Ernest Howard Culbertson

“ To transcend a necessary order one must first have achieved it. The achievement of social order in the moral sense is therefore the [8] right and necessary aim of the Negro proletarian and the right and necessary theme of a drama dealing with his life.
In the play, Lucy Belle fights valiantly her losing fight. Loneliness, poverty, ignorance, terror, drive her from disaster to disaster, from one unwilling infidelity to another. But she never wavers in her soul. ”

“ Yo’ know [21] how a gal is. Meets up wid Sam an’ Jeff Bisbee an’ Ed Cales—an’ a bunch-a oders like dem. Jeff hang ’roun’ aftah me mos’ all de time—an’ Sam do, too. Sam allas a wuk steady—but Jeff, he nevah wukked ’less he had ter. He’s—he a hard niggah—allas drunk, an’ fightin’ an’ shootin’ crap. But—well—yo’ know how a gal is— (Aunt Rebecca grunts and nods.) He looks good ter me, kase he wear swell clothes, an’ spend money free, an’ boas’ how many cops he cut. Was’n’ long, dough, fo’ Jeff git crazy jealous-a Sam—an’ one day—down yere in Four-an’-a-ha’f Street—dey meets up an’ has a fight. ”

“ SAM (loudly)
Ef yo’ try any funny bus’ness wid me I’ll kill yo’! Damn yo’ heart ter hell!
(He goes out, Left, closely followed by Lucy Belle. The door stands open and their voices can be heard.)
LUCY BELLE (off stage, Left)
See, Sam—ain’ nobody but Fanny an’ Israel. Don’ wake ’em up! Jes’ mah clothes, Sam-boy! Aw, yo’ believes me—don’ yo’? Yo’ don’ believe an’ ole wench like her!
SAM (savagely)
Chick Avery been hangin’ ’roun’ yere?
LUCY BELLE
No, no! He ain’ even in town no mo’. It’s all a dirty lie! Lizzie allas blackguardin’ me—don’ yo’ know she is—evah since yo’ an’ me met up! ”

“ In her utter confusion and failure she kills the child that stands between her and all her hopes and at once expiates that action with her own death. Neither the subject nor the circumstances are new. But novelty is no mark of fine literature. ”

“ AUNT REBECCA
’Co’se she is—an’ dat’s de reason—
LUCY BELLE (touches Aunt Rebecca on the knee)
I tell yo’ why I got ter go easy wid her—till I see mah way out. Maybe yo’ kin he’p me—
AUNT REBECCA
Sho’—!
LUCY BELLE
Yo’ see she’s de onlies’ one ob all dem blackguardin’ niggahs dat uster live ’roun’ me ovah dere in Carter Street—fo’ I moves yere ter Goat Alley— (Breaks off and stares sombrely into space for several moments, then proceeds with a slight catch in her voice.) Aun’ Becky, I’se had it hard. Ain’ nevah had much luck—’deed I ain’—’cept meetin’ up wid Sam agin. ”

“ Slim come an’ tol’ me. He say Mink Hall tol’ him.
SAM (nodding)
Yas—I seen Mink uptown.
LUCY BELLE
Ah, Sam-boy! Mah budigee lovah! Yo’ ain’ nevah gwine ter leave me agin, is yo’?
SAM
Nevah, honey! No, indeedy! Not ’less dey takes me ’way in a box.
LUCY BELLE
Yo’s de bes’ ole buddy in de worl’!
SAM
Seem ter me like I only had ter shet mah eyes—night or day—an’ see yo’ face. Only thinkin’ ’bout yo’ kep’ me from killin’ ev’body in sight w’en I’se breakin’ mah back on dem rock piles. Yo’ don’ know w’at kin’-a hell I been th’u’, gal. Kin’-a hell dat sets a man crazy—’less he’s careful. ”

“ He wuk in a livery stable ovah on C Street fo’ a while. Couldn’ git him ter do nuffin’ steady. Mos’ de time he jes’ lay ’roun’ de house an’ guzzle gin—guzzle gin—an’ w’en he ain’ doin’ dat, he out in de alley shootin’ crap wid Mink Hall an’ Slim an’ dat gang.
AUNT REBECCA
He wuss den no-count!
LUCY BELLE
I was a fool, I knows—ter stick ter him. ’Deed I was! But I’se so scar’t an’ down in de mouf dat I ain’ got good sense. (Aunt Rebecca nods sympathetically.) All de time Jeff keep gittin’ harder an’ harder. An’ me wukkin’ mah haid off ter feed him an’ de chillen. ”

