[Transcribers notes:
Inconsistencies in hyphenation have been retained. Unusual spellings
in dialogue have also been retained.
Page 147 "." added ("BISHOP HARDBROOKE.")
Page 170 "And" replacing "nd" ("And now a living thing.")
Page 198 "." added ("EGERTON.")
Page 252 "Harry" replacing "arry" ("HARRY EGERTON.")
Page 259 "." added ("Bishop Hardbrooke.")
Page 259 "." added ("We have been busy.")]
THE AMERICANS
THE AMERICANS
By
EDWIN DAVIES SCHOONMAKER
NEW YORK
MITCHELL KENNERLEY
1913
COPYRIGHT 1913 BY MITCHELL KENNERLEY
PRESS OF J. J. LITTLE & IVES COMPANY, NEW YORK
TO MY FATHER AND MY BROTHER FRANK
AUTHOR'S NOTE
The drama here published is logically the third in a series of racial
dramas, as follows:
1. _The Saxons_
2. _The Slavs_
3. _The Americans_
4. _The Hindoos_
Of this series _The Saxons_, dealing with man's struggle for religious
liberty, has already been published. For reasons that need not be given,
it has been thought best to postpone _The Slavs_, which will present
man's battle for political liberty, and offer _The Americans_, the theme
of which is the industrial conflict that is now raging. _The Hindoos_, a
drama of spiritual unfoldment, will come in its order.
PERSONS OF THE DRAMA
J. DONALD EGERTON Lumber king and mill-owner
AUGUSTUS JERGENS A partner
SAM WILLIAMS Leader of the strikers
GENERAL CHADBOURNE In command of the State Militia
CAPTAIN HASKELL Second in command
REV. EZRA HARDBROOKE Bishop of the Diocese
JOHN. W. BRADDOCK Governor of the State
RALPH ARDSLEY Editor of the Foreston Courier
CHIEF OF POLICE Coöperating with the Militia
GEORGE EGERTON Son of Donald Egerton
HARRY EGERTON Son of Donald Egerton
HARVEY ANDERSON Former cowboy and Rough Rider
BUCK BENTLEY One of the Militia
WES DICEY A walking delegate
JIM KING Supporter of Dicey
ROME MASTERS Supporter of Dicey
CAP SAUNDERS An old miner
BILL PATTEN Striker, off in search of work
SILAS MAURY Striker, off in search of work
WILLIE MAURY Son of Silas Maury
MARY EGERTON Wife of Donald Egerton
GLADYS EGERTON Daughter of Donald Egerton
SYLVIA ORR Friend of Mrs. Egerton
A chauffeur, a butler, a doctor, a nurse, two maids, two detectives, two
sentries, strikers, strike-breakers, militiamen, guests at the
reception, etc.
A land is not its timber but its people,
And not its Art, my father, but its men.
--HARRY EGERTON.
THE AMERICANS
ACT I
THE MINE
_Scene: On the mountains in a timber region of north-western America. In
every direction, as far as the eye can see, a wilderness of stumps with
piles of brush black with age and sinking from sheer rottenness into the
ground. Here and there a dead pine stands up high against the horizon.
In the distance, left, cleaving the range and extending on back under an
horizon of cold gray clouds, is seen the line of a river of which this
whole region is apparently the watershed, for everywhere the land slopes
toward it. In the remote distance, beyond the river, innumerable bare
buttes, and beyond these a gray stretch of plains. Down the mountains,
left, six or seven miles away, the river loops in and a portion of a
town is seen upon its banks. At this end of the town, upon a hill
overlooking the river, a large white mansion conspicuous for the timber
about it. At the farther end, a huge red saw-mill occupies the centre of
a vast field of yellow lumber piles, the tall black stack of the mill
clearly outlined against the gray of the land beyond._
_Back, a hundred yards or so, a road, evidently constructed years ago
when the logs were being taken out, comes up on the flats from the
direction of the town, turns sharply to the right and goes toward the
ridge. Beyond this road, just at the curve, standing out among the
stumps, an old stationary engine eaten up with rust and an abandoned
logging-wagon, the hind part resting upon the ground, the two heavy
wheels lying upon it. Farther back a small cabin falling into decay.
Here and there patches of creeping vines and rank grass cover the
ground, hiding in some places to a considerable depth the bases of the
stumps. But to the left, where it is evident a steep slope plunges down,
and also in the foreground, are open spaces with boulders and, scattered
about under a thin loam of rotted needles and black cones, the outlines
of a few flat stones. In the immediate foreground, left, a huge boulder,
weighing possibly four or five tons, barely hangs upon the slope, ready
at any moment, one would think, to slip and plunge down._
_Two men, Cap Saunders and Harvey Anderson, the latter down left, the
former to the right and farther back, are slowly coming forward. Each
has a camping outfit, a roll of blankets, etc., upon his back, and
carries in his hands a plaster cast of what would seem to be a
cross-section of a log. It is about two feet in diameter and three
inches thick. As they come along they try the casts on the various
stumps and carefully turn them about to see if they fit, then chip the
stump with a hatchet to indicate that it has been tried._
_Time: The evening of a day early in November in the present time._
HARVEY ANDERSON.
And say two dollars profit on each log.
CAP SAUNDERS.
That's low enough.
HARVEY ANDERSON.
Suppose a man could walk
Over the mountains with a great big sack
And pick two silver dollars from each stump.
It's forty miles to where the trees begin,
And on each side the river eight or ten.
Think what he'd have.
CAP SAUNDERS.
He's made work for them, Harvey.
HARVEY ANDERSON.
Have millions, wouldn't he?
Cap Saunders.
I suppose he would.
But where would this land be? There'd be no homes.
And what are forests for but to cut down?
HARVEY ANDERSON.
You wouldn't hear him say, 'Now, Harvey, you
Go in and get your sack full; I'll stay out';
Or 'Now it's your turn, Cap.' Not on your life.
He'd walk his legs off, but he'd have them all.
Or what's more likely, he'd let others walk,
And send his wagons out and get the sacks
And have them brought in to him.
CAP SAUNDERS.
