her publicly until you're sure she's not.
JOE
[_Cries_]: How'm I gonna be sure?
DANIEL
Suppose we ask the police to look for her?
JERRY
[_Turning quickly_]: What's the use of starting a hulla-ba-loo? You
don't want the woman accused publicly, but you're willing to spread
the news so this man'll be ashamed to go back home. We all know the
facts in the case, and the least said about it now the better. [_To_
JOE] You've found her out. Let her go ... and forget it!
CLARE
I don't think he ought to forget it.
JERRY
No?
CLARE
No. I don't think he ought to drop it now ... until we all know the
truth.
DANIEL
Right!
JOE
I want to know the truth! I got to! I been crazy about her! Maybe
that's a good idea ... the police. I _got_ to know the truth!
JERRY
[_At bay_]: All right! Stedtman! Where were you yesterday?
STEDTMAN
At the mines.
JERRY
What part of the mines?
STEDTMAN
All over.
JERRY
Did you see Gilchrist?
STEDTMAN
No.
[DANIEL _never takes his eyes off_ CLARE. _He watches
her, as the net tightens around him, observing, with
ever-increasing agony, that he is convicted in her eyes._]
JERRY
When _did_ you see him last?
STEDTMAN
Thursday----Yes, it was Thursday.
JERRY
Where?
STEDTMAN
In Black River.
JERRY
Alone?
STEDTMAN
No.
JERRY
With whom?
STEDTMAN
With Mrs. Hennig.
JOE
I knew it! I'm gonna kill you!
JERRY
No, you're not. You're going to keep quiet. But you wanted the truth,
and you've got it. I've known it all along. [_To_ CLARE] Now
do you think I was lying?
CLARE
I don't know. I don't understand.
JERRY
Oh, yes, you do ... only you won't admit it!
CLARE
I suppose that's it.
[_She takes her scarf and starts wearily to exit L._]
DANIEL
Clare! [_She stops_] I don't care what anyone believes but you!
CLARE
[_Turns_]: I'll believe you, Dan, if you'll only explain.
DANIEL
I----
JERRY
I forbid you to speak to my wife!
CLARE
Go on, Dan.
JERRY
I forbid you to speak to my wife!
DANIEL
[_Exploding ... to_ JERRY]: If I hadn't anybody to think
about but _you_!
[_They stare at each other ... close together. Suddenly_,
JERRY _lifts his open hand, and strikes_ DAN _across the
mouth_. DAN _starts to retaliate, but controls himself,
opens his clinched hands, and lowers his head_.]
CLARE
[_In almost speechless amazement_]: Dan; you're not going to take
that?
DANIEL
I have nothing to say.
CLARE
I didn't think you were a coward. You see, I was wrong about
everything.
[_The scarf in her hand, she exits L. A short pause.
Suddenly_, JOE, _emboldened by what he has witnessed,
certain of_ DAN'S _cowardice, breaks from_ STEDTMAN _and
rushes at_ GILCHRIST.]
JOE
You'll play around _my_ wife, will you? [DANIEL _merely looks
at him_.] You will ... will you?... Take that! [_He strikes out._
DANIEL _seizes his wrist, and, with one powerful, dexterous
movement, hurls him to the floor_].
DANIEL
[_As_ HENNIG _struggles to his feet_]: I hope I didn't hurt
you, Joe.
STEDTMAN
[_Looks from_ DANIEL _to_ JERRY]: My God!
JOE
[_Retreating_]: Don't worry! I'll get _you_! It may be a long time,
but I'll get _you_! [_He exits._]
DANIEL
[_With great kindness_]: Take him home, Stedtman. [STEDTMAN
_looks to_ JERRY, _who jerks his head toward the door_.]
STEDTMAN
Good-night, Mr. Jerry. Tell your father we'll be around ...
[DANIEL _turns and looks at him. He backs toward the door._]
... in ... the ... morning!
[_Quick exit. He closes the door, which has been left open
by_ HENNIG. _The two men look at each other._ JERRY _goes
to upper left of table, and pours himself a drink_.]
JERRY
Well, you've made a nice mess of it! Why can't you keep your nose out
of other people's business? Why did you have to date my leaving Black
River?
DANIEL
Why did you have to get mixed up with Pearl Hennig?
JERRY
I can take what I want out of life!
DANIEL
You can. God says: "Here is the world. Take what you want ... AND PAY
FOR IT!"
JERRY
Rubbish! [_Drinks_] Save your preaching for those that like it!
[_Comes down_] And keep away from my wife!
DANIEL
Why?
JERRY
Because you're in love with her! Aren't you?
DANIEL
Yes.
JERRY
Well, you've a hell of a nerve to preach to me about Hennig's wife
while you're making a play for mine.
DANIEL
I'm not making a play for yours.
JERRY
No? You expect me to believe that when you admit---- Why did you pull
that hero stuff? Why did you keep your mouth shut when I lost my
temper? Why did you turn the other cheek?
DANIEL
You wouldn't understand, Jerry.
JERRY
Wouldn't I? Well, _you_ understand that I've forbidden you to speak
to her and that goes. If you come here again, I'll have the servants
throw you out, and I'll tell my father why. [GOODKIND _enters
L._]
DANIEL
Here's your father now.
JERRY
And that's not all I'll do!
[_Lowering his voice_]: Not by a damned sight! [_He wheels about and
exits._]
GOODKIND
[_Taking cigars from humidor_]: Smoke?
DANIEL
Thanks.
GOODKIND
[_Looking off after his son_]: Jerry don't like you much, does he?
DANIEL
Not much.
GOODKIND
[_Lights his cigar_]: Well ... how are things in Black River?
DANIEL
I think we've got everything settled.
GOODKIND
Fine! Benfield'll be up in a minute, and we'll hear the conditions!
[_He sits in an easy chair L._] Somehow, I knew you'd do it! Jerry
says you're a philanthropist, but I knew he was wrong!
DANIEL
Thanks.
GOODKIND
If you've really settled this strike ... our way ... your salary from
today is thirty thousand a year!
DANIEL
Thanks ... again.
GOODKIND
I'm dog-sick of rowing with labor! It's such utter damned waste!...
_Excuse_ me!
DANIEL
I agree with you!
GOODKIND
I'd hate to figure what walk-outs have cost this country!
DANIEL
Yes. I often wonder why it wouldn't be cheaper to keep the men
contented.
GOODKIND
How're you going to do it? Don't forget there are as many people paid
for stirring up strikes as for crushing 'em! Paid well, too! What the
laboring man _needs_ is a real interest in his job!
DANIEL
Why don't you give it to him?
GOODKIND How? By doubling his wages? The more most of 'em get
the less they want to do for it! You know that!
DANIEL
Yes.
GOODKIND
They've got a notion that you get rich by riding around in a limousine!
DANIEL
Don't you?
GOODKIND
Not often! Not unless you think while you ride ... or your father
thought for you! Even then, money doesn't stay long in bad company! To
hear those fellows you'd think there _wasn't_ any work, except what's
done with a pick! The man that really produces is the man with the
idea!
DANIEL
The man that produces most.
GOODKIND
Yes, and he ought to _get_ most!
DANIEL
He does!
GOODKIND
He always will! Show me a big man and I'll show you somebody who's
done a big job! It's the little man with no capacity and no chin that
cries about a conspiracy to keep him from being President!
DANIEL
There've got to be little men, too, Mr. Goodkind.
GOODKIND
And they've got to be satisfied with little rewards! We can't all have
the same bank-roll any more than we can all have the same health!
That's where unions go wrong! When you tell a man he's going to have
the same reward, whatever he does--not because he's got ability,
but because he's got a union card--down goes the standard, out goes
incentive, and to hell goes the whole social structure!
DANIEL
Right!
GOODKIND
That's why I'm fighting the unions! Not because I want to starve
the man who works, but because I want to fire the man who doesn't
... _and_ reward the man who does! I want to give every man a good
reason for doing his best! You can talk equality and democracy all
you like, Dan, but the minute the average man isn't afraid of being
fired he isn't afraid of being worthless! The minute you take away
incentive--the chance to get _this_--that minute you reduce the world
to a common level of common indifference and common futility!
DANIEL
Right!
GOODKIND
[_Rising_]. Have another cigar! [DANIEL _shows the one he has
just lighted, and shakes his head_.] Where the hell's----[_He turns,
and sees_ BENFIELD _standing in the door L._] Oh, Benfield!
Come in! Gilchrist has settled the strike!
BENFIELD
Good!
DANIEL
[_Giving a folded document to_ GOODKIND]: There are the
terms. [GOODKIND _sits L._] They may seem a little radical,
but I think I can show you they'll save money in the end!
GOODKIND
That's the idea!
[_With the paper in his hands, being opened, he feels confident and
cocky. To_ BENFIELD]: I told you I knew my man! The Lord
knows he's full of theories, but sometimes they--[_His eye falls upon
a disturbing line_] Wait a minute! What's this?
BENFIELD
What's what?
