Complete Works of Sherwood Anderson

by Sherwood Anderson

  ANOTHER WOMAN

  I wanted to be at the church to see what they’d say but we had company to dinner and they stayed and stayed. Was he natural?

  ANOTHER WOMAN

  As natural as life. The train didn’t hit him in the face. It hit him in the middle.

  ANOTHER WOMAN

  I wanted to see a man I was pretty sure was going to hell.

  ANOTHER WOMAN

  I don’t think we should judge, do you?

  The women Exit, right front A MAN Pointing at BANKER

  WHITE

  Look at that get-up.

  ANOTHER MAN

  What’s he got on? What’s he wearing?

  ANOTHER MAN

  Gee, I never saw a suit of clothes like that. Looks as though he’d come out here in his underwear.

  The SENATOR is standing and shading hands as though a reception were going on

  A MAN’S VOICE

  Eh, Senator, why don’t you make a speech? Good chance. You got a crowd.

  The crowd gradually passes off and in the meantime GEORGE and DOCTOR REEFY are talking, DOCTOR REEFY has put his arm around GEORGE’S shoulder GEORGE As the crowd thins out, protesting But Doctor Reefy, it can’t be true. It can’t be true.

  The crowd is all going off, right front, DOCTOR PARCIVAL and JOE WELLING and TOM WILLARD come across stage from the left, JOE WELLING is running as though looking for some one. DOCTOR PARCIVAL has a whisky bottle in his hand

  PARCIVAL

  Do have a drink with me, Joe, and you, Tom.

  JOE WELLING shades his head and TOM WILLARD looks uncertainly about to where GEORGE is standing with REEFY

  JOE

  I’m looking for my girl, Sarah King — ain’t seen her go out, have you, Doc?

  TOM to PARCIVAL

  No, thanks. I’m a man who can take it or let it alone.

  DOCTOR REEFY

  To GEORGE

  Don’t worry, George. I’ll stand by you. In some way we’ll make it all right.

  DOCTOR REEFY leaves GEORGE and goes to PARCIVAL, TOM, and JOE

  JOE

  I got to go. I got to find my girl.

  He rushes off right TOM Rubbing his throat with his hand and again looking back and seeing that

  GEORGE

  Is not looking Well, I have a cold. I might. Yes, I’ll take a little nip.

  PARCIVAL Ignoring TOM, addressing REEFY. The song is ending Listen to that. Windpeter Winters safe in the arms of Jesus.

  Poor Windpeter. Gentlemen — I drink to him, to Windpeter Winters now safe in the arms of Jesus. Oh, softly gentle Jesus in Thy arms. Gentlemen.

  He offers the bottle around but all the men except TOM shake their heads, TOM presses forward but PARCIVAL pays no attention to him I’m told that Windpeter Winters was an orphan, and so was I. This was my only mother. At thy breasts, dear mother.

  He drinks again and holds the bottle before him, touching the neck of the bottle with his hand with elaborate gentleness Sweet nipple of my mother’s breast. Milk of manhood, eh?

  He looks at DOCTOR REEFY, and laughs as he does so As for this Windpeter Winters, he’s dead. God rest his soul. He is buried now, dead at the hands of a railroad locomotive. Sausage meat, just sausage meat, safe in the arms of Jesus.

  The MEN all exit right front, TOM and DOCTOR REEFY each taking hold of an arm of DOCTOR PARCIVAL. SETH RICHMOND appears from left center

  SETH

  Come on, George, what do you say? Let’s go. GEORGE Nervously No. No. I can’t go. I have got to get some more names. I’m not through yet.

  SETH

  Oh, all right.

  He starts off right but GEORGE calls to him

  GEORGE

  Say, Seth, look here.” Come here. Say, Seth, I want to ask you something. There’s a friend of mine — not me — some one else — I can’t tell you who — he’s got a woman in a fix, maybe. What can he do? Do you know? Can you tell me, Seth?

  SETH

  Stops and comes back to GEORGE. He is pleased Oh, I see. I see. So, George... so, a friend of yours has got a woman into trouble, eh? Some mysterious stranger, eh? Of course it’s not you. Maybe it’s James Gordon Bennett. Say, look here, George, suppose I told you I know who your friend is and who the lady is, too?