For myself
I'd rather be out here though on the mountains
Than live in his big mansion.
HARVEY ANDERSON.
So would I.
But that don't mean I'd rather tramp the flats
Picking up dollars for some other man.
And I suppose the mill-boys feel the same.
CAP SAUNDERS.
A fellow has to do the best he can.
If he can stake himself, then off, I say,
And pan for his own self. That's been my way.
Sometimes I've struck pay dirt and sometimes not.
And then I'd go and dig for a month or two
For the other boys until I'd got my stake----
HARVEY ANDERSON.
Here is another like the one back there;
Goes half way round as clean as anything;
And the bark seems the same; but on this side----
CAP SAUNDERS.
(_Who has left his cast and is hurrying forward excitedly_)
Hold her a minute!
HARVEY ANDERSON.
No, it don't fit, Cap.
The same old finger width it's always been.
When the curve matches, then there's some damn knot;
And when the knot's not there, it's something else.
No, you can't stretch it. Now it's this side; see?
'Twas best the way I had it. There you are.
Might as well mark her.
CAP SAUNDERS.
It's a close miss, sure.
It's like the one I found upon the ridge
Week before last.
HARVEY ANDERSON.
The place where it don't match
Is always on the side that you don't see
Until your heart's jumped up.
(_Chips the stump_)
That ends the day.
CAP SAUNDERS.
I think I'll work a while.
(_Starts back_)
HARVEY ANDERSON.
The sun's gone down.
CAP SAUNDERS.
I haven't heard the whistle of the mill.
HARVEY ANDERSON.
Nor like to.
CAP SAUNDERS.
Ah! I keep forgetting that.
When a man's heard her blow for years and years
He can't be always thinking that she's stopped.
I wonder how the strike is getting on.
HARVEY ANDERSON.
As everything gets on that's Egerton's.
He'll cut them down as he's cut down the trees.
(_Sits upon a stump and looks off up the valley, then turns and
watches the old man busy with his cast_)
HARVEY ANDERSON.
Your old bones must be tired, Cap.
CAP SAUNDERS.
How so?
HARVEY ANDERSON.
How long have you been hunting for this thing?
CAP SAUNDERS.
Before this search, you mean?
HARVEY ANDERSON.
Yes.
CAP SAUNDERS.
Off and on,
Thirty or forty years.
HARVEY ANDERSON.
And won't give up?
CAP SAUNDERS.
Not till I'm dead.
HARVEY ANDERSON.
You ought to have been an ox.
You've got the wrong form, Cap. You think you'd be
As patient if the prize was for yourself?
CAP SAUNDERS.
When one's been on a trail for years and years
It ain't the game he cares for; it's the chase.
And like as not when he's brought down the buck
He'll leave the carcass lying on the rocks,
Taking a piece or two, then off again.
As for what's done with it, I don't care that.
But I would like to know where that tree stood.
HARVEY ANDERSON.
And you think the boys down there should be the same,
The boys that saw the dollars from the logs,
Sacking the silver up, be satisfied
To have him take the silver, leaving them
The bark on either side?
CAP SAUNDERS.
I don't say that.
HARVEY ANDERSON.
Give me the carcass when you find it, Cap,
And you can have the chase. I'd like to know
For one time in my life just how it feels
To have your pockets full and taste the towns.
And I think the boys that saw the logs down there
Are more like me, Cap, than they are like you.
(_Picks up his cast and comes forward_)
CAP SAUNDERS.
Egerton ain't a-holdin' them. They can go
If they ain't satisfied.
HARVEY ANDERSON.
Yes, they can go.
They're like the red men, they can always go.
(_In an open space in the foreground he puts his things down upon
the ground. He goes right to a pile of brush, pulls out a black
limb, and proceeds to break it across his knee, throwing the pieces
in a little heap upon the ground_)
They've got a Mayor down there, I suppose.
What if he said, 'If you don't like my way,
If you ain't satisfied, there's the road off there?'
Or say the lad we've got in Washington--
What if he said, 'If you don't like my way,
There's ships there in the harbor?' Think we'd leave?
You've had your eyes, Cap, on the ground so long
That you've forgotten there's such things as men.
(_The old man comes down to the stump which he and Anderson tried
earlier in the scene. Anderson picks up his kindling and goes left
and proceeds to start a fire. The night gathers quickly_)
CAP SAUNDERS.
(_Trying the stump_)
Be careful, Harvey, or they'll see the flame
And think it's found already.
HARVEY ANDERSON.
I don't care.
'Twould serve them right.
CAP SAUNDERS.
They're watching at this hour.
HARVEY ANDERSON.
'Now we've got millions!' then say 'April Fool.'
God, I don't blame them though; I'd do it too.
(_Picks up a blanket and, sticking pieces of brush in the ground,
hangs it between the fire and the town_)
CAP SAUNDERS.
Aug. Jergens he'd be mighty mad, I tell you.
HARVEY ANDERSON.
If I could put men out, you bet I would.
And when I found the gold I'd make her fly.
You wouldn't catch me quarrelling with a lot
Of fellows for the bones, I tell you that.
I'd take a rump or two, then say, 'Light in
And fill your bellies'; or, 'Come on; I'm rich;
Let's take a turn together.' And I'd buy
A train or two and we'd all take a spin
Around the world. I'd make their hair stand up.
I'd show those eastern fellows once or twice.
(_Goes left and climbs up on the boulder and looks back over the
waste_)
CAP SAUNDERS.
(_Coming forward_)
You'll have that rolling down if you don't mind.
HARVEY ANDERSON.
And that's one reason I'll be always broke,
For I know how to spend, while Egerton
And Jergens and those fellows down there don't,
In spite of their big houses. They know how
To quarrel with men and squeeze their last dime out,
But they don't know how to say, 'By God, come on;
Let's have a drink together; we're all friends.'
(_The old man busies himself about the fire, preparing the evening
meal. Anderson sits down on the boulder and looks off up the
valley. Where the town was seen, lights begin to appear_)
HARVEY ANDERSON.
You'll wake up some day, Cap, and look about
And Harvey will be gone.
CAP SAUNDERS.