GOODKIND
[_Reading_]: "Hereby agreed ... the men are to be represented ... on
the board of directors...."
BENFIELD
[_Stunned_]: No!!
GOODKIND
Yes! And ... look here! [_Reading_] "All disputes ... referred ... to
a committee of arbitration...."
BENFIELD
The man's gone crazy!
DANIEL
When you're through....
GOODKIND
[_Reading_]: "One-half of all profits, over and above a fair dividend,
to be divided pro rata, according to wage and length of service." [_He
rises_] Why.... [_Words fail_] What is this?
BENFIELD
Jerry told you; it's surrender!
DANIEL
No! No! It's justice!
GOODKIND
It's nothing! It's a scrap of paper until I sign it, and I wouldn't
sign it if I had to shut up every mine in West Virginia! Why should I?
We've got 'em licked!
DANIEL
If you'll only let me explain....
GOODKIND
Explain _what_? They're licked! They sent a delegation up here, and
we've won over the delegation!
DANIEL
You mean you've _bought_ the delegation!
GOODKIND
Who said so?
DANIEL
Jerry.... Not ten minutes ago he referred to Stedtman as the company
detective. We both know Hennig's for sale. Buy him, and I'll go back
and tell them he's bought, and prove it!
BENFIELD
You're working for us!
DANIEL
I'm working for----
GOODKIND
Wait a minute, Benfield! We've all lost our heads! Daniel and I have
just been over all this, and he admitted I was right!
DANIEL
Right as far as you went, but you only went part way! You have a right
to a profit on your idea, and your investment, and the labor you put
back of it! The public has a right to coal, and transportation, and
all it needs and pays for! But, above everything else, the workman who
works honestly has a right to something more than the barest kind of a
bare living ... and it can all be done if you don't sink everybody's
rights to accumulate a fortune you don't need and can't use!... All
the argument on earth can't make you _all_ right so long as there's a
Umanski in the World!
GOODKIND
If these people succeed there's no limit to what they'll do!
DANIEL
If they fail there's no limit to what you'll do!
GOODKIND
There's no good transferring control from the intelligent few to the
ignorant mob!
DANIEL
There's no good in anything so long as we fight each other like
beasts, instead of helping each other like brothers! There's no hope
anywhere except in The Great Teacher, and the understanding that what
He taught was not only good morals, but good sense and good business!
BENFIELD
Highfalutin nonsense!
GOODKIND
Daniel doesn't realize what he's costing us!
DANIEL
What?
GOODKIND
Millions!
DANIEL
Oh, is that all?
BENFIELD
All?
DANIEL
Am I costing you one cigar? Am I costing you one blanket from your
warm beds, or one stick of furniture from your comfortable homes, or
anything else you'll ever miss? I'm taking nothing from you, and I'm
giving thousands of men like you a chance to live!
GOODKIND
You're costing yourself your last chance of success!
DANIEL
I don't want your kind of success! I'm through! I give you back your
job, as I gave you back your church, and I give you twenty-four hours
to sign that paper!
GOODKIND
If I do, you're finished!
DANIEL
I am when you've signed! [_He goes R._]
GOODKIND
If you walk out of that door you're throwing away the chance of your
life!
DANIEL
I'm keeping my soul! [_He opens the door._]
BENFIELD
You Judas!
GOODKIND
You damned fool!
DANIEL
Good-night!
[DANIEL _closes the door behind him_.]
THE CURTAIN FALLS.
_ACT III._
SCENE: "Overcoat Hall." New York.
_This room--not too large--was the "front parlor" of a
comfortable residence in down-town New York. Business,
of the least attractive sort, and the slums long since
have occupied the district. The building is a red-brick,
low-stoop, English-basement house. The rear wall, which is
the front of the dwelling, is pierced by two lofty windows,
through which are seen the top of an iron railing, and a
row of similar structures, fallen into decay, across the
street. Between these windows, upon a low marble shelf, now
holding a tray of cups and saucers, originally was a tall,
gold-framed mirror. Over this hangs a blackboard, upon
which has been chalked: "And so, to the end of history,
hate shall breed hate, murder shall breed murder, until
the gods create a race that can understand." Beneath the
right window is a big radiator. Down stage R. are folding
doors, partly open, or a large single door--whichever
shall prove advisable. These--or this--lead to the main
hall, and so to the basement, or upstairs, or to the front
door, which slams solidly whenever it is closed. Left is
a decrepit, white-marble mantel, with a "fake" fireplace.
In front of this--in a jog, perhaps--a small platform, of
the kind used in public schools. Upon this, a small table
and a chair. Down stage of it, a geographical globe,
suspended over which a wall-pad informing us that today
is Wednesday. Above the mantel-shelf, another blackboard,
upon which are some simple calculations, and the axiom,
"Luck is work." In the center of the room is a long library
table, with a brown cover, and with numerous kitchen chairs
about it. On the table a reading lamp, a bowl of yellow,
purple and brown chrysanthemums; and numerous books and
magazines. Gilchrist has succeeded in making the old place
comfortable and inviting. It is a combination of club,
settlement house, school, reading room and lecture hall.
Brown linoleum covers the floor, and there are brown
denim curtains over the windows. A history chart hangs on
the wall. There are book-shelves, and two or three big,
comfortable chairs; a phonograph and, perhaps, even a
motion picture machine._
AT RISE: _It is just after seven o'clock on a brisk evening
in late October, 1920._
_Grubby, seated down stage of the center table, is
concealed behind a copy of "The Woman's Home Companion,"
which he has opened wide, and, holds in front of him._
_Mack, a shabby ne'er-do-well, between thirty and forty
years old, opens the doors R., and peers in uncertainly.
Reassured by the character of the room, he enters, and
looks about him curiously. Even from the rear, it is
evident that Grubby is a person of no authority, so Mack
dismisses him, temporarily, and warms his hands over the
radiator. Next he inspects the quotation between the
windows, pauses at the phonograph, and arrives in front of
the platform L. The three words on this blackboard interest
him. He reads them, turns away, turns back, and reads them
again. At last, he sniffs contemptuously, and, completing
his circuit, stops on the left of Grubby._
MACK
Hello ... you!
[GRUBBY _lowers his paper, and reveals a
sixty-year-old face, round, very red, and framed in a
scraggly gray beard_.]
Is this Overcoat Hall?
GRUBBY
Yes.
MACK
I'm looking for Mr. Gilchrist.
GRUBBY
He ain't in, but he will be.
MACK
Are you working here?
GRUBBY
No.
MACK
Is _anybody_ working here?
GRUBBY
Mary Margaret.
MACK
Who's she?
GRUBBY
A girl.
MACK
What girl?
GRUBBY
The girl that cleans. A lame girl. Her mother's the janitor. Have a
seat. Somebody'll be along in a minute.
[_And he resumes his magazine ... never completely
abandoned. Mack, thrown upon his own resources, picks up
one periodical after another, but Fortune does not smile.
They prove to be "The Atlantic Monthly" ... "The Review of
Reviews" ... "The Scientific American."_]
MACK
What are you reading?
GRUBBY
A piece about "Better Babies."
MACK
[_Laughs_]: Are you going into the baby business?
GRUBBY
No. I was a hansom driver.
MACK
Handsome! [_The laugh becomes uproarious._]
GRUBBY
Ah ... hacks! I drove hacks ... man and boy ... forty years. Then
taxis come in, and I went out!
MACK
What'd you do then?
GRUBBY
Took to drink.
MACK
Yeh; then drink went out.
GRUBBY
What's _your_ job?
MACK
Well, I was in the movies. That is, I was going to be, but the fellow
that was going to put up the money, his mother didn't die, after
all.... Before that, I sold bricks ... a few weeks. I sold books, too.
And life insurance. I never had any luck. Who wrote that, "Luck is
Work"?
GRUBBY
Mr. Gilchrist.
MACK
Well, it isn't! I've worked at _fifty_ things, and look at me! I
figure the world owes _me_ a living, and here I am, waiting for a bite
of grub and an overcoat! Is it true the boss'll give you an overcoat?
GRUBBY
He will if he's got one.
MACK
That's what a fellow told me. He said that's why they call this
Overcoat Hall.
GRUBBY
Yes.
MACK
I suppose a hard-luck story's the proper spiel.
GRUBBY
You don't get no chance for a spiel. He don't ask you nothing. You
just come, and help yourself, and talk things over ... if you want
to. Coffee and sandwiches every night--and suppers and sermons on
Wednesdays.
MACK
Preaching! [_Looks at the wall pad, and reaches for his hat._]
Wednesday. I'll be back Thursday.
GRUBBY
Not regular preaching! Just talks! Sometimes they's a picture show
... but the pictures is rotten! No shooting, or nothing! But you can
always sneak a little snooze 'til you get to the hand-out!
[MARY MARGARET _enters through the open door R.