  GEORGE

  Frightened What do you mean, Seth?

  SETH

  Say, George, don’t think I’m so green. What about Belle Carpenter? What about you and her, eh?

  GEORGE

  Angrily What do you mean, Seth? Say, are you a friend of mine, or aren’t you?

  SETH

  Starting — to walk away Friend? Sure. Only, say, George, don’t think you can put anything over on me.

  Near exit right front. Stops to look back at GEORGE and laugh

  You thought I didn’t know, eh? Well, the whole town’ll know pretty soon.

  GEORGE

  You go to hell.

  SETH goes out laughing and GEORGE is left standing on the stage alone. He stands perplexed and frightened. Suddenly he takes from his pocket the note given him by LOUISE TRUNION and, with an angry movement throws it on the ground. He starts off stage right front, but stops

  GEORGE

  Jesus. Oh, Jesus. I wish I was where old Windpeter is.

  As the curtain is descending, he suddenly looks down and sees the note on the ground and running to it picks it up and puts it in his pocket As a quick shift is being made between scene I and 2, voices are heard offstage

  WOMAN’S VOICE

  Get out of bed, you lazy old fool.

  MAN’S VOICE

  Now, Ella, you let me alone. Ella, you keep your eyes on them cinnamon buns. You watch them. They’ll burn.

  WOMAN’S VOICE

  Yeah, want me to do all your work and mine, too.

  MAN’S VOICE

  Cheerfully Darling! I seen a cat. It was a big gray one.

  WOMAN’S VOICE

  Yes, you big lazy bum. You sit around all day watching for cats. Want me to do your work. I’ll fix you.

  The voices die away and the curtain rises

  SCENE II

  THE SCENE IS in DOCTOR REEFY’S office. It is the same background. In the center of the stage there is a small couch and at the right front an old-fashioned office chair in which DOCTOR REEFY is seated, BELLE CARPENTER is seated on the couch. At the left front there is a small table on which sits a pitcher of water AT RISE: — DOCTOR REEFY is sitting in the swivel chair, BELLE CARPENTER sits on the couch. There are noises coming through the open windows from the alleyway. A team of horses hitched to a wagon passes — the wagon rattling over cobblestones.

  VOICE

  Whoah!

  The sound stops

  BELLE

  Bitterly Why not?... Nobody wants me.... I’m going to have a child that nobody will want.... I can kill myself and the child at the same time.... It’s very simple.

  VOICE

  Outside Giddap!

  The wagon rumbles away

  REEFY

  Yes, Belle, it would be easy... it’s a way out. I think every one is tempted along that road, sometimes. There are always two roads — the road of life and the road of death....

  The DOCTOR has BELLE’S attention and she turns to listen VOICE Outside, singing in the alleyway, REEFY stops to listen... smiles This is the hand, That shook the hand, of John L. Sullivan.

  REEFY

  You know, Belle — the road of death.... I myself have often thought of taking it. Oh, the peace and quiet of it. Nothingness — an end to everything. But, Belle. Oh, you women.... There’s new life in you now, Belle. It has happened! It is a fact. I daresay you have already felt the stirrings of the new life. A woman — to feel that — no matter who the father is. The new life in you — in your own body. The beginning of a strange secret communication between you and the unborn new life. Belle, — I guess you’ll have to face it.... You know, Belle, as I told you, it would be better for you to be quite frank with me. An operation is out of the questio
n. You’ll have to go through with it. No doctor can help you now but, Belle, — I hope I’m not just a doctor.

  BELLE arises from the couch and walks up and down

  BELLE

  I’ll try some other doctor, then. There’s this new man, Doctor Parcival.

  REEFY Smiling Little you know Parcival. He’d be the last man to go to. He’d only begin claiming that he was its father. But Belle, you don’t need a doctor now, you need friends.

  There is a moment of silence and then voices again from the alleyway

  FIRST VOICE

  Hello, Jim — you damn slashing tip from Nana....

  SECOND VOICE

  Hello, you Corkonian bog-trotter.

  FIRST VOICE

  How’s your ass, Jim — Better hitch up your ass and go down to the bog and dig turf — your fire’s out.