You don't mean that!
You ain't took no offence at what I said?
HARVEY ANDERSON.
Mad as the Devil, Cap.
CAP SAUNDERS.
Don't you know, Harvey,
About the rolling stone?
HARVEY ANDERSON.
There's some stones, Cap,
Would rather have the motion than the moss.
CAP SAUNDERS.
You're sure a wild one, Harvey; that you are.
You'd stir a muss up, that's what you would do.
(_Goes to the boulder and stands beside Anderson, and they both
look off up the valley_)
HARVEY ANDERSON.
The mansion all lit up--what's going on?
(_They are silent_)
It's a strange world, Cap, it's a funny world.
You throw a piece of bread down; it draws ants,
Red ants and black ants, little ants and big,
And if you'll keep it up you'll have them here
Building their hills about you; you know that.
CAP SAUNDERS.
(_Returning to the fire_)
It's wonderful how much some men can do.
HARVEY ANDERSON.
Well, men are ants, and Egerton he's had bread.
And he's kept throwing it down there in the valley,
First crumb by crumb and later chunk by chunk,
Until he's drawn them round him, thousands of them,
And when they've come he's put them all to work.
And to see them at it! I could spend my life
Sitting upon the mountains on some rock
That hangs above the town, watching them drudge.
'Get me my logs out;' and they get his logs.
'Now saw them; make me lumber;' and they do it,
'Build me my railroad;' and they blast the rocks.
'Now up with my big mansion on the hill,
And carve me all my ants upon the walls,
Some sawing logs, others with axes raised
Hard at the big round boles, some half cut down;
Make her look like a forest through and through.'
And they've tugged at it till they've got it done.
And all they've chopped and sawed and built is his,
And he puts it in his pocket and sits down
And they can't help themselves. They've got to eat,
And Egerton he's the man that's----
(_He has risen and stands looking back through the darkness_)
CAP SAUNDERS.
What do you say,
Harvey, let's spend the night back in the cabin.
It ain't the cold I mind, but from the air
I wouldn't be surprised if it would snow.
HARVEY ANDERSON.
By God, Cap!
CAP SAUNDERS.
Eh?
HARVEY ANDERSON.
Looks like the boys had found it.
CAP SAUNDERS.
You don't, don't say!
(_Goes to the boulder_)
HARVEY ANDERSON.
Off there, beyond the knob.
(_Bill Patten comes through the darkness, rear right. He looks
about, then spies the men_)
BILL PATTEN.
You got some grub that you can spare, boys?
(_Goes near the men and gets their line of vision_)
That?
It's the moon rising.
CAP SAUNDERS.
Ah, I'm glad, I'm glad!
HARVEY ANDERSON.
Against the sky it looked like some far fire.
(_Gets down from the boulder_)
BILL PATTEN.
You're of the force that's huntin' for the mine?
HARVEY ANDERSON.
That's 'hunting' for it, yes.
BILL PATTEN.
You'll find it.
HARVEY ANDERSON.
Why?
BILL PATTEN.
Egerton's luck.
(_Calls back_)
O Silas!
(_To Anderson_)
'Tain't no use
A-fightin' that old wolf or 'spectin' God
To put his hand between J. D. and gold.
He's got a devil that takes care of him.
(_Silas Maury and his son Willie, a boy of twelve or thirteen,
enter rear_)
BILL PATTEN.
And the same devil blacks Aug. Jergens' boots.
I'd like to get that man in some lone spot.
(_They sit down. The workmen seize food and eat ravenously_)
HARVEY ANDERSON.
Mill-hands?
(_Patten nods_)
How's the strike?
BILL PATTEN.
I ain't a man
To show the white while there's a chance to win.
SILAS MAURY.
They've got till sun-down to report for work.
BILL PATTEN.
They'll feel like dogs, too, goin' in that gate,
After the bluff they've made, lickin' his hand.
Me for some other town. I'd rather starve.
SILAS MAURY.
They're 'ranging to bring in a lot of scabs
To-morrow, when the Governor will be there.
BILL PATTEN.
Much as to say, 'Now knock 'em!' Son of a bitch!
HARVEY ANDERSON.
The Governor?
CAP SAUNDERS.
What's the trouble?
BILL PATTEN.
Cakes and pies.
SILAS MAURY.
It's Egerton's big reception.
HARVEY ANDERSON.
(_To Cap Saunders_)
Explains the lights.
They're getting things in shape.
SILAS MAURY.
Yes.
(_He and Anderson walk a little way left and look back toward the
mansion_)
BILL PATTEN.
When the boys
First talked of strikin' when they made the cut
I said, 'Don't do it. Egerton's a man--
You'd better fight the Devil than fight him.
He'll show no mercy on you if you cross him.'
I guess they know by now that Bill was right.
Sam Williams though he thinks he knows. 'Hang on.'
All right, hang on; but you will see what comes.
It's hell. I'd rather die out on some rock.
SILAS MAURY.
There ain't no room for poor men in this world.
I don't know what God ever made us for.
(_He and Anderson return to the fire_)
BILL PATTEN.
The man that's got no home's a lucky man.
SILAS MAURY.
I said to Willie, 'I'm glad mother's dead.'
(_A pause_)
WILLIE MAURY.
Think she can see us, pa?
SILAS MAURY.
I don't think so.
BILL PATTEN.
She's better off.
SILAS MAURY.
That's true. I hope she can't.
She died a-thinkin' Willie would be rich
Some day, if they ever found the mine.
BILL PATTEN.
(_Bitterly_)
Give 'em your apples and expect the core.
SILAS MAURY.
It came so quick, though, Bill; he didn't think.
BILL PATTEN.
If he had just kept still and called to Chris
And had him help and roll the log aside
And then at night let some of us men know,
We could have slipped it out and hidden it,
And gone to Egerton and said, 'See here,
We've found the log that you've been lookin' for
These years and haven't found it----'
CAP SAUNDERS.
You don't mean----
BILL PATTEN.
'And if you'll do the square thing we'll cough up;
If not, we'll go and find the mine ourselves.'
CAP SAUNDERS.