Her two crutches are rubber-tipped, so her invasion is
noiseless. She occupies herself with the cups and saucers
C._ MARY MARGARET _is fifteen, and pathetically
pretty. The conspicuous feature of her costume is a pair of
soiled gold slippers that once set off a ball gown._]
MACK
Don't he try to reform you?
GRUBBY
Naw! The way he talks, you'd think you was as good as him. He says
to me, the other night, he says, "You're a good man yet, Grubby," he
says. "You're strong and healthy," he says, "and, if you learned to
drive a taxi, all the best people in New York would be telephoning for
your cab. I'll lend you the money," he says. Gee; he almost had me
started!
MACK
What's the catch?
GRUBBY
I don't know.
MACK
There must be graft in it somewhere.
GRUBBY
If you ask me, I think the poor gent's got a few nuts in his nose-bag.
A little bit batty. That's what _I_ say!
MARY MARGARET
[_Turning down_]: And that's what you got no right to say, Grubby!
GRUBBY
[_To_ MACK]: Mary Margaret.
MARY MARGARET
He's been good to you, ain't he?
GRUBBY
That's why we think he's nutty. What's he do it for?
MARY MARGARET
'Cause he loves you.
GRUBBY
What for?
MARY MARGARET
God knows! [_She has brought down a cup and saucer, with other
utensils, and is clearing and setting a place at one end of the table.
With this exclamation, she locates the cup somewhat forcibly._] After
seven o'clock now, and the meeting in half an hour, and he ain't had a
bite since morning!
MACK
Where _is_ he?
MARY MARGARET
He went to see a man that killed himself. [MACK _laughs_]
I mean ... tried to. It was in the papers this afternoon, and Mr.
Gilchrist says: "I want to talk to that man." [MACK'S
_interposition has brought his words to her mind, and reflecting
on them, she explodes_.] Graft!! Why he didn't have the rent money
yesterday, and he was desprit! He ain't had money to get himself a
pair of shoes, and nobody helps him, or comes near him, but you bums
that roast him behind his back! [GOODKIND _appears in the
doorway R._]
GRUBBY
I didn't roast him. I just said he was crazy.
GOODKIND
[_Crisply_]: Mr. Gilchrist?
MARY MARGARET
He'll be here any minute. Won't you come in?
GOODKIND
Thanks.
[_He comes forward a few steps, and looks at_
GRUBBY, _who, after an instant, takes refuge
behind his Home Companion_. GOODKIND _crosses
to_ MACK, _who turns up stage. He surveys the
blackboard._ MARY MARGARET _finishes her task_.]
MARY MARGARET
[_Offering a periodical to_ GOODKIND]: Take a magazine, and
sit down. [_With a nod, he accepts._] I got to go make the coffee.
[_To_ GRUBBY] You can come and carry it up in about fifteen
minutes. [_She turns and catches_ MACK _filching a loaf of
sugar_.] Graft!! ... Well, you ought to know! [_She exits R., singing
"I'm a Pilgrim." By now_, GOODKIND _is reading in a big chair
L._ MACK _glances at him, and comes down to_ GRUBBY.]
MACK
Think she'll tell _him_?
GRUBBY
Naw! Anyway, he don't care! He says we're all brothers in God.
MACK
Gee!
GRUBBY
That's what he told Jimmie Curran--brothers in God--and Jimmie just
up for pinchin' a guy's pants. Jimmie lives across from his room
upstairs, and Jimmie says he's clean loco. [GOODKIND _notes
name and address on the margin of his magazine_.] Guess what he's got
in the back yard!
MACK
What?
GRUBBY
Tennis. And handball games for children. And, in the other two houses,
he's got flats ... with bathtubs ... and the rents ain't what they ask
now for stalling a horse. Why wouldn't I say he was crazy? Everybody
says so but Mary Margaret!
[DANIEL _enters R. He is shabby, but beaming. He
carries two books, which he lays on some piece of furniture
up R.; after which he removes his overcoat, and hangs it
over an old umbrella already suspended from a wall-rack
down stage of the door._]
DANIEL
Hello, Grubby! You're early! And you've brought a friend! That's fine!
[_He shakes hands with_ MACK.] You're very welcome! [_Sees
and crosses to_ GOODKIND] And Mr. Goodkind! Well! You're
welcome, too! [_Shakes hands_] Have you come down to look us over?
GOODKIND
[_His eyes indicating the others_]: I've come down on personal
business.
DANIEL
Oh, yes! [_Turns_] Grubby, there's a box of books in the hall. How
would you and your friend like to----
GRUBBY
I promised to help with the coffee.
DANIEL
I see. [GRUBBY _exits. To_ MACK, _who has been
stealing surreptitious glances at the overcoat_] And you?
MACK
I just wanted to speak to you a minute.
DANIEL
All right. After the meeting.
MACK
I wanted to ask you----
DANIEL
_After the meeting!_ [_Turns back to_ GOODKIND] Sit down.
GOODKIND
[_Sitting_]: Thanks.
[MACK--_resentful, unobserved, uncertain of
getting the coat honestly--is sorely tempted. One pull,
one step, and he is safe from work and denial. During the
following, standing almost in the doorway, he is drawing
the garment toward him._]
DANIEL
[_To_ GOODKIND]: I'm glad you dropped in tonight, because
I've been intending to call on you, but there's so much to do
here--[_The coat comes off the rack, and with it, the umbrella, which
falls with a crash. Both men rise, discovering_ MACK, _coat
in hand_.] Hello! I thought you'd gone.
MACK
No; I--I--wanted----
DANIEL
You wanted my coat.
MACK
[_Advancing with a glad smile of pretended relief that_
DANIEL _has found the simple explanation_]: Yes ... that's
what I wanted to ask you.
DANIEL
I'm so glad you said so. [MACK _shows surprise_.] Because,
if you hadn't and I hadn't understood, you might have been tempted to
take it without asking--and then you'd've been so sorry and ashamed. A
man couldn't come into another man's house, and be welcomed, and then
take the other man's coat, without losing his self-respect ... could
he? And, of course, if we're going to pull ourselves together, and get
out of a hole, we _must_ keep our self-respect.
MACK
I wouldn't steal----
DANIEL
You couldn't.... It's your coat.... You asked for it, and I gave it
to you.... When you've worn it ... into a good job ... come back and
help me give another to someone who needs it as you do.
MACK
I will.
DANIEL
Of course you will. [_Helps him into the coat, and then shakes his
hand._] Good-night.
MACK
[_Hesitates, amazed_]: Good-night. [DANIEL _turns L., and
with a gesture expressive of the conviction that this man is mad_,
MACK _exits_.]
GOODKIND
Well, I'll be damned! [DANIEL _laughs_] He won't come back!
Not one in ten would come back!
DANIEL
All right!... That coat cost twenty dollars. If one in ten _does_ come
back, we've made a man for two hundred dollars. Isn't it worth the
price?
GOODKIND
Maybe ... if a man's _got_ the price! Have you?
DANIEL
Like our friend ... that's what I wanted to ask you.
GOODKIND
It's not what I wanted to ask _you_.
DANIEL
I'm rather badly in need of money, and my father----
GOODKIND
Your father understood you well enough to leave you only an income. I
foolishly turned over some of the principal, and, in three months, you
threw away twenty thousand dollars. You could have had a big salary,
and you threw _that_ away. You're an utter damned waster--if you're no
worse!
DANIEL
What do you mean ... worse?
GOODKIND
You'll soon find out what I mean! You've had my son's wife down here,
haven't you?
DANIEL
Once or twice.
GOODKIND
Or three times ... or a dozen! _He_ knows!
DANIEL
I've asked her not to come again.
GOODKIND
And _he's_ asked her ... but she's coming when she likes. She says so.
Because she's in love with you.... God knows what women see in your
kind of man! There was Pearl Hennig----
DANIEL
Please!
GOODKIND
Oh, my son told me! And I hear ... in the neighborhood ... that
you've worse women than that running here! Women of the streets!
DANIEL
Not many. They're welcome, but they don't come.
GOODKIND
Well, that's _your_ business! And if your neighbors get sick of having
a resort of this kind in their midst, and drive you out, _that's_ your
business! But my son's wife----
DANIEL
Is _her_ business!
GOODKIND
And _his_! Only Jerry's in no condition to settle the matter! He's
broken down from worry and overwork, and you're partly responsible,
and that puts it up to me! You can take this as a final warning!
If you see Clare again, I'll act, and I'll act quick! That's all!
Good-night! [_He gathers up his coat and hat, and crosses to the
door._]
DANIEL
[_Waking from a reverie, and turning R._] Oh! Mr. Goodkind!
GOODKIND
[_Expecting capitulation. Comes down R._]: Yes?
DANIEL
How about the money?
GOODKIND
You've had what's coming to you!
DANIEL
But that's _nothing_! I pay half that for these crazy houses! And I've
gone terribly in debt fitting them up!
GOODKIND
With bath tubs and tennis courts!
DANIEL
People must have baths.
GOODKIND
These dirty immigrants!