“ SAM
De chillen’ll have plenty-a room ter play. An’ I kin take a day off now an’ go huntin’. (Wistfully.) Still got-a lot-a possums down ’roun’ dere.
LUCY BELLE
Is dey—?
SAM
Heaps. (With a sigh.) Yas, indeedy! We gwine down dere—an’ live right!
(The footsteps of someone coming rapidly down the alley arrest them. Lucy Belle gives a start. They both listen intently. The door, Back, suddenly bursts open and Jeff Bisbee dashes in. He halts abruptly upon discovering Sam and stares at him—his face distorted with rage. Sam breaks away from Lucy Belle and starts at him—menacingly.) ”

“ LUCY BELLE (frantically)
Sam! Sam!
SAM
I’ll fix yo’!
(He takes her by the throat and slowly chokes her to death. She struggles desperately to free herself. At length she grows quiet and her body limp. He throws her on the floor, stands gazing at her for a moment or two, grabs up his hat, slinks to the door, Back, unlocks it, opens it cautiously and goes out, closing it after him.)
CURTAIN
Transcriber’s Note
Inconsistencies in hyphenation, spelling, and the use of apostrophes have been retained, except in the following apparent typographical errors. ”

“ No, no, Sam-boy! He’s a barber—an’ makes good money. Wukkin’ all de time.
SAM
Nevah seen a barber dat was any good.
LUCY BELLE
He ain’ so bad. An’ he don’ come ’roun’ yere—oh, only onct in a long time. (Glancing toward the door, Left.) We keep on talkin’ like dis, dem chillen wake up an’ make a fuss.
(She hurries over, Left, and closes the door. Sam takes his pipe from his coat pocket, fumbles around in the other outside coat pocket, finds his bag of tobacco, pulls it out and begins painstakingly to fill the pipe. Meanwhile he follows Lucy Belle’s movements with an intent, questioning gaze.) ”

“ I’ll keep yo’ dis wintah, ole kiddo. Yo’ won’ haf ter do no wuk. Should think yo’ wan’ ter take it easy—fo’ a while—now yo’ out-a jail. Don’ yo’? I’ll show yo’ a good time, son. Yo’ kin lay ’roun’ an’ take it easy—an’ git drunk w’en yo’-a min’ ter—
SAM
Git out-a yere!
LIZZIE
Sam, I don’ wan’ ter see nobody like yo’ git tied up agin wid a wench like her. Onct was ’nuff—but—
SAM
Git out-a yere—d’yo’ yere me? Beat it!
LIZZIE (angrily)
Yo’s a great big stiff ter let a gal like her take yo’ in.
(The door, Left, opens slightly and Lucy Belle can be seen listening.) ”

“ LUCY BELLE
I dunno—. Till ’bout a monf ago he wuk steady fo de Simpson Express Company. Drive a wagon fo’ dem.
AUNT REBECCA
Dat w’at he doin’ w’en I lef’.
LUCY BELLE
Sho’, sho’—. Good job, too. But de wuk gits slack—an’ dey lets him out.
AUNT REBECCA
Go ’long!
LUCY BELLE
He try an’ try ter git anoder job—but could’n’ seem ter fin’ nuffin’. Times is bad, yo’ know. [17] Neah walk his feet off jes’ seein’ ef he kain’t git somefin’ by de day.
AUNT REBECCA
Yo’ don’ say!
LUCY BELLE
Sam’s as steady as dey make ’em. Ef he ain’ wukkin he jes’ ’bout goes crazy. ”

“ Jes’ as soon as yo’ git ter likin’ somebody—dey up an’ gwine ’way.
LUCY BELLE
It gwine ter be bes’ fo’ bof ob us, Aun’ Becky—!
AUNT REBECCA
I reckon yo’ know—but jes’ de same—
LUCY BELLE
An’—an’ terday I feels mo’ like we got ter git ’way den evah.
AUNT REBECCA
How come dat—?
LUCY BELLE
Yo’ know Sam ain’ nevah had nuffin’ much ter do wid oder gals.
AUNT REBECCA (with a nod)
He don’ look like he ’ud chase ’em much.
LUCY BELLE
He don’! He ain’ dat kin’! But—but fo’ de las’ free weeks dey’s a gal dat he uster know—long time ago—keep comin’ ’roun’ yere. ”