You don't mean 'twas the boy that found the log!
SILAS MAURY.
Willie here found it.
CAP SAUNDERS.
Well, well, well! H-u-rrah!
Hurrah, I say!
(_Throws his hat into the air. Harry Egerton comes through the
darkness rear right_)
CAP SAUNDERS.
If I could call the men,
Call up the men, my son, who've spent their lives
Tryin' to get a peep of that there trunk--
You hear that, boys, you up there in the air?
BILL PATTEN.
He'd come to terms, all right, you bet your life.
HARRY EGERTON.
Good evening, men. I'm turned around a bit,
Or seem to be. Just where is Foreston?
HARVEY ANDERSON.
You see those lights down there?
(_He walks back, left. Harry Egerton joins him, going across rear_)
HARRY EGERTON.
That's east?
HARVEY ANDERSON.
Correct.
HARRY EGERTON.
And how far am I from it?
HARVEY ANDERSON.
About six miles.
HARRY EGERTON.
From Foreston, I mean?
HARVEY ANDERSON.
Six miles or more.
HARRY EGERTON.
So far!
(_He walks back a little way, then stops and looks off up the
valley. Harvey Anderson comes forward and begins to break some
brush to replenish the fire_)
CAP SAUNDERS.
Who is it, Harvey?
HARVEY ANDERSON.
I don't know.
CAP SAUNDERS.
And it had the sign cut in the bark, eh?
SILAS MAURY.
Yes.
WILLIE MAURY.
Two X's and a spade.
CAP SAUNDERS.
That's it, that's it!
'Two X's and a spade, then dig nine feet.'
There's two bits, son. How did it happen, dad?
SILAS MAURY.
It came up into the mill with the other logs,
Lookin' just like 'em, but Willie spied the sign--
WILLIE MAURY.
Just as it was goin' into the saws.
SILAS MAURY.
And shouted to Chris Knudson. Chris shut down;
There was a crowd; and then Aug. Jergens come
And had it hauled away.
CAP SAUNDERS.
If you and me
Had been out here, son, when all these were trees
And you'd a-spied that sign, I tell you what,
I'd hung some nuggets round this little neck.
HARVEY ANDERSON.
You'd better wait until the moon comes out.
It's a rough road back there.
HARRY EGERTON.
There is a road?
HARVEY ANDERSON.
A logging road.
HARRY EGERTON.
(_Coming forward, notices the casts upon the ground_)
You're searching for the mine?
HARVEY ANDERSON.
Cap and I here. These men are from the mill.
HARRY EGERTON.
(_With interest_)
From the mill down in Foreston, you mean?
HARVEY ANDERSON.
Leaving in search of work.
HARRY EGERTON.
Are things so bad
Down at the mill, my friends, that you must leave?
Are others leaving? Have the men gone back?
(_The men glare at him_)
CAP SAUNDERS.
They'll have to soon, they say; their grub's give out.
HARVEY ANDERSON.
The Company has given them till to-morrow night
To come to work or be shut out for good.
HARRY EGERTON.
Have they brought in more men?
HARVEY ANDERSON.
They're arranging to.
HARRY EGERTON.
I do not see, friends, what you hope to gain
By leaving Foreston and wandering off
In search of work. In the first place I know,
As you perhaps do not, that Egerton
Has given orders to the neighboring plants
To take on no more men until this strike
Is settled, till it's won. And, as you know,
For forty miles around the mills are his,
The camps are his. And where his power ends,
Others begin that work in harmony
With Egerton and Company. They are one,
And have an understanding in some things
Far more than you suspect.
(_Patten and Maury rise and walk aside and whisper together_)
And they all know
Whatever be the outcome of this strike
The effect of it will reach them all at last.
If you men win, mill-workers everywhere
Will take new heart and stand for better things.
But if the Company wins, others will say--
And with no little weight--'We cannot pay
The present scale of wages and compete
With Egerton and Company.' So it will go
Until the farthest mill in all this land
Puts in its hand and takes a ten per cent
Out of the wages of its workingmen.
And there's no power on earth that can prevent it.
(_Willie Maury rises and joins his father and Patten_)
But even were this not true, were places open,
The same conditions would confront you there
As now confront you here. At any time
Those who employ you have you in their power
And can reduce your wages when they choose,
Lay on you what conditions they see fit,
And you must either yield or be turned forth
To wander on again. I do not know
Whether you men have families or not,
But others have, and their cause is your own.
You cannot wander on for evermore,
Picking up here and there a chance day's work
And hoping that to-morrow things will change,
For changes do not come except through men.
(_The men return to the fire_)
And so I do not see just what it is
You hope to gain by leaving Foreston.
You cannot spend your lives on highways, friends.
Where will you go? Have you some place in mind?
BILL PATTEN.
It's none of your damn business where we go.
We don't wear no man's collar.
SILAS MAURY.
Bill is right.
BILL PATTEN.
Nor Egerton's, nor no man's on this earth.
HARRY EGERTON.
I beg your pardon, friends, I did not mean----
BILL PATTEN.
We're twenty-one years old and we're free men.
HARRY EGERTON.
I did not mean you had no right to go.
You have.
BILL PATTEN.
You bet we have.
SILAS MAURY.
You can't get men
And want to scare us back, that's what you want,
Talkin' as how the mills will shut us out.
HARRY EGERTON.
I have no wish to scare you back, my friend.
BILL PATTEN.
Then what's your proposition?
HARRY EGERTON.
I have none.
BILL PATTEN.
Come up to shake hands, eh, and say, Good-bye?
HARRY EGERTON.
I chanced upon you here.
BILL PATTEN.
'Chanced' hell! We know.
SILAS MAURY.
If it's my rent you're after, if it's that,
I think you might at least let that much go
For what my boy did, findin' of the log.
HARRY EGERTON.
Friends, you misunderstand me if you think
That I am here to speak for any man,
Or round you up, or lift one hand to stay
Your coming or your going. You are free
And can do what you please.
BILL PATTEN.
You bet we can,
For all your bayonets.
HARRY EGERTON.
_My_ bayonets?
BILL PATTEN.
Yes.