  BELLE stands and listens and REEFY suddenly speaks sharply and a bit sternly

  REEFY

  Belle, this talk about the boy, this young boy, George Willard. I’m going to be frank with you, Belle — I don’t believe that story. This boy and you may have — well, you know... but, Belle, he hasn’t been the only one. He’s not the real one. I’m not judging you, Belle. You know that. You know me. I was your mother’s doctor when you were born. You know I’m no moralist... now I want you to tell me the truth.

  BELLE Standing No, the boy wasn’t the only one. He isn’t the father.

  REEFY

  There, there, that’s better. That clears things, Belle. You see, I haven’t felt right about that story, nor have you. With this other new life in you, you couldn’t crush the life in young Willard. I guess I know. You wanted marriage, any marriage now. Older women do marry young boys and — Well, you have felt desperate, haven’t you, Belle?

  BELLE sits on couch As for the real father, can’t something be done? Is he married, Belle?

  BELLE

  All right, I’ll tell you.

  REEFY

  Don’t, if you don’t want to, Belle.

  BELLE

  I do want to. I feel better, talking to some one. You’re right. I need friends, or at least a friend, and I can’t talk to the man who should be standing by me now. It’s Mr. White, Doctor Reefy.

  DOCTOR REEFY gets up, crosses the stage nervously and returns to sit at the left of BELLE on the couch

  REEFY

  Not Banker White? Of course. Of course. I was stupid. Why, I noticed something, today, at Windpeter Winter’s burial. I should have guessed. How did it happen, Belle?

  BELLE

  After all, it was my own fault. He didn’t tell me any lies. I knew him... he couldn’t lie to me. I knew what chances I was taking.

  A little softness comes into her voice Sometimes he — something in him — he was like a foolish little boy with me. He was like a young boy in love for the first time. And now he wants to give me money. It’s all he can do. But how can I blame him? — What else can he do?

  REEFY

  Do you want to talk about it, Belle? Do you want to tell me about it?

  BELLE

  Rapidly It was in Cleveland. I’m a milliner, you know. I go there to see the new styles and I met him there on the street. You know how people in a small town are when they meet in the city. — If we’d met at home, he might not have looked at me.

  She laughs a little bitterly I guess men always know whether a woman will or not. He sent me tickets to the theatre... he said he was too busy and couldn’t go with me. He was afraid there might be some one from Winesburg who would see us together. And then... what a fool I was!... We drove about in the evening in a carriage... we went to a hotel... I didn’t resist much... he was so nice.... Fool! Fool! He’s such a respectable man here in town. He has a wife and a daughter. They’re all right — I don’t want to hurt them.

  She turns and looks directly at REEFY

  REEFY

  You love him, don’t you, Belle?... You’re in love with him?

  BELLE With an impatient gesture No! Oh, I don’t know. How can I tell?

  REEFY

  And this boy — this young George Willard — you thought you’d try to get him to marry you. That wasn’t such a nice idea.

  BELLE

  No, it wasn’t. That boy! He was so scared and funny about it. I liked him. I guess it was his first time. I was pretty desperate. I knew I was caught. A crazy scheme came into my head, — to catch him. He was so scared and boyish and proud and glad. No matter how young they are, or how old they get — they never get over being funny, do they, Doctor?

  She laughs again You tell him, Doctor. Do it right away. I don’t want to frighten him any more. Please, Doctor, make it clear — to George Willard, I mean. I don’t want to hurt him now.

  ELIZABETH WILLARD enters softly at the back of the stage, left. She pauses and hesitates as though about to leave. She starts to leave and then goes nervously along the back of the stage and stands half listening. She is a tall, slender, sick-looking woman dressed in black. She has a white face out of which her large black eyes shine. She gives an impression of possessing inner fire. The doctor is aware of her presence before BELLE is. He arises and stands watching BELLE With a bitter little laugh. ELIZABETH is now immediately behind her George Willard... he the father of my child, my husband.

  She laughs again

  ELIZABETH

  To BELLE sharply. At the sound of her voice, BELLE whirls and faces her What’s that... what are you saying? George Willard the father of your child... your husband?

  BELLE is frightened. She shrinks away from ELIZABETH and ELIZABETH follows BELLE Confused — looking around Why I...I...I... Mrs. Willard... why, Mrs. Willard, I... Doctor Reefy here...