“ LUCY BELLE
Been sick a dozen times since den an’ yo’ ain’ raised a han’ ter he’p me! (Harshly.) Yo’ ain’ no good, Slim—an’ yo’ ain’ nevah gwine ter be no good—’less yo’ change mighty quick. Yo’ nevah keeps a job ovah a week. All yo’ is good fo’ is ter guzzle gin, shoot crap an’ chase gals—
SLIM
Go on blackguardin’ me—ef yo’ lookin’ fo’ trouble! ”

“ Her walk is listless and her eyes are bright with nervous fatigue. She glances at the alarm clock which stands on top of the cupboard, Left Center. The hands point to half-past twelve. She drops down in a chair to the left of the table and stares dismally before her. Presently she rests her elbows on her knees, bends forward, covers her face with her hands and gives way to a series of dry, racking sobs.
LUCY BELLE (looking up eventually with a face full of woe)
Sam! Mah ole Sam-boy—come back ter me! Ain’ yo’ evah gwine ter come back? Honey-baby! Mah own honey-baby, buddy boy! ”

“ She scowls darkly, hurries to the door, and throws it open. This is followed immediately by the clatter of scurrying feet and taunting shouts as those who were about the door run rapidly down the alley.)
LUCY BELLE (standing in the doorway and shouting angrily after them)
I seen yo’ Jack Kramer! Yo’ too, Lippy an’ Mule! Keep away from yere or I’se gwine ter wring yo’ damn necks! Yas, yo’s—Lippy! I ain’ scar’t of none-a yo’! Quit skylarkin’ ’roun’ dis door! Sweah out-a warran’ fo’ yo’, too!
(She stands glaring off Left at them. Slim suddenly appears from Right.) ”

“ Mah own Sam-boy, baby buddy! (She stares abstractedly into space for a moment or two.) An’—an’ yo’ see he’s comin’ right back ter me—now he’s out.
AUNT REBECCA
Yas, indeedy! I reckon he is!
LUCY BELLE (clenching her hands)
Oh, Gawd!
[133]
AUNT REBECCA
Nevah yo’ min’, honey. Yo’ ain’ got nuffin’ ter worry ’bout.
LUCY BELLE
Sam nevah boder his haid ’bout oder gals—not since he know me—’cept ole Lizzie Gibbs fo’ a lil’ while— (Fearfully.) Dat’s de onlies’ thin’ I’se scar’t of—is dat niggahs will lie an’ blackguard on me!
AUNT REBECCA (indicating the baby)
Who all know yo’ got dis yere chile? ”

“ CHICK
Den come on—! Good drink set yo’ up jes’ right.
(Lucy Belle takes a faltering step or two toward the door, Left. Just then someone passes the window, Left Back, and heavy footsteps on the pavement [61] of the alley can be heard. Lucy Belle halts. She turns and faces the door, Back. It opens and Sam Reed enters. He is a big powerful Negro—dark brown in color—and about thirty-five. He wears an old, torn suit of clothes, carries an old felt hat, and is without a collar. His manner is straight-forward, well-meaning, kindly. His movements and speech are deliberate—except when he is angry.) ”

“ Is it Sam—?
(She shakes her head. Chick goes out, Left. Lucy Belle, after a moment or two of deliberation, advances warily toward the door, Back. When almost there she halts again, as though debating whether or not to answer the door. Suddenly the kicking is renewed with increased vigor. Lucy Belle draws back shudderingly, as though to turn and flee. Abruptly the door opens and Jeff Bisbee lunges in. He slams the door shut after him. He is a short, stocky Negro of about thirty—brown in color—with a short, thick neck, a bullet head and a mean, leering manner.) ”

“ W’en me an’ Sam fust met up he says, “Lucy Belle, I don’ care nuffin’ at all ’bout w’at yo’ done fo’ I knowed yo’. Dat’s all pas’ an’ gone an’ somefin’ we ain’ gwine ter boder our haids ’bout.” (She stares into space with tragic eyes.) But—but he tol’ me onct dat ef I evah had anathin’ ter do wid anoder niggah he’d kill me. ”