SILAS MAURY.
Think we don't know you, eh?
HARRY EGERTON.
I do not know,
I do not know what I can say to you.
I understand just how you----
SILAS MAURY.
(_Plucks him by the sleeve and points off up the valley_)
There's your home,
Off there in that big mansion on the hill.
Go there and live your life; you're none of us.
HARRY EGERTON.
My father is my father; I am I.
(_The men prepare to leave. Cap Saunders rises and begins to pack
up the things_)
HARRY EGERTON.
We do not choose the gates through which we come
Into this world, my friends. Nor you nor I
Selected who should cradle us nor what home
Should give us shelter. 'Tis what we do that counts,
Not whence we come. Do not misjudge me, friends.
Because I am a son of Egerton
Deny me not the right to be a man.
SILAS MAURY.
You wear our sweat in your fine clothes all right.
HARRY EGERTON.
I wear, my friend, what my own hands have earned.
Where will you go?
SILAS MAURY.
We'll go where we can find----
BILL PATTEN.
Don't tell him, Si. Don't you see through his game?
Keeps askin' where we're goin'. Don't you see?
He's a spy of the Company.
HARRY EGERTON.
Ah, you do not know
Why I am here. God knows I did not come----
WILLIE MAURY.
Thought we wouldn't know him.
SILAS MAURY.
Poor men are fools.
WILLIE MAURY.
He's been
Doggin' our footsteps.
BILL PATTEN.
You've been followin' us
To find out where----
CAP SAUNDERS.
Don't quarrel, men.
BILL PATTEN.
It's a good thing
Your old man crushed me till I pawned my gun,
Or, God, I'd kill you. Do you understand?
HARRY EGERTON.
Hold on there, pard.
BILL PATTEN.
So he could have the mills
Blacklist us. Curse you! And curse all your kind!
You've ground us down until we're dogs, damn you.
SILAS MAURY.
Come sneakin' round to----
HARRY EGERTON.
Friend, I did not come
To spy on any man or seek you out
Here on the mountains. For my hope has been----
BILL PATTEN.
We'll blow you up some day, you mark my word.
HARRY EGERTON.
That never one of you would leave the ranks
In your great struggle in the valley there,
But that you would stand fast, and somehow win
In spite of everything, starvation, death.
And I have done all that I could to help you.
But you, my friends, O you must understand,
As there are some things that you cannot do,
So there are things I cannot.
CAP SAUNDERS.
Get the pot.
(_The boy picks up the coffee pot_)
HARRY EGERTON.
How I came here I do not know myself.
Some Power has led me though I know not why.
I half remember that I could not sleep
For voices round me in my father's hall,
And rose and wandered forth, fleeing from something
That seemed to follow me across the waste,
A sighing and a thundering of men.
All day, it seems, I've wandered over the mountains
And all last night. Then from afar I spied
Your fire here and came to learn my way.
SILAS MAURY.
Your way lies that way and our way lies this.
(_Patten, Maury, Cap Saunders and the boy go off through the
darkness, right rear_)
HARVEY ANDERSON.
You must be hungry, pard.
HARRY EGERTON.
No, thank you, no,
Nothing to eat.
HARVEY ANDERSON.
'Tain't much, but what it is
You're welcome to it.
HARRY EGERTON.
(_Calling after the men_)
And you will go away
And leave this great cause hanging in mid air?
VOICE OF SILAS MAURY.
Tend to your business and we'll tend to ours.
HARVEY ANDERSON.
Don't mind them; they're damn fools.
HARRY EGERTON.
_You_ understand
What I have tried to say unto these men;
You understand, I know.
HARVEY ANDERSON.
I think I do.
HARRY EGERTON.
And something tells me we shall meet again.
HARVEY ANDERSON.
Who knows? I'm tramping round, to-day one place,
To-morrow another. I'm a rolling stone.
I never have been one to keep the trails.
Just knock about the States and watch the plains
For something--I don't know--and yet 'twill come,
And when she comes she'll shake her good and hard.
I don't know what you're rolling in your mind,
But, as you say, it's a great land we've got.
I like to lie and feel her under my back
And know she tumbles to the double seas
Up to her hips in mile on mile of wheat.
Beyond that moon are cities packed with men
That overflow. The fields are filling up.
They're climbing up the mountains of the West----
HARRY EGERTON.
(_Looking after the men_)
And going on beyond them.
HARVEY ANDERSON.
It's all right.
They'll reach the coast off there or reach the ice,
And then they'll have to turn or jump on off.
And they won't jump off. It's too fine a land.
Men throw away the hoofs but not the haunch.
I sometimes see them in the dead of night
Crawling like ants along her big broad back,
With axe and pick and plow, building their hills
And pushing on and on. It's a great land.
And bread tastes good that's eaten in her air.
And there's enough for all here----
HARRY EGERTON.
Yes, ah, yes!
HARVEY ANDERSON.
If we could just turn something upside down.
I don't know what you've heard along the waste,
But when you think it's time to ring a change,
And when you draft your men and call the roll,
Write Harvey Anderson up near the top.
And here's my hand, pard. You can count on me.
HARRY EGERTON.
We'll meet again.
HARVEY ANDERSON.
Hope so. I like your face,
And like the way you talk. Good-night.
HARRY EGERTON.
Good-night.
(_Harvey Anderson takes up his pack and cast and goes off through
the darkness after the other men. For a long time Harry Egerton
stands looking after him. The fire has burned low_)
HARRY EGERTON.
Not that, not that! And yet I know 'twill come.
My God! my God! Is there no way, no way?
(_Walks left and looks off up the valley_)
My father! O my father!
(_He breaks out crying and, staggering about, falls first upon his
knees, then face forward upon the ground. Instantly it becomes
pitch dark_)
THE DREAM VISION
(_During the following, a shaft of light, falling upon Harry
Egerton, shows him lying near the boulder. As he cries out, he
partially rises, his form and face convulsed with anguish_)
FIRST VOICE.
(_From up the mountain, full of pleasure_)
Harry! Harry! Come to the heights!
SECOND VOICE.