DANIEL
The dirtier they are, the worse they need 'em. I want to show them how
to live, and I want to show other people that you don't have to make a
pigpen to make a profit!
GOODKIND
Are you making a profit?
DANIEL
Enormous! And, to go on, I've got to have twenty-two thousand dollars.
GOODKIND
Oh, is that all? Twenty-two thousand dollars to go on making a fool of
yourself! Well, you won't get it!
DANIEL
Not even as an advance?
GOODKIND
Not a penny!
DANIEL
Don't drive me to----
GOODKIND
To what?
DANIEL
[_Rather at a loss_]: To ask for an accounting!
GOODKIND
[_Hardly believing his own ears_]: To ask for ... WHAT? [_This is the
last straw._] Now listen to me! I've stood all I'm going to stand!
You've run amuck! You've become dangerous to yourself ... and me ...
and the neighborhood! You're going to stop it, and you're going to
stop now!
DANIEL
That's your mistake.
GOODKIND
Is it? A year ago you gave me twenty-four hours to sign a paper, and I
did it, and it cost me two million dollars! Tonight I give you thirty
minutes to shut up this place, and quit seeing my daughter, and if you
don't do it----
DANIEL
As I won't!
GOODKIND
I'll be here inside of half an hour with a doctor!
DANIEL
And then?
GOODKIND
Then we'll file a petition to have you declared incompetent! [_He
starts R._]
DANIEL
Mr. Goodkind, you don't, mean that! You don't mean that because I'm
trying to help----
GOODKIND
Help ... whom? Strikers, and street women, and general riff-raff!
And you don't even help _them_ ... because nobody _can_! And, if
you _could_, and _did_, how in the name of God would that help the
Community? If I find you're still crazy in half an hour, I'll _say_
you're crazy, and _I'll prove it_! [_He goes to the door._] Think it
over! [_As he is about to exit, he narrowly escapes collision with a
neatly-dressed, capable-looking man, who apologizes, in nearly correct
English, and, with a contemptuous glance, crosses to up C._]
THE MAN
Excuse me!
GOODKIND
All right! [_He follows the man back into the room._] Haven't I seen
you somewhere before?
THE MAN
Yes, sir. My name's Umanski.
GOODKIND
Umanski? [_He remembers_] _You're_ not the Pole who came to my house
last year with a delegation?
UMANSKI
Yes.
GOODKIND
Well, I'll be----[DANIEL _fills his pipe from a jar on the
mantelpiece L._]
UMANSKI
Mr. Gilchrist tell me stay in New York. He's teach me English, and
find me good job. I'm work now eight hours on the docks, and six on
myself. [GOODKIND _again starts to go_.]
DANIEL
Mr. Goodkind! [GOODKIND _turns_] Umanski's got an invention.
If you'll see it----
GOODKIND
I'll see _you_ in ... half an hour! [_He exits._]
UMANSKI
What's _he_ doing down here, Mr. Gilchrist?
DANIEL
He says I'm crazy, and he's going to shut up this place. Of course, he
won't. [_He opens a book._]
UMANSKI
Don't be too sure.
DANIEL
Nonsense! [_He sits_] I made him angry. [_He marks a passage._] And
somebody's told him a lot of lies!
UMANSKI
Somebody's told a good many people lies! Yesterday I heard a man say
you run this house to ... to ... [_He hesitates._ DAN _looks
up_.] ... to get women!
DANIEL
Who said that?
UMANSKI
A wop named Malduca.
DANIEL
Oh, yes! I took his daughter in here once ... for a week ... until he
got sober.
UMANSKI
They's a good many like that.
DANIEL
Oh, not a good many!
UMANSKI
Enough to make trouble. Why not you carry a pistol?
DANIEL
It's generally men with pistols that get shot.
UMANSKI
One of them fellows get you----[_Enter_ MARY MARGARET.]
DANIEL
[_Warning him_]: Sh!
MARY MARGARET
I s'pose you ain't had any supper.
DANIEL
Not yet. [GRUBBY _enters with a tray, from which_ MARY
MARGARET _transfers dishes to the table_.]
UMANSKI
I brought you some money.
DANIEL
Money?
UMANSKI
My boss he give me another raise. He gonna make _me_ boss after while.
So I like to begin pay back what you lend me. [_Takes out bills._]
DANIEL
Wait 'til you've sent for your family.
UMANSKI
I'm gonna send now. My big boy I'm gonna send school ... college,
maybe. That pump I make she goes fine. I show my boss ... like you say
... because he know about coal mines ... and he say if she work she
save whole lots of lives and money. She work, all right! [_He has put
down the bills, and brought forth an English grammar._] How about I go
upstairs and study?
DANIEL
Sure! Go right up to my room! I'll be along after the meeting!
[UMANSKI _exits_. GRUBBY _starts to follow_.] Where
are you going, Grubby?
GRUBBY
Sandwiches! [_He exits._]
MARY MARGARET
[_Down L._]: Your supper's ready!
DANIEL
Thanks. [_Looks up_] What's this we're wearing? Golden slippers?
MARY MARGARET
Uh-huh! I took 'em out of the barrel of clothes that pretty lady sent.
DANIEL
[_Sitting at table_]: Supper with Cinderella!
MARY MARGARET
[_Setting dish before him_]: Gee, I love that story! [_She sits beside
him, facing front._] When you tell it to me, you make me believe I'm
her.
DANIEL
If you believe it ... you _are_.
MARY MARGARET
I guess believin' ain't never goin' to make _me_ dance.
DANIEL
You can't tell ... if you believe hard enough.
MARY MARGARET
That's what you said before, and I've tried, but, somehow, it don't
work.
DANIEL
That's the very time to go on. If we stop, just because it don't work,
that isn't faith.
MARY MARGARET
No; I s'pose not.
DANIEL
And faith moves mountains. Once upon a time there was a woman who'd
been sick twelve years.
MARY MARGARET
What was the matter with her?
DANIEL
I don't know. But there was a Man in that city who said He could
even make the dead rise. And everybody laughed at Him ... as they
would today. But the woman didn't laugh, and one morning, when He was
passing her house, she got up and followed Him ... just to touch the
hem of His cloak. And what do you think?
MARY MARGARET
I duno.
DANIEL
She was cured. And the Man said----
MARY MARGARET
Oh, now, I know. "Thy faith hath made thee whole."
DANIEL
That's right.
MARY MARGARET
Could God do that for me?
DANIEL
Why not?
MARY MARGARET
It would be an awful big favor.
DANIEL
But if He doesn't, you must go on. If faith doesn't heal our hurts, it
helps us to bear them. And that's almost the same thing, isn't it?
MARY MARGARET
[_Doubtfully_]: Yes.
DANIEL
Like believing you're Cinderella.
MARY MARGARET
Yes.
DANIEL
We can't decide what we want, and then be angry and doubtful because
it doesn't happen our way. Because, all the time it's happening His
way. The only thing we can be sure of is that He knows what's best.
MARY MARGARET
That's right.... You mean, if God wants me to be well, some day He'll
make me well?
DANIEL
If you believe hard enough.
MARY MARGARET
And if He don't?
DANIEL
Then _that's_ right ... if you believe hard enough.
MARY MARGARET
I will, Mr. Gilchrist. [_She rises_] You ain't touched your supper.
DANIEL
I've had plenty.
MARY MARGARET
I'll send Grubby up for the tray.
[_She exits._ DANIEL _finishes, and puts up his
napkin. He observes that the window-shades have not been
drawn. Attends to that R. Facing L., with his hand on the
shade of the window L., he pauses to look out._ PEARL
HENNIG _enters. Pearl is 25, and her clothes are
cheaply flashy. An experienced eye should lose no time in
appraising her. She has an air of alarm. She looks around
for_ DAN, _and then isn't quite sure of him in the
shadows up stage_.]
PEARL
[_Uncertainly_]: Mr. Gilchrist? [_He half turns_] Don't stand by that
window!
DANIEL
Hello, Pearl! [_He draws the shade_] How well you're looking. [_Comes
down_] What's the matter with the window?
PEARL
It ain't safe.
DANIEL
[_Smiling_]: Are _you_ going to advise me to carry a pistol?
PEARL
No. Just to keep out o' sight of people that do.
DANIEL
Meaning?
PEARL
Meaning Joe Hennig.
DANIEL
I thought Joe was in Black River.
PEARL
He ain't. I told you he was ashamed to go home. I told you he was
gonna stay here an' get you!
DANIEL
[_Sits on bench in front of table_]: Well?
PEARL
[_Down stage R. of table_]: Well ... he stayed. I went to him ... like
I told you ... an' said it wasn't you ... an' ast him to take me back.
An' he said I was a liar an' he was gonna get you. I told you all
that!
DANIEL
Yes; I guess you did.
PEARL
While he was workin' up town I didn't hear nothin' about him. But a
little while ago he lost his job, an' began hangin' around down here.
An' he's been drinkin', an' talkin' wild, an' I come in to tell you.
