in any situation — to do the right thing.

  She walks over to MABEL. She keeps on talking Most people are such a mess. I so admire people who won’t let themselves get into a mess.

  MABEL

  Gets again to her feet Mrs. Horton, I can’t stay here. I must go. I don’t feel very well.

  MARY HORTON runs over to her and puts an arm affectionately about her waist

  MARY HORTON

  But no, Mabel, not yet. Listen. There, there. I’ve worried you. I’ve talked too much and this is your first visit to me. And, oh dear, I did have something I wanted to say to you.

  The two women are now standing and MARY HORTON takes her arm from about MABEL’S waist Why, look what I was doing. I had my arm about your waist. Why, I did want to talk to you but it’s not so important. It is so foolish — there has been some gossip — you see some one came to me with an absurd tale — about you and my boy Harry.

  She pats MABEL on the shoulder and steps a little away from her MABEL Drawing herself up Mrs. Horton, I must go. I don’t care what people say. I didn’t come here to be cross-examined.

  MARY HORTON

  Interrupting, clapping her hands together like a child There, there, that’s it, that’s why I asked you to come. Oh, I’m so glad I wasn’t mistaken about you. I knew what you were. I knew you were a free, proud, independent woman.

  She grows suddenly confidential and talks rapidly, MABEL all the time looking more frightened and helpless. Again she half forces MABEL to sit You see, Mabel, when I was a young and beautiful woman, as you are now, there was a tale all over town about me. It was just such a silly tale as this one about you and Harry. He was a sweet boy, too — just as Harry is. He and I were such friends.

  MARY HORTON’S voice drops and she speaks softly. MABEL CLARK is altogether confused now and sits on the edge of the chair, looking frightened, MARY stands before her. MARY speaks You see, Mabel, we — that boy and me... we were really friends. He was such a sweet boy, a dreamy one, just like my Harry. Really I suppose I was half in love with him. I wanted to have a son like that boy. That must have been it. It touched another side of me, you see, Mabel. I knew, oh, I knew so well, that it was just that way between you and Harry. Then people began gossiping about us, just as they are now doing about you and Harry.

  She shrugs her shoulders A proud, free, independent woman like you and a boy like Harry — how absurd, such a woman as you.

  MABEL CLARK cannot stand any more of it. She gets up determinedly and moves toward the door

  MABEL

  I must go now, Mrs. Horton, I must. I tell you I don’t feel well.

  MARY HORTON follows her to the door, again taking hold of her arm, stopping her at the door

  MARY HORTON

  No, no, don’t go. Stay a while. I know what it is. It’s the heat. Wait. Stay here. It will get cooler. Let’s talk. Let’s be friends. I so need a woman friend. I’m so lonely here. You see, I wanted to ask you to help me with my boy Harry. Mabel, I can’t depend on his father and I know that you and Harry are real friends. You see I’m a sick woman and go very seldom out of this room. I don’t know people. I want a woman like you, Mabel — free, proud — independent — intelligent — a woman not afraid of the gossip of a small town — I want such a woman to be my friend and my boy Harry’s friend.

  Her voice becomes pleading That’s why I sent for you, Mabel. I want you to stick to Harry — take my place — be his real friend. Go about with him, tell him things a mother can’t tell a son.

  She keeps smiling You see, some really designing woman might... well, you know. You can be such a help to him.

  MABEL CLARK forces her self past MARY and to the door. She has become afraid of MARY HORTON

  MABEL

  Yes, yes, Mrs. Horton, I will, I will. I’ll do anything you ask. Let me go now. I must go.

  MARY HORTON still clings to her, her hand on MABEL’S arm

  MARY HORTON

  But, Mabel, if you must go. But I won’t be rude. Come again, when you can. I know you’ll come soon. We are going to be friends. I need you. I knew you would help me with Harry. You promise me, don’t you? You are so good. You’ll come to see me often after this, won’t you? I know Harry admires you so. You’ll be his friend and my friend and you’ll help us both. You see I’m so helpless, so helpless. You will help me, won’t you? I know you will.

  MABEL

  At the door Yes, yes, I promise. I’ll do anything. I promise. I must go.

  MARY HORTON

  Standing in the doorway Oh, Mabel, I’m so sorry you must go. Now remember your promise. You’ll come again soon, won’t you?

  Speaks brightly If you don’t, Mabel, I’ll come to you.

  MABEL

  In the hallway outside agitated Yes, yes, I promise. I promise. Good-by. Good-by.

  MARY HORTON

  In the doorway Good-by. Good-by, Mabel. Oh, you darling! You have made me so glad, so happy.

  She calls And you will stick to Harry, won’t you?

  MABEL

  From the distance Yes, Mrs. Horton, yes, I will.

  MARY HORTON stands a moment in the doorway looking out into the hall. Her figure suddenly changes. It slumps and she turns and comes back into the room and closes the door. She stands a moment at the door, clinging to the doorknob and then half staggers across the room to the rocking chair. For a moment she sits with her face in her hands and then her head falls against the back of the chair and she lies there white and still. She smiles. There is a time of silence in the room and then a mans voice is heard from outside, in the hallway. The man is singing a popular song of the period

  VOICE FROM OUTSIDE

  One little girl in blue, lad, Won your father’s heart, Became your mother, I married another, But now we have drifted apart.

  There is a knock on the door and when MARY HORTON does not answer, the door opens and FIZZY appears holding a large shabby-looking tray. On the tray are some thick slices of bread and two cups, of the heavy unbreakable sort found in cheap restaurants in small towns. Standing just inside the room with the tray in his hand, he looks wonderingly about

  FIZZY

  The drug store was closed and there wasn’t any ice and there isn’t any cake. I got some bread and some cold coffee, left from dinner.

  MARY HORTON slowly raises her head and stares at him as though not understanding him. Suddenly she speaks impatiently, tensely

  MARY HORTON

  Yes, yes, all right, all right! That’s all! Go now! Take it away. She becomes half hysterical and shouts at him Go! Go! I tell you.

  FIZZY is amazed and frightened by her look and her tone. He turns and bolts through the door and as he does so, the tray hits the side of the door and the heavy cups filled with cold coffee and the thick slices of bread fall to the floor. FIZZY is heard hurrying away down the hallway as MARY HORTON’S head falls back over the chair top. She is laughing, half hysterically, as the curtain falls

  THEY MARRIED LATER

  A ONE ACT PLAY

  CAST OF CHARACTERS

  ROBERT FOREST, AN Inventor

  JOHN L. GREY, a Capitalist

  HENRY EASTMAN, a Manufacturer

  LAURA GREY, John Grey’s Wife

  MIRIAM GREY, John Grey’s Daughter

  THEY MARRIED LATER

  THE SCENE TO be played in an upstairs sitting room in JOHN L. GREY’S house in a growing industrial town of the middlewest. The room has, in its furnishings, an air of good taste, a little tarnished by too much feeling of costliness. There are two or three luxurious and expensive-looking rugs, a polar-bear skin on the floor, a woman s desk with books along the top — these held in place by little statuettes that serve as book-ends — and a bed with an expensive-looking coverlet. The bed is downstage, right. There are also some delicate looking anti
que chairs of the sort always in danger of crumbling under a heavy man and a small antique table on which sits a shaded lamp. There is a door and a stair landing, backstage, center, and to the right and left of this are windows, the one to the left leading out onto a roof. Through the window to the right can be seen in the distance the lights of a large factory. There is a door, left, that leads into a bedroom. It is night and there is a boisterous wedding feast going on downstairs, the sound of many people talking, dishes rattling, etc., come plainly up into the room. Now and then there is a lull and a sentence is clearly heard

  A MAN’S VOICE

  Yeah, I remember my own wedding night. Hell, yes. I got drunk, soused. It turned out I wasn’t any good.

  Loud laughter

  MAN’S VOICE

  She made me sleep on the floor.

  Another outburst of loud laughter

  A WOMAN’S VOICE

  Now Jim — now you shut up.

  A MAN’S VOICE

  Well, here’s to you, Robert Forest. You better be careful you don’t get drunk.

  ANOTHER MAN’S VOICE

  Yeah! The floor’s no place for you to be sleeping tonight.

  Again there is an outbreak of sound, the loud laughter of men and cries of protest from women

  A WOMAN’S VOICE

  Shrill Mrs. Grey — Miriam — I think it is awful. I think men are just horrid.

  The laughter dies down

  A MAN’S VOICE

  Well, Forest, there couldn’t no one say she fell for you because of your beauty. Why didn’t you take me, Miriam? I am single, ain’t I, and look how good looking I am.

  More laughter

  A MAN’S VOICE

  Say, that’s a hot one.

  Several men’s voices begin a song “There’s always fair weather when good fellows get together.”

  A MAN’S VOICE During a pause in singing Sing, Forest! Come on! Sing! It’s your night for song.

  There is the quick sound of feminine footsteps on the stair as the song comes to an end and MIRIAM GREY, who has first become Mrs. Robert Forest, appears in the doorway, back center. She is a tall, handsome woman of twenty-two or -three, dressed in a wedding gown and for a moment she stands looking about in a dazed way. Again there is an outburst of laughter from below