(_From the valley, full of sorrow_)
Harry! Harry! Come to the valley!
THIRD VOICE.
(_From far back, full of peace_)
Harry! Harry! plunge into the darkness,
The abysses and the waterfalls and silence!
THE THREE VOICES.
(_In chorus_)
We are Realities! We are Realities!
VOICE.
(_From above_)
One life to live!
FIRST VOICE.
Come to me, Harry!
SECOND AND THIRD VOICES.
She will grow old.
VOICE.
(_From above_)
One life to live!
SECOND VOICE.
Come to me, Harry!
FIRST AND THIRD VOICES.
You cannot help them; you've no power.
VOICE.
(_From above_)
One life to live!
THIRD VOICE.
Come to me, Harry!
FIRST VOICE.
(_Gayly_)
Fool! fool!
SECOND VOICE.
You cannot die; there is no death.
VOICE.
(_From above_)
Decide!
HARRY EGERTON.
My God!
VOICE.
(_From above_)
Decide!
HARRY EGERTON.
My God!
VOICE.
(_As of a drunkard singing_)
If you was in the gutter, Bill,
And I was on the roof----
VOICES.
You're going mad! You're going mad!
HARRY EGERTON.
Mother! mother!
(_Presently, about twenty feet up in the rear and on either side,
faint lights begin to appear and faint sounds of music are heard.
Gradually the lights brighten a little and the sounds of music
become more and more audible until one becomes conscious that on
the left an orchestra is playing and to the right a piano. One also
becomes conscious of a vast and beautiful hall over the floor of
which, as the music plays, the forms of dancers are gliding.
Occasionally from here and there flashes a sparkle as of diamonds,
and low rippling laughter is heard. In the foreground for a space
of twelve or fifteen feet, cut off from the main hall by the
faintest outlines of an immense arch, small groups of elderly
people stand about watching the dancers, or saunter right and left
into the adjoining apartments. In these apartments also people are
seen moving about, and there is a hum of voices as of men and women
in conversation. At no time does it become very light, and all that
passes seems to pass in a dim shadow world._
_It is sufficiently light, however, to enable one to discern the
grotesque richness of the hall which, as one sees at a glance, is
an elaborate representation of a pine forest, the boles of the
trees standing out in beautiful irregularity along the walls, the
boughs above in the semi-darkness seeming to disappear in some sort
of cathedral roof. There, all about, singly and in clusters,
innumerable small globes as though the cones were illuminated.
Between the trees, also in relief and life-sized, figures of men at
work getting out timber. Forward right, teams dragging logs, and,
on the opposite wall, a distant view of a river with rafts floating
down. Standing on stumps, huge figures support the arched doorways,
of which there is one in the rear wall right, and one centre in
each of the side walls. Left rear, the grand staircase with the
glow of some hidden lamp shining upon the landing. Here the carved
scene upon the wall is that of an inclined trestle-work, with logs
going up apparently into some mill above. Below, crouched upon the
newel-post and the lower rail, the carved figure of a large
mountain lion with a frosted light in its open mouth. Forward from
the arched doorway, left, there is no wall from about four feet up,
and through this open space, faintly illumined by small hidden
lamps, a greenness as of palms and flowers._
_The music ceases and the couples break up. Later, the piano begins
again, and just inside the main hall Gladys Egerton, in low
décolleté and holding her skirts above her ankles, appears dancing
ravishingly to the music of the piano_)
FIRST LADY.
Isn't she charming!
SECOND LADY.
And that's George that's playing.
(_Holding her skirts high the girl executes a graceful high kick
and there is a clapping of hands_)
MEN'S VOICES.
Bravo! bravo! Once more like that, my kitten!
THIRD LADY.
Dear, you may have my Chester!
(_Laughter_)
FOURTH LADY.
You dance superbly.
GLADYS EGERTON.
I'll take your husband.
(_Continues dancing_)
MRS. EGERTON.
Why, Gladys Egerton!
A MAN'S VOICE.
Just any time you want him, Gladys.
GLADYS EGERTON.
All right.
A MAN.
(_Appearing forward right_)
Ladies, the Governor is telling stories.
Out of politeness let's give him a crowd.
(_Some of the ladies start right, others begin to move about_)
FIFTH LADY.
She'd make a good catch.
SIXTH LADY.
Either she or George would.
THIRD LADY.
(_Calling aloud_)
Here is another! Now there are thirteen of us.
(_Laughter_)
FOURTH LADY.
There you're on my toes. Marjorie's after George.
SIXTH LADY.
Your Marge, my dear----
(_Glances in the direction of Mrs. Egerton, then whispers_)
Your Marge may have the other.
FOURTH LADY.
Thank you, dear Mrs. Casper, we'll have--gander.
(_Laughter. They go out right_)
SEVENTH LADY.
To have a son like that!
EIGHTH LADY.
Yes, what a pity.
NINTH LADY.
He hasn't anything like the grace of George.
SEVENTH LADY.
Nor the accomplishments.
EIGHTH LADY.
Nor the education.
SEVENTH LADY.
He belongs down in the mill among the men.
EIGHTH LADY.
One would have thought, though, at the first reception--
If only for his mother's sake.
SEVENTH LADY.
That's true.
NINTH LADY.
How old she looks to-night.
GLADYS EGERTON.
(_Who has been skipping to the music, whirls in from the main
hall_)
Mother is old.
NINTH LADY.
I did not mean for you to overhear that.
GLADYS EGERTON.
O that's all right. We always do that way.
(_Continues dancing_)
If you had on your heart what mother has
You'd look old, too.
EIGHTH LADY.
What did she mean by that?
GLADYS EGERTON.
Leave us alone here just a little while.
(_The women go out right_)
GLADYS EGERTON.
Mother!
MRS. EGERTON.
Yes, darling.
GLADYS EGERTON.
Mother, where is Harry?
(_Dances_)
MRS. EGERTON.
I do not know.
GLADYS EGERTON.
It's very embarrassing.
People are whispering. Mother, has no word come?
MRS. EGERTON.
Have you asked your father?
GLADYS EGERTON.
Yes.