DANIEL
That's kind of you, Pearl, but I'm not afraid of Joe.
PEARL
I am.... He's got his gang.... I _know_.
DANIEL
_How_ do you know?
PEARL
[_Hesitates_]: Well, last night I met up with one of his pals.... An'
_he'd_ been drinkin'. An' he said Joe said you was livin' on women,
an' this place was a blind, an' nobody's wife was safe while you was
in the neighborhood. An' this man said they was gonna get together,
an' drive you out. They're dang'rous, Mr. Gilchrist. For God's sake,
believe me! For God's sake, telephone the police!
DANIEL
There's no telephone here, Pearl. But there's always an officer at
hand, and I'm among friends. Don't worry. Sit down, and wait for the
meeting. I haven't seen you in ages.
PEARL
[_Doesn't sit. She is restless_]: Two weeks.
DANIEL
What are you doing?
PEARL
I'm workin' at Macy's.
DANIEL
Like it?
PEARL
[_Defiantly_]: Better than bein' with Joe.
DANIEL
If you'd stayed with Joe, maybe he wouldn't _be_ drinking.
PEARL
He always did. That's why I ast you to stick around in Black River.
That's one reason I quit.
DANIEL
_One_ reason.
PEARL
[_Admitting it grudgingly_]: They was others.... I wanted good
clothes, an' a good time ... jus' like other women.
DANIEL
[_Thinking of_ CLARE]: Yes ... like other women.
PEARL
[_Indicating her costume_]: An' I've got 'em!
DANIEL
Yes; you've "got 'em." But don't you think ... sometimes ... you and
the other women ... that they cost you too much?
PEARL
I don't get you.
DANIEL
I only mean isn't there something worth more than good clothes and a
good time? A good home, maybe, with love in it ... and little children.
[PEARL _hesitates, and then the uneasiness she has
never lost takes her up to peep out of the curtain_.]
PEARL
We oughtn't to be here talkin'.
DANIEL
Why not?
PEARL
I'm frightened of Joe.
DANIEL
You needn't be.
PEARL
I am. I can't help it. I got a hunch. I ain't told you all this man
said, an' I ain't told you how he come to say it, but he said it was
gonna be soon, an' I got a hunch sumpin's gonna happen _tonight_.
Please let me go out an' phone! Please let me get the police!
[DANIEL _laughs_] You're crazy, Mr. Gilchrist! You're just
crazy! [_An infinitesimal pause. She turns._] An' I'm goin'! [_She
runs to the door, which opens before her, and admits_ CLARE
GOODKIND. CLARE _is smartly gowned, in street attire,
but somehow, she has the appearance of being disheveled ... of having
dressed in haste_.]
DANIEL
Clare--Mrs. Goodkind! [_A pause_] Mrs. Hennig's just going.
CLARE
Mrs. Hennig?
DANIEL
_Pearl_ Hennig. You've heard your husband mention her name.
PEARL
I know your husband.
CLARE
I know you do. [_Her tone tells how much she knows._]
PEARL
[_Quails_]: I guess you ain't got much use for me.
CLARE
Why? What's the difference between us?
PEARL
[_Unable to make it out_]: Well ... good-night! [_She exits._]
DANIEL
Clare, I asked you....
CLARE
I'd nowhere else to go. I've left him.
DANIEL
Left ... Jerry?
CLARE
Yes. For good. He struck me.
DANIEL
No!!
CLARE
Here ... in the breast! And he's lying now ... brandy-soaked and
half-conscious ... across the foot of my bed!
DANIEL
I can't ... believe....
CLARE
He's been drinking ... more and more! And, of course, there've been
women ... from the beginning! All kinds of women! _That_ woman,
salesgirls, stenographers, women of our own class! Do you remember ...
in your church ... a Mrs. Thornbury? He's been quite open about _her_!
Tonight we were going out to dinner! He came to my room ... drunk ...
and babbled that he'd refused to go until she was invited! Then _I_
refused to go, and he accused me ... _of you_ ... and struck me with
his fist!
DANIEL
He accused ... _you_?
CLARE
Yes. And then he tried to take me in his arms! Night after night he's
come to me ... drunk ... and held me in his arms. And I said once
there was nothing more degrading than poverty! In the past two years
I've learned what degradation means! I've come to see your way at
last! I've come to realize that the material things are nothing, and
that love is all! It isn't too late?
DANIEL
It's never too late!
CLARE
I knew you'd say that! I'll share your work ... your want ... if need
be ... gladly! Only take me away!
DANIEL
[_Not yet comprehending_]: But my work is here!
CLARE
We can't stay here! Jerry suspects us! He's made his father suspect
us! Do you know what they're planning to do now? [_He nods_] Jerry
wants to send you to an asylum! He said so tonight! And he'll do it,
too! The strange thing about Jerry is that, with his mind going, and
his health gone, he still gets what he wants! Take me away, and "we'll
have five or six rooms, and each other!"
DANIEL
Clare!
CLARE
Don't you understand that I'm offering myself to you?
DANIEL
Yes; I understand!
CLARE
I love you! I need you! I've always loved you, and needed you, even
when I lied to you, and myself! This is our last chance for happiness!
I've been blind, and stupid, and cruel, but it isn't too late! Take
me, and hold me, and we'll both forget!
DANIEL
Forget?
CLARE
Forget everything! Won't you take me, dear?
DANIEL
No!
CLARE
Don't you want me?
DANIEL
No!
CLARE
That's not true! You love me! You've always loved me! Look at me, and
deny it if you can!
DANIEL
I don't deny it! I love you!
CLARE
Then take me!
DANIEL
I love the good in you ... the good you're trying so hard to kill! I
love you because you're big enough to do what's right!
CLARE
What _is_ right?
DANIEL
Go back to your husband!
CLARE
I'd rather die!
DANIEL
I'd rather you died ... than _this_!
CLARE
Oh, you fanatic! You blind fanatic!
DANIEL
I love you!
CLARE
Love! You don't know what love means! You're only half a man!
DANIEL
And I'm praying to God, with all my strength, to save us from the
other half!
CLARE
For what?
DANIEL
For you ... and HIM ... and for MY PEOPLE. [_Off R., very softly, as
she goes down the hall_, MARY MARGARET _is heard singing "I'm
a Pilgrim; I'm a Stranger."_] For the little girl out there.
CLARE
And for them you'd send me back to degradation?
DANIEL
That little girl's known degradation that you and I will never know.
And she's singing. Her constant companions are poverty and pain. And
she's singing. She's crippled. She may never walk again. And still she
can say God's will be done. She believes in me. I can't disappoint her
and the rest. I'm going on with my job, and you're going back to yours!
CLARE
You mean to Jerry?
DANIEL
Yes.
CLARE
You think _that's_ God's will?
DANIEL
I know it's your job. You took it with your eyes open. It's up to you
to see it through.
CLARE
Must I go on forever paying for one mistake?
DANIEL
Somebody must pay for our mistakes. That it was wrong to make a
bargain doesn't make it right to break the bargain when we get tired
of it.
CLARE
I don't know what to do.
DANIEL
Play the game. Go back to that poor, mistaken man lying across the
foot of your bed--his mind going and his health gone. Bear your
punishment and help him to bear his. That's your duty!
CLARE
Duty! Duty!! What about happiness?
DANIEL
There _is_ no other happiness. Oh, don't you see, my dear, _that's_
been your _great_ mistake? You're always crying--you and the world--"I
want to be happy!" Happiness is service! Happiness is clean-living,
and clear-thinking, and self-forgetfulness, and self-respect!
CLARE
And love?
DANIEL
Love _isn't_ all. Not the love you mean. You said: "Take me, and
we'll both forget." Could we have forgotten promises unkept, faith
disappointed, aspirations unrealized? No, my dear, love isn't all;
nor even happiness. There's something bigger, and better, and more
important, and that something is ... DUTY!
CLARE
The world doesn't think that!
DANIEL
That's what's wrong with the world! [_A pause._]
CLARE
You want me to go back?
DANIEL
I want you to be right!
CLARE
Well, then ... I'm going through. I'm going back, and play the game
... with you in my heart always. You don't forbid that, do you?
DANIEL
You are in mine always.
CLARE
And this isn't good-bye. Sometime ... somewhere ... in this world
... or out of it ... there must be a moment ... and a place ... to
retrieve mistakes.... Good-night.
[_She starts up. He passes her, and opens the door._]
DANIEL
Clare ... good-night. [_She takes his hand. Then she exits. The outer
door slams. Then a cab door ... faintly. He sinks ... tired with the
effort of renunciation. Afterward he comes down, slowly, and drops
on the bench in front of the table._ MARY MARGARET _enters,
singing "I'm a Pilgrim," in a higher key, to march tempo, keeping time
with her crutches. She is down R. when she sees_ DANIEL.]
MARY MARGARET
Ain't you well, Mr. Gilchrist?
DANIEL
Just tired.