“ She motions to Aunt Rebecca to leave the room. The old woman goes off hurriedly, Left. Lucy Belle stands hesitant. A look of dire fear comes over her face, and she appears to be on the verge of collapse. However, with an effort she controls [138] herself and goes uncertainly to the door, Back, and opens it. Sam steps in. He looks older and thinner than in Act I and his hair is streaked with gray, and his shoulders are a trifle more stooped than before. ”

“ Yo’ see—yo’ see, his time was’n’ up fo’ mos’ anoder yeah. Him a’ me ain’ nevah had no luck an’ I did’n’t calc’late he’d git out befo’. I—I was gwine ter git ready an’ move in ’bout six mon’s. Den I was gwine ter writ ter de Warden—or de keeper—or somebody like dat an’ git dem ter tell him whar I move ter. (Moving about agitatedly.) Ef he only knowed what I been up agin! I—I promised him I would’n’ look at anabody else while he was gone. Ef I’d—a had any kin’a-luck nuffin’ ’ud make me break it. I loves Sam. I loves him bettah den anathin’ in de worl’. He knows I does. ”

“ De longer he stay de harder he [24] git, an’ by-an’-by he say ef I don’ let him stay dere all de time he gwine ter kill me. He say ef I call de po-lice he gwine ter lay fo’ me—an’ watch his chanct—night an’ day—till he git me. Hones’, I gits so scar’t I did’n’ hardly know w’at ter do. An’—an’ so he keeps livin’ on dere wid me—an’ I keeps thinkin’ mo’ an’ mo’ ’bout Sam—an’ wishin’ I’d stuck ter him—an’ dat I knowed whar he was. ”

“ She got too many chillen.
SLIM
Ain’ nobody knows dat bettah den I do. No niggah an’ gwine ter take up wid her now. Mink Hall was crazy fo’ ter marry her one time. Huh—he wouldn’ look sideways at her now ef he was ter pass her in de street.
(The wind blows and whistles through the cracks. Aunt Rebecca straightens up stiffly and rolls her eyes.)
AUNT REBECCA (in low, frightened tones)
Gawd-a-massy! Yo’ ain’ gwine ter git me—yo’ ole hussy! ”

“ Got ter go back dis aftahnoon an’ iron.
SLIM
Wuk yo’ ter deaf.
LUCY BELLE
Be twict as hard ef I’se wukkin’ ev’y day. (With a little wistful cry.) Ef—ef Sam was only yere—den—den I would’n’ care how hard I haf ter wuk—or ’bout nuffin’— (Staring abstractedly into space.) Be a yeah de fust-a nex’ monf since he wen’ ter jail.
SLIM
Sho’ nuff—!
LUCY BELLE (shaking her head)
Seem like five yeahs.
(Pause. Lucy Belle sits staring into space. Slim nonchalantly rolls a cigarette.)
SLIM
W’at become ob Jeff?
LUCY BELLE
I don’ know. Dey nevah done nuffin’ ter him. He was in de hospital fo’ a while. ”

“ Po-lice—? Who dey aftah?
SLIM
Raid Messer’s stable—down de alley yere—
(Someone runs heavily down the alley. Slim springs back and stands in a crouching attitude. Jeff leaps over to the table and blows the light out.)
JEFF
Crap game—?
SLIM
Yas.
JEFF
Git anabody?
SLIM
Don’ know.
(The noise and clatter recede continually, off Left. At length Slim advances cautiously to the door, Back, opens it and peers out. Jeff goes over and stands near him.)
SLIM
At de oder end-a de alley, now.
JEFF
See yo’ w’en yo’ runs?
SLIM
Sho’—! Slew-foot know me, too. He one-a dem. ”

“ Goat Alley
A TRAGEDY OF NEGRO LIFE By
ERNEST HOWARD CULBERTSON
CINCINNATI
STEWART KIDD COMPANY
PUBLISHERS
[4]
COPYRIGHT, 1922, BY
STEWART KIDD COMPANY
All rights reserved
All acting rights, both amateur and professional, are fully protected
under copyright law and are reserved by the author. Application
to produce Goat Alley must be made to him, in care of
the publishers, Stewart-Kidd Company, Cincinnati.
Printed in the United States of America
The Caxton Press
[5]
TO
FREDERIC AND ALICE MULHERN ROBINSON
[6]
[7]
INTRODUCTION
In a dingy little hall on a side street Mr. ”