(_Dances_)
Mother, I'm sure
Something has happened to him.
MRS. EGERTON.
Don't, my child,
Don't say that.
GLADYS EGERTON.
(_Mysteriously_)
Why?
MRS. EGERTON.
Go, child; people are watching us.
GLADYS EGERTON.
_I_ know why! _I_ know why!
(_Dances_)
Let go! let go!
MRS. EGERTON.
And please tell Donald that I'm waiting for him.
GLADYS EGERTON.
You're going after flowers, mother; _I_ know.
MRS. EGERTON.
Flowers, my child? What for?
GLADYS EGERTON.
For Harry's grave.
MRS. EGERTON.
Why Gladys, Gladys Egerton!
GLADYS EGERTON.
(_Whirling back into the main hall_)
_I_ know.
(_She disappears into the conservatory, left. Alone, Mrs. Egerton
stands a pathetic figure. She walks back into the deserted hall and
stops and listens as though to the upper part of the walls. She
then turns slowly and comes forward again. George Egerton enters
quickly from the conservatory_)
GEORGE EGERTON.
Mother!
MRS. EGERTON.
Yes, George.
GEORGE EGERTON.
This is disgraceful, mother.
MRS. EGERTON.
I cannot help it, George.
GEORGE EGERTON.
Where did he go?
MRS. EGERTON.
I've told you, George. Now please don't bother me.
GEORGE EGERTON.
People are whispering.
MRS. EGERTON.
But what can I do?
GEORGE EGERTON.
Call to them that he's up in bed with fever,
Or say that he was brought home from the river drowned.
MRS. EGERTON.
(_Calling aloud_)
It's none of your business, people! Harry's my son.
(_She comes forward_)
GEORGE EGERTON.
That wasn't what I said. You are just like him.
(_He turns back and re-enters the conservatory. Mrs. Egerton passes
into the room forward right. The lights in the hall become dimmer_)
VOICES.
(_From the walls_)
Sam! Sam! Sam!
(_There is a silence, then a sigh as of innumerable voices, then a
silence and another sigh and still another_)
HARRY EGERTON.
My father! O my father!
(_From the conservatory comes a sound of laughter, and a beautiful
girl runs in. A moment later the bloom of a large white
chrysanthemum is thrown in after her. A young man enters. Other
couples come in. George Egerton, evidently master of ceremonies,
moves about here and there. A tuning of instruments is heard.
People come from the side rooms. When all is in readiness, while
the dancers, who have taken their positions, stand waiting for the
music to begin, the sighing is again heard_)
GEORGE EGERTON.
(_Exasperated by the delay_)
What's the matter there, Melazzini?
(_Excusing himself to his partner, he goes toward the conservatory,
where the orchestra is stationed. As the sigh is repeated the
couples gather together. At the third sigh they scatter, some of
them running out through the middle door right, others hurrying
forward, one or two of the girls laughing hysterically_)
GEORGE EGERTON.
It's just the wind that's blowing through somewhere.
(_The people disappear into the apartment right. Charles, the
butler, and two maids, badly frightened, come in rear_)
GEORGE EGERTON.
Close that door, Charles.
CHARLES.
There's no door open, sir.
(_The four come forward, the butler and maids briskly, George
Egerton more slowly and with a sort of defiance. They, too, pass
out right_)
VOICES.
(_From the walls_)
Sam! Sam! Sam!
(_The sighs are repeated_)
HARRY EGERTON.
My father! O my father!
(_The mountain lion upon the newel-post spits the light from his
mouth and it breaks upon the floor. The monster then gets down_)
LION.
Chris!
A VOICE.
Yes.
LION.
Mike!
A VOICE.
Here.
LION.
Wes Dicey!
A VOICE.
Sure.
HARRY EGERTON.
(_As though a roll were being called_)
Harvey Anderson!
LION.
Whose voice was that?
A VOICE.
Who's Harvey Anderson?
SECOND VOICE.
There's some spy here.
LION.
Come down, comrades!
VOICES.
(_Above_)
We're fast! we're fast!
Nails in our hands and feet!
THIRD VOICE.
Who's that?
VOICES.
(_Below_)
They've danced upon my face! And mine!
And mine! And mine! And mine! And mine!
A VOICE.
I've been a door-jamb years and years!
VOICES.
(_From round the walls_)
We've held these arches up for ages!
VOICES.
(_From far below_)
We're the foundations! Help us, comrades!
Down on the rock here--deeper! deeper!
VOICES.
Help us, Sam Williams! Help us, Sam Williams!
LION.
Come down, comrades!
VOICES.
(_From far away_)
We're the windows!
They made us sand, then made us shine!
We've touched their faces and their hair!
VOICES.
(_From up the stairs_)
We're coming, and there's thousands of us!
VOICES.
(_Far up_)
We're holding up the roof!
LION.
Come down!
You've held her up too long already!
(_There has been a pounding of hammers and a creaking as of timbers
being loosened. Sighs and groans fill the hall. The lights burn
unsteadily, flashing or going out or glowing with a tint of blue_)
VOICES.
Help us, Sam Williams! Help _us_! Help _us_!
OTHER VOICES.
Let 'em alone! They're scabs! They're scabs!
(_Carven figures, still rigid, come from the walls. From everywhere
they come, in the most fantastic postures, some hopping with one
leg lifted, some gliding with raised axes, others bent and in pairs
carrying cross-cut saws, still others with peavies in their hands.
Up through the floor all round come dark figures with torches in
their caps. Stealthily and with muffled voices they gather about
the Lion. Suddenly the pounding ceases and all is still_)
A VOICE.
He's coming, and the Powers are with him!
SECOND VOICE.
Justice is all we want!
SEVERAL VOICES.
Right! Right!
LION.
Are we one, comrades?
ALL.
We're one! We're one!
A VOICE.
Ask him to release us, Sam!
(_Donald Egerton, with Governor Braddock and Bishop Hardbrooke at
his heels, comes hurriedly through the centre door right_)
DONALD EGERTON.
(_Peering about, sees the Figures_)
What does this mean? Back to the walls!
LION.
We are the walls!
FIGURES.