MARY MARGARET
Maybe you ain't believin' hard enough. [_He looks up._] It's 'most
time for the meetin'. [GRUBBY _enters with a tray_.]
GRUBBY
I brung the sandwiches.
[MRS. MULLIGAN _enters. She is the worse for liquor, and
glad of a warm place to enjoy it. She slinks in rather
furtively, and sits R. end of table. She is followed on
by_ MR. _and_ MRS. HENCHLEY. _He is a middle-aged and
respectable locksmith. She is larger than he, and somewhat
formidable._]
MARY MARGARET
Good evening, Mrs. Mulligan.
MRS. MULLIGAN
[_With a hiccough_]: It is not!
GRUBBY
[_Aside to_ MARY MARGARET]: Bums ... like that ... ain't got
no business here.
MR. HENCHLEY
Good evening, Mary Margaret. [_She nods._]
MRS. HENCHLEY
Good evening, Mr. Gilchrist.
DANIEL
Good evening, and welcome.
MR. HENCHLEY
[_To_ DANIEL]: I guess we're early.
MRS. HENCHLEY
[_To_ DANIEL]: Yes. I wanted to speak to you ... about Mr.
Henchley's pants.
DANIEL
Mr. Henchley's _what_?
MRS. HENCHLEY
Pants. I took out a spot ... with gasoline ... and hung 'em on the
fire-escape that runs across from this house, and tonight they was
gone, and I think you ought to look into your lodgers.
DANIEL
I will.
[_Enter_ MISS LEVINSON. _She is a Jewess--a
garment-worker; thoughtful, studious, spectacled._]
MISS LEVINSON
Good evening, everybody!
DANIEL
Good evening, Miss Levinson.
[_The others, too, acknowledge the greeting._]
MISS LEVINSON
I've brought back your book.
MRS. HENCHLEY
What've you been reading?
MISS LEVINSON
George Bernard Shaw.
MRS. HENCHLEY
I s'pose you ain't read "The Sheik"?
MISS LEVINSON
[_With justifiable pride_]: I've been reading "Cæsar and Cleopatra."
DANIEL
[_Taking the volume_]: That's where we got the quotation on the board.
I've jumbled it a bit. [_Reads_] "And so, to the end of history, hate
shall breed hate, murder shall breed murder, until the gods create a
race that can understand."
MISS LEVINSON
That's it; isn't it? A race that can--
[_The door is opened violently, and enter_ PEARL HENNIG.]
PEARL
Mr. Gilchrist!
DANIEL
Oh, Pearl; I thought you'd gone.
PEARL
No; I've been watchin', an' I've got to speak to you ... _quick!_
DANIEL
In just a few minutes.
PEARL
_Now!_ Joe's out there!
MRS. MULLIGAN
Ah, shut up!
DANIEL
Mrs. Mulligan!... Pearl; you're interrupting!... You were saying, Miss
Levinson?
MISS LEVINSON
We seem always to have hated everything different from ourselves ...
in station, or race, or religion.
DANIEL
Yes. It's stupid ... and instinctive. I've noticed we're inclined to
blame a man for a pug nose ... if ours is Roman. Some day we'll get
over the idea that all who differ from us are villains, and that we
should hate each other instead of trying to understand each other. It
was on the battlefields that I came to believe a man's life might well
be given to teaching and to preaching ... love! [_A solid half-brick
crashes through a practical pane of glass in the window L. Everybody
screams and rises._] Don't be alarmed. It's only some hoodlum!
PEARL
Mr. Gilchrist ... it's Joe! I seen him in front! That's why I couldn't
get out! Somebody go get the police! [_A general movement._]
DANIEL
No!
PEARL
He's got other men with him! He'll kill you! _[The front door slams.
Pearl hurls herself against the door R._] Here he comes! Don't let
him in! Somebody help me hold this door! [_In spite of her, the door
slowly opens._]
DANIEL
Pearl! Stand aside! [_Enter_ GOODKIND.] It's only Mr.
Goodkind!
GOODKIND
Yes. And your neighbors are calling.
MR. HENCHLEY
What's the matter? [_Together_]
MRS. HENCHLEY
Is there any danger? [_Together_]
MARY MARGARET
I'll get the cops. [_Together_]
VOICES IN THE GANG
[_Off stage_]: The fake! The damned pimp! Drive him out! Come on....
Rush him!
[_Suddenly there is the noise of the oncoming._ PEARL
_throws herself before_ DAN. MARY MARGARET _is just behind
him. The others retreat to the platform. Headed by_ JOE
HENNIG ... _drunk_ ... _the rowdies enter_--JIMMIE CURRAN,
_a big dockman, his wife and half a dozen hangers-on of the
neighborhood_.]
JOE
[_En route_] Come on, fellows! We'll show this guy! We'll show--[_He
confronts them_] By God! Caught in the act! [_To his gang_] That's my
wife!
DANIEL
Caught in what act, Joe?
JOE
Why ... caught ... in the act....
DANIEL
Tell him what we're here for.... You, Grubby.
GRUBBY
[_Following the example of_ PETER]: I don' want to get in no
trouble!
MARY MARGARET
I'll tell you.
DANIEL
No, Mary Margaret!
UMANSKI
[_Who has come through the crowd unobserved; claps his hand on_
JOE'S _shoulder, forcing him to his knees_]: I tell you!
JOE
Umanski!
UMANSKI
I tell you, Hennig! Mr. Gilchrist been friend to everybody! And now,
when _he_ need friend, nobody knows nothing! Well, _I_ know! I know
anybody hurt him gotta lick me!
DANIEL
No ... please ... Umanski!
JOE
Lickin' people ain't gonna hide facks!
UMANSKI
[_Threatening with his free fist_]: Shall I?
DANIEL
No ... no!
[UMANSKI _sets_ JOE _on his feet_. JOE _turns eloquently to
his gang_.]
JOE
I'll show you the kind of fake that's been foolin' you! He was a
preacher, an' he got kicked out of his church!
VOICES IN THE GANG
Kicked out! They got onto you, did they? Caught him with the goods!
JOE
He was a spy for the people that live on labor, and he came to the
mines, where we was on strike, and ran away with my wife!
VOICES IN THE GANG
The dirty bum! Maybe he didn't get much!
PEARL
It _wasn't_ him!
JOE
She says that 'cause she's stuck on him!
PEARL
I ain't!
JOE
Well, you're workin' for him, ain't you?
PEARL
No!
DANIEL
Your wife's working in a store uptown!
VOICES IN THE GANG
We know different! What's she doing here? That's a good one! What're
you giving us? Everybody in the neighborhood knows what she's doing!
JOE
My wife's walking the streets!
DANIEL
That's a lie!
JOE
I heard from a pal she picked up las' night ... an' I _seen_ her
comin' here!
JIMMIE
She's workin' Sixth Avenue!
MRS. MULLIGAN
I can't believe it! I can't believe it!
DANIEL
Pearl!!!... It _is_ a lie?
PEARL
Oh, no!... It's true. [_A momentary silence; the gang jeers; she turns
on them; then a momentary defiance._] Well! Well, why wouldn't it be?
I tried to live straight ... like you told me ... an' I _had_ a job
... but when the other girls got wise.... They ain't no better than I
am! [_She slowly gives way before his calm, steady gaze._] Anyway ...
I lied. I _am_ walkin' the streets. I ain't no good. I ain't fit to
live. [_She starts to sink at his feet. He raises her._]
DANIEL
Pearl!
PEARL
For Christ's sake, ain't you done with me now?
DANIEL
For Christ's sake ... no! [_And he takes her in his arms._]
JOE
It's all fake! Ain't you fellows on? He's got every rotten woman in
the neighborhood workin' for him. Your wives ain't safe! Your kids
ain't safe! Ask Jimmie Curran! He knows what's goin' on here! [_Enter_
TONY MALDUCA.] Ask Tony Malduca!
A VOICE
Here's Tony!
TONY
Why you send for me? What do you want?
JOE
We want to know what happened to your kid! Did he bring her in here
... an' keep her ... against her will? Did he?
TONY
That's what he done!
VOICES IN THE GANG
You remember Teresa Malduca? You see! Sure; everybody knows that! She
was here a week!
UMANSKI
You damned wop!
DANIEL
Umanski!
VOICES IN THE GANG
There ain't no woman safe! He's a damned fake! Beat him up! Kill him!
JOE
That's it! Don't let this big guy buffalo you! Come on! Drive him
out! [_To_ DANIEL] I said I'd get you, an' I have! [_The gang presses
closer, but_ UMANSKI'S _menacing bulk still holds them off_.]
MARY MARGARET
[_Kneeling on the platform L._]: Oh, dear God, please listen! [_And
she begins the Lord's Prayer._]
PEARL
Get the police!
MISS LEVINSON
[_Crying out of the window L._]: Police! Police!
JIMMIE
[_To_ UMANSKI]: Get out of the way ... you!
A VOICE
Bust him in the jaw!