  She continues to shrink away from ELIZABETH who suddenly springs forward and grabs her by the arm at the wrist ELIZABETH Over her I’m George Willard’s mother. He’s my boy. What is all of this talk about his being your husband, the father of your child? What does it mean?

  BELLE

  In pain Oh! Oh! Don’t! Don’t!

  BELLE breads away from her and goes angrily upstage left while REEFY, who has been standing and looking, nervous, wringing his hands, speaks to ELIZABETH

  REEFY

  Sharply, to ELIZABETH

  Elizabeth! Stop it! Quit it, I say!

  ELIZABETH

  Paying no attention to REEFY. She is looking at BELLE

  Come on! Tell me! What is the meaning of this talk about you and my boy?

  REEFY

  I’ll explain. There isn’t any harm going to come to your boy. It’s all right... it’s all right....

  BELLE is half hysterical, but her figure straightens

  BELLE

  There can’t any woman insult me like this. I won’t stand it.

  REEFY Crosses to BELLE

  There, there — it will be all right. I’ll explain.

  They are at the exit left BELLE

  I can’t go through with it, Doctor — I can’t. I’ll kill myself.

  REEFY

  That’s your privilege.... But you won’t....

  She exits left. ELIZABETH WILLARD, who has been, but a moment ago, so tall, straight and strong looking, seems suddenly to slump. Her shoulders droop and a haggard look comes into her face. She staggers back and half falls into the doctor s chair. She lies thus in the chair, white and still and DOCTOR REEFY turning, sees her. He becomes frightened and nervous. He runs toward her Elizabeth! Elizabeth!

  He takes a soiled handkerchief from his pocket and wets it in the bottle of water which stands on the table. He has none of the professional, calm air of the doctor. He becomes conscious that it is soiled Ugh!

  He throws the handkerchief away and, running to her, drops to his knees beside her, puts his head upon her breast. He is listening for the beating of her heart. As he is kneeling thus, ELIZABETH WILLARD slowly turns her head and looks down at him. The light from the lamp on the table shines in her face. At this moment, there is a crashing sound of breaking glass in the alleyway ou
tside and an angry voice is heard

  VOICE

  God dam’ cat! Almost got him that time, the son-of-a-bitch!

  ELIZABETH’S arms make a little movement. She hesitates for a moment then quickly — spasmodically — throws her arms around REEFY’S neck. She straightens in her chair, still holding him thus

  ELIZABETH

  What was it? — Tell me. What was that woman saying? What was she saying about George?

  For a moment DOCTOR REEFY stays thus, his head held against ELIZABETH’S breast. Then he turns and looks at her. Her arms drop and he arises. He stands over her, looking down

  REEFY

  Elizabeth! Now, don’t get excited. It was nothing — nothing. I’ll tell you — Now, be quiet. You know I’ve told you a dozen times — shocks. Your heart. I won’t have it. You can’t stand it. It was nothing, I tell you, nothing.

  DOCTOR REEFY talks hurriedly She’s Belle Carpenter — a milliner here. She’s pregnant — not by George but by a man here in town. He’s a married man. She came to me. I couldn’t help her. It was too late. She was frightened, half hysterical. — You saw that. The silly woman — she got a crazy scheme into her head. She thought she was going to try to get your boy George to marry her. She thought she would frighten him into it. She herself gave up the scheme before you came. It’s nothing, I tell you — nothing.

  He keeps his eyes fixed on ELIZABETH WILLARD. He is nervous and appears frightened Are you all right? Are you quiet now?

  ELIZABETH

  Yes, I’m quiet, I’m all right.

  REEFY

  Now, Elizabeth — we are both old enough — we know each other well enough — we can be sensible. What has happened to your boy George is nothing. A boy like that — your George — imaginative — sensitive — alive. Elizabeth, you have to think of the woman, too. Be sensible. She is in trouble. She’s desperate. In the matter of George, she has been a little silly, that’s all. — Well, your boy was with her — once.

  There is a little cry from her lips

  ELIZABETH

  Oh!

  REEFY

  People! People! I don’t know how she managed. She did. She must have invited him. He crept to her. A boy. — Elizabeth, you know how it happens.