We are the walls!
DONALD EGERTON.
I made you what you are!
LION.
That's true!
And we made you!
FIGURES.
And we made you!
LION.
We made each other!
You are our father and we your mother!
FIGURES.
That's true! That's true!
LION.
And now make us as we made you!
GOVERNOR BRADDOCK.
Be careful, Colonel Egerton.
See that one there with axe uplifted!
DONALD EGERTON.
Braddock, as a citizen of this commonwealth
I call upon you to enforce the laws!
GOVERNOR BRADDOCK.
My friends and fellow citizens.
This is unwise, this course you are pursuing,
And cannot in the end but injure you.
The laws were made for these disputes,
And you like others must obey.
LION.
He made the laws!
FIGURES.
He made the laws!
DONALD EGERTON.
Hear that, Braddock! This is anarchy!
GOVERNOR BRADDOCK.
I urge you to go peaceably to your homes!
LION.
Our homes?
FIGURES.
What homes?
LION.
We have no homes!
(_Egerton says something to the Governor_)
GOVERNOR BRADDOCK.
Then by the----
BISHOP HARDBROOKE.
One moment, brother Egerton;
One moment, Governor; let me say a word.
(_Steps toward the Figures_)
My brothers,
If hunger hath driven you here, then know I speak
For one whose self was hungry, Jesus Christ;
Yet was he meek and lamb-like. Why do you not
Go to those places that have been prepared
By charitable, Christian men and women
For this very purpose, to relieve distress?
If you are worthy you will there be fed.
FIGURES.
Whited sepulchre! He's a whited sepulchre!
(_They advance toward him_)
BISHOP HARDBROOKE.
How dare you, armed with Labor's sacred tools
Which our Lord's father sanctified when he
Wrought at his wood in Nazareth, how dare you,
With envy in your hearts, on murder bent,
Intrude upon the quiet social hour
Of honorable, law-abiding men?
God sees you with your axes lifted there.
And though you fear not law nor anything
Of man, fear God, for he hath power
And he can reach you in the uttermost
Parts of the earth or air, as David saith.
FIGURES.
The rich man's friend! The rich man's friend!
GOVERNOR BRADDOCK.
Then by the power vested in me----
FIGURES.
We are the power! We are the power!
GOVERNOR BRADDOCK.
As Governor of this commonwealth
I will call out the military!
FIGURES.
We are the military! We are the military!
GOVERNOR BRADDOCK.
(_Calls_)
General Chadbourne!
PEOPLE.
(_Who have been peering in forward right_)
Chadbourne! Chadbourne!
(_Egerton and the Bishop follow the Governor out centre right, and
the people disappear_)
FIGURES.
(_Aloud_)
Release, release us from this spell!
LION.
Release yourselves!
FIGURES.
(_With tremendous surprise_)
We can! We can!
(_There are shouts and a thunder of tools falling upon the floor_)
SHOUTS.
We're free! We're free!
OTHER SHOUTS.
And seize the throats that nailed us fast!
HARRY EGERTON.
Forget the past! Forget the past!
SHOUTS.
An enemy! He's an enemy!
HARRY EGERTON.
Release your brothers!
SHOUTS.
To hell with the scabs!
(_They rush through the house, right_)
VOICE OF DONALD EGERTON.
Fire on them!
VOICE OF MRS. EGERTON.
No, no, Donald! Shed no blood!
Think of their children!
VOICE OF DONALD EGERTON.
Fire, I say!
MEN'S VOICES.
We are your fathers and your brothers!
A DEEP VOICE.
Fire!
(_A pause_)
CRIES.
Treason! Treason!
THE DEEP VOICE.
Shoot them down!
(_Shots are heard and noises as of a riot_)
HARRY EGERTON.
My God! My God!
(_The noises die away. In the darkness the walls are heard
sighing_)
HARRY EGERTON.
My father! O my father!
(_A pause_)
VOICE.
(_Forward right, in the darkness_)
It's mine!
SECOND VOICE.
It's mine!
FIRST VOICE.
Let go that hand!
SECOND VOICE.
I had it first!
FIRST VOICE.
Hain't you the rubies?
(_Sounds of quarrelling here and there_)
THIRD VOICE.
(_Centre right_)
Shut up your mouths! You'll have the police here!
VOICES.
(_From the walls_)
Brothers, help! We're fast! We're fast!
FOURTH VOICE.
Pick up the rug, Pete! Let's be off!
(_Forms of men loaded with the spoil of the mansion are seen
hurrying out left_)
VOICES.
(_Entering right_)
'Tain't fair! 'Tain't fair!
FIFTH VOICE.
(_Left_)
Make for the river!
SIXTH VOICE.
Sam, this ain't fair!
SAM.
(_Entering right_)
Hold on there, comrades!
VOICES.
Some's got it all and some ain't none!
SAM.
Put down that stuff!
CRIES.
That's right! That's right!
An equal divvy! An equal divvy!
OTHER CRIES.
No, no, you don't! That's mine! That's ours!
SAM.
Comrades, we're one!
CRIES.
(_Of those who have nothing_)
We're one! We're one!
OTHER CRIES.
(_Of those with their arms full_)
Every man for himself! Every man for himself!
(_Sounds of scuffling and fighting_)
CRIES.
Let loose, God damn you! Knock him down!
(_The sounds die away left_)
CRIES.
(_Far left_)
'Tain't fair! 'Tain't fair!
(_The walls are heard sighing_)
VOICE.
(_From above_)
Who will go down
Where all is sorrow, woe, and strife,
Where unshaped things are jostling into life?
Who will go down?
HARRY EGERTON.
I will.
VOICE OF MRS. EGERTON.
(_Full of anguish_)
Harry! Harry!
(_There is a thundering and crashing in the darkness_)
HARRY EGERTON.
(_Quickly staggering to his knees, then to his feet_)
Here! here! Mother! mother!
(_Instantly the darkness disappears. Morning is breaking over the
mountains_)
HARRY EGERTON.
(_Looks about. Clasps his head in his hands_)
Horrible! horrible!
HARRY EGERTON.
(_Sees the ashes of the