GOODKIND
[_Forcing his way through_]: Listen to me! No violence! You're dealing
with a lunatic! Leave him alone! I've got a doctor coming in a few
minutes! Leave him to me, and I give you my word I'll have this place
closed tonight!
VOICES IN THE GANG
Yes, and he'll open another one! Sure he will! Of course he will!
Ah-h-h! Beat him up!
GOODKIND
Leave him alone! You can't beat a crazy man!
PEARL
Mr. Gilchrist ain't crazy! He ain't a man! Ain't you seen what he just
done to me?
A WOMAN
Hire a hall! [_All laugh._]
PEARL
Ain't you heard? I lied to him, an' he's give me another chance, an'
_I'm gonna take it_! He ain't no man! He's a Saint! I tell you he's
like God!
A VOICE
Where's his wings? [_All laugh._]
JOE
Like God!
JIMMIE
That's blasphemy!
JOE
That's what it is, an' that's what he's been tellin' 'em! Ain't it ...
you ... Grubby? Didn't he tell you that, Jimmie? Didn't he tell you he
was a Son of God?
VOICES IN THE GANG
Sure he did! That's right!
JOE
You see, that's what he's told 'em all! That's how he gets 'em! [_To_
DANIEL]: Didn't you tell 'em you was a Son of God? [_There
is a momentary silence, broken only by_ MARY MARGARET'S
_prayer_.]
DANIEL
I am!
VOICES IN THE GANG
He admits it! And I'm Mary Magdalene! Pipe Mary Magdalene! Son of God!
DANIEL
And so are we all! [_Jeers_] In you ... and me ... and all of
us ... deep down ... is something of Him! We may try to hide
it--[_Jeers_]--or kill it, but, in spite of ourselves, we _are_ Divine!
VOICES IN THE GANG
Chuck it! Hell! Cut the gab! He's crazy! Come on; smash the place!
TONY
[_Facing_ DANIEL]: If you're a Son of God ... save yourself!
If you're ... what you say ... give us a sign!
JOE
Ah, hell! Come on!
[_Two men have climbed upon the table, and suddenly seize_
UMANSKI _from behind. Momentarily, they bear him down,
and this obstacle is removed. As they drag him up R., the
rest of the gang closes in from all sides, hiding Daniel,
who is forced up stage C. The table is overturned. Above
the struggling mass are seen fists striking down, various
improvised weapons in action. A Dockman, who, at_ JOE'S
_speech, has lifted the bench from behind_ DANIEL, _to
fell him with it, and whose weapon has been seized, from
the rear, by the_ HENCHLEYS, _pommels madly. Above the
pandemonium are distinguished voices_--PEARL: "_Help!_"
UMANSKI: "_I kill somebody!_" MISS LEVINSON: "_Police!_"
GOODKIND: "_Let him alone!_" _Suddenly_ UMANSKI _throws off
his captors, and, attacking the mob from in front, mows his
way through, tossing them to left and right. When a way is
cleared, he ... and we ... see_ DANIEL, _senseless, lying
in the overturned table, a tiny trickle of blood running
down his face, his head supported by the table-leg R._
UMANSKI _gives a deep groan of rage and pity. Hearing this
and divining that something dreadful has happened to her
hero_, MARY MARGARET, _who has ceased praying, and raised
herself to her feet by the aid of a neighboring chair,
walks down to L. C. Before she sees_ DANIEL, MISS LEVINSON
_sees_ her, _and emits a piercing scream_.]
MISS LEVINSON
Mary Margaret! Where are your crutches?
MARY MARGARET
[_Looking at her legs in tearful bewilderment_] I don't know! [_She
tries them; then, in an hysterical cry_]: I kin walk! I kin walk!
[_She looks for her benefactor ... to show him._] Mr. Gilchrist! Mr.
Gilchrist! [_The crowd parts, and she sees the figure lying against
the overturned table._] Oh, Mr. Gilchrist! [_She folds him in her
arms._]
UMANSKI
[_Staring at_ MARY MARGARET, _and in a tone of hushed awe_]:
You wanted a sign--LOOK! Down on your knees--you murderers! God's in
this room! Down on your knees!
[_One by one and two by two, the frightened mob obeys._
JOE _is lying senseless, but his cohorts, crossing
themselves, have seen a miracle_.]
THE CURTAIN FALLS
_ACT IV._
SCENE: _Gilchrist's Room--"Upstairs." Two months later._
_The room is cheerful. That is its chief aspect. Cheerful, and
comfortable, and homelike. Such a room ... in the rear of the fourth
story ... might be had anywhere for seven dollars a week, and its
contents duplicated for a couple of hundred, yet no one should be
able to look in without envying the occupant. Before the warm glow
of a fireplace down R. is a big, brown leather-covered armchair. An
electric lamp stands on a table stage left of the chair and squarely
opposite the fireplace. There are books on the table, too, and writing
things, and another chair on its left. Above the grate a picture of
Christ in the Temple. Conspicuous in the flat, and visible from all
parts of the house, a big studio window. There are cream-colored
outside curtains, and brown denim inside curtains, drawn now, but when
they are pulled aside, one sees chimney-pots, and roof-tops, and a
blue night-sky, with one particularly bright star. Up L., a curtained
arch into a hall bedroom, and down L. a door. The walls, covered
with old-gold grass-cloth, are hidden, to a height of six feet, by
roughly-built bookcases, filled with much-used books. A sofa, against
the wall L., now holds numerous packages. There is a brown-and-tan
grass rug on the floor, and there may be a window seat, with brown
cushions, beneath the window. The furniture is all old ... probably
second-hand ... but, as aforesaid, the room suggests comfort and
peace._
AT RISE: _It is just after eight o'clock, Christmas Eve,
1920._ DANIEL _is discovered, dreaming, in the armchair R.,
a pipe in his mouth and his face to the fire. He has not lighted the
desk lamp, and, except for the glow of the embers, the room is in
darkness. Hanging over the left arm of the chair_, DANIEL'S
_hand holds a magazine, but he has not begun reading. After a pause
long enough for the audience to take in his surroundings, there is a
light tap at the door and, without waiting for a response_, MARY
MARGARET _enters. She walks without crutches--quite briskly--but
plainly is on some secret business. Daniel is lost in the darkness.
A package in her hand_, MARY MARGARET _crosses quickly to
the table, and turns on one and then the other of the two lights in
the lamp. Instantly, of course, she sees the figure in the chair, and
conceals the package beneath her apron._
MARY MARGARET
Mr. Gilchrist? [_He shows himself_] Goo'ness, how you scared me! I
thought you went out!
DANIEL
No; I just slipped up here to read a while before we put our gifts on
the tree.... Where's Grubby?
MARY MARGARET
[_Contemptuously_]: Grubby!
DANIEL
He promised to help with the packages.
MARY MARGARET
Grubby's all swelled up with his new taxicab. Christmas Eve's the big
night in his business, but he says don't worry ... he'll be here in
time for the sandwiches. Am I interruptin' your readin'?
DANIEL
Oh, no! What have you there?
MARY MARGARET
Where?
DANIEL
Under your apron.
MARY MARGARET
Oh!
[_She reveals the parcel_] I was gonna surprise you. It's your
Christmas present.
DANIEL
From you?
MARY MARGARET
[_Handing it across the table_]: Yes. It ain't much ... _you_ know ...
an' I didn't want it on the tree ... before everybody. I wanted to
give it to you myself. Open it now. [_He does so. The package contains
a framed picture._]
DANIEL
Mary Margaret!
MARY MARGARET
The name's on the back! [_He turns it around, revealing to the
audience a cheap and highly-colored chromo_] See ... "Mama's Treasure."
DANIEL
It's just what I wanted.
MARY MARGARET
[_Delighted_]: Is it ... honest?... Let's put it in place of that one
over the mantel-piece! That's an awful pretty pitcher, but mine's got
colors in it!
DANIEL
Why not in place of the Venus who fell on her nose?
MARY MARGARET
Oh, yes! [_She stands "Mama's Treasure" atop a bookcase L._] It looks
good, don't it?
DANIEL
Beautiful. I can't thank you enough. [_Takes her hand_] I can't really.
MARY MARGARET
_You_ can't thank _me_! You that's give me--[_She looks down at her
legs, and up again with eyes full of tears_] Oh, Mr. Gilchrist!
DANIEL
Now! Now! Now! We mustn't cry on Christmas!
MARY MARGARET
What're you going to do if you're happy?
DANIEL
Try laughing. [_She does_] Anyway, if I'm having my Christmas now, you
must have yours. Suppose you rummage on the sofa.
MARY MARGARET
Oh! [_She runs to obey, and holds up a parcel inquiringly._]
DANIEL
That's a book for Miss Levinson.
MARY MARGARET
[_Reads from another bundle_]: Mrs. Henchley. [_Takes up a third_]
This one ain't marked.
DANIEL
Gloves for Mack. I wanted to show I appreciated his bringing back that
coat.
MARY MARGARET
[_Reading from two packages_]: Peter ... Paul....
DANIEL
For your brothers.
MARY MARGARET
[_With a fourth_]: And ... Mary Margaret!
DANIEL
Open it now.
MARY MARGARET
[_Breathless, she comes to him C. Hesitates, and
then, removing the wrapping, reveals a child's set in
beaver--muff and neckpiece_]: Oh, Mr. Gilchrist! [_She
tries them_] Oh, Mr. Gilchrist; you oughtn't! [_Looks
about for a mirror_] They're beautiful! They're the most
beautifulest furs I ever seen! I've wanted a set like this
always! You've made me so happy! I never was so happy
before in my life! [_And she begins to cry again._]
DANIEL
Now! [_She remembers, and laughs._]
MARY MARGARET
I don't know how to thank you.
DANIEL
Don't try.
MARY MARGARET
I never expected no such a Christmas! [_Starts for door_] I gotta show
mother!
DANIEL
[_Turning R._]: Take down a few of the packages!
MARY MARGARET
I'll be back in a minute! [_She opens the door, disclosing_
GOODKIND. _Seriously alarmed_] Oh!... Mr. Gilchrist!
DANIEL
[_Turning L._]: Well ... Mr. Goodkind!
GOODKIND
May I come in?
DANIEL
Of course! [_He enters. Dan indicates chair L. of table R._] Sit down!
GOODKIND
I've only a moment. Jerry's waiting for me in the car.
DANIEL
How is Jerry? [MARY MARGARET _arranges the chair_.]
GOODKIND
[_Shakes his head despairingly. Looks at_ MARY MARGARET]: I
wish you could perform a miracle on _him_.
DANIEL
I wish I could.
GOODKIND
[_To_ MARY MARGARET]: You seem to walk all right.
MARY MARGARET
Oh, yes!
GOODKIND
[_To_ DAN]: Had a doctor look her over?
DANIEL
Three of 'em.
GOODKIND
Any opinion?
DANIEL
Three opinions.
MARY MARGARET
They said _he_ didn't do it, and you seen him!
DANIEL
[_Holds up a warning finger_]: _Ssh!_ [_Then to_ GOODKIND]
They all say she suffered from hysterical paraplegia.
[GOODKIND _puzzled_] Hysterical paralysis. One says she was
cured by shock--you know; the riot. Another says it was suggestion
... believing ... which is another way of saying faith, isn't it? The
important thing is that she's cured!
MARY MARGARET
God did it--God and Mr. Gilchrist!
DANIEL
[_Hushing her again_]: Take down an armful of those packages ... like
a good girl!
MARY MARGARET
I will. [_She gathers them up, and, returning L. C., looks
apprehensively at_ GOODKIND] You call ... if you want me!
[_Exits_]
GOODKIND
[_Hesitates. Doesn't know how to begin. Takes cigars from his
pocket_]: Smoke?
DANIEL
Thanks. [_Showing his pipe_] I'll stick to my old friend. [_He sits._]
GOODKIND
How are things with you?
DANIEL
[_Enthusiastically_]: Fine!
GOODKIND
Happy?
DANIEL
[_Radiantly_]: Yes!... And you?
GOODKIND
No. Everything's ... all wrong. My boy's very ill. Clare's wonderful
to him. I can't explain it--she's like a different woman. And _she_
seems happy. But Jerry's had to give up work, and there's more trouble
in Black River, and that's what brought me!
DANIEL
You don't want _my_ advice?
GOODKIND
I want _you_ ... as general manager. These strikes are such utter
damned waste! We had a working compromise on your agreement, and
everything was all right, but we began figuring we could make more
money ... and the men walked out, and flooded the mines. I'd like you
to take charge, Daniel.
DANIEL
I can't.
GOODKIND
Name your own salary.
DANIEL
My work is here.
GOODKIND
You can have anything you want.
DANIEL
I don't want anything.
GOODKIND
You want to see the men get their rights.
DANIEL
They'll get 'em. Nothing can stop that.
GOODKIND
You're not going to turn down fifty thousand dollars a year?
DANIEL
What can I buy with it that I haven't got?
GOODKIND
What can you buy with fifty----
DANIEL
What have _you_ bought?
GOODKIND
I've got one of the finest houses in New York!
DANIEL
Is it any more comfortable than this?
GOODKIND
This one little room!
DANIEL
How many rooms do you live in at the same time?
GOODKIND
I've got half a dozen cars!
DANIEL
I've two legs, and I walk, and keep well.
GOODKIND
I've twenty servants----
DANIEL
Don't tell me you enjoy that!
GOODKIND
And the respect of people about me----
DANIEL
So have I!
GOODKIND
And, what's most important of all, I'm a success!
DANIEL
Are you?
GOODKIND
Huh?
DANIEL
Are you? What is success? Money? Yes; that's what our civilization
tells us. Money! But where has that brought us? Only to the elevation
of the unfit ... the merely shrewd and predatory. All around us
we see men of wealth who have nothing else ... neither health nor
happiness nor love nor respect. Men who can get no joy out of books,
or pictures, or music, or even themselves. Tired, worried men who
are afraid to quit because they have no resource except to make
money--money with which to buy vulgar excitement for their own debased
souls. Why, Mr. Goodkind, I have an income that you wouldn't suggest
to your bookkeeper, but I have peace, and health, and friends, and
time to read, and think, and dream, and help. Which of us is the rich
man?
GOODKIND
But if everybody lived your way, what would become of the world's
work?
DANIEL
Living that way is my contribution to the world's work. Another man's
might be selling shoes, or writing plays, or digging ditches. Doing
his job doesn't prevent any man from doing his bit. "From every man
according to his ability, to every man according to his needs." And
every man who gives his best must find his happiness.
GOODKIND
I'm afraid there wouldn't be much progress ... living your way.
DANIEL
That's the second time you've spoken of my way. It isn't _my_ way.
It's the sum total of all that has been learned and taught. You,
and Jerry, and the others have called me eccentric, and a fool,
because I'm trying to walk a path trod hard by countless feet. Was
Christ eccentric? Was Confucius a fool? And how about Buddha and
Mohammed? What of St. Bernard, and St. Teresa, and St. Francis of
Assisi--of Plato, and Zeno, and Lincoln, and Emerson, and Florence
Nightingale, and Father Damien, and Octavia Hill, and all the saints
and scientists, and poets and philosophers, who have lived and died
in complete forgetfulness of self? Were they fools, or were they wise
men and women who had found the way to peace and happiness? Were
they failures, or were they the great successes of all Time and all
Eternity?
GOODKIND
God knows!
[JERRY _enters ... a dying man. He drags his legs
with difficulty, and his speech is thick, but he is still
cynical and defiant._]
JERRY
Well, you've been the devil of a time! I came up to see what was
keeping you!
GOODKIND
[_Rising_]: Mr. Gilchrist.
JERRY
Hello, Gilchrist!
DANIEL
[_Crossing to C._]: How are you, Jerry?
JERRY
Not so damned well! But I'll be all right in the Spring! Clare's
looking after me. Clare's a good sport. What I need now's a run down
to Palm Beach! [_Looks around_] So you're reduced to this, are you?
DANIEL
Yes.
JERRY
Going to take my job?
DANIEL
No.
JERRY
Why not?
DANIEL
Your father understands.
JERRY
Yes ... so do I! Didn't I always say you were a nut? That's it; a nut!
[_He laughs with a laugh that begins to get the better of him._]
GOODKIND
[_Crossing rapidly to the door_]: Come, Jerry!
[_A light rap_; GOODKIND _opens. Enter_ MARY MARGARET. _She
glances at him and crosses to upper L. C._ JERRY _looks at
her, and turns back to_ DAN.]
JERRY
Who's the girl?
DANIEL
Your father's waiting.
JERRY
A' right!... [_Crosses L._] Some failure _you've_ made out of life!
[_Turns back and leers at_ MARY MARGARET. _In the doorway,
looks at_ DAN.] Wheels ... by God! Wheels! [_He laughs, and
exits._]
GOODKIND
[_Goes to_ DAN _and takes his hand_]: I wonder if _you're_
the failure, after all. [_Returns to the door._] Good-night! [_He
exits._]
[DAN _takes his pipe from his pocket and puts it
in his mouth. Some chimes, in the distance, begin the
anthem "Hark the Herald Angels Sing."_ DANIEL
_goes up, draws back the curtains, and throws open the
window_. MARY MARGARET, _feeling the fresh
air, draws her furs about her, happily. She turns up._
DANIEL _is standing with his left arm akimbo_.
MARY MARGARET _slips her head through it, and
nestles to him. They ... and we ... see the chimney pots,
and the blue night sky, and one bright star._]
MARY MARGARET
Mr. Gilchrist! Is that the Star of Bethlehem?
DANIEL
I wonder. [_The chimes swell out, and_
THE CURTAIN FALLS
* * * * *
Transcriber's Notes
Pages 73, 150: Original book used multi-line braces to indicate
[_Together_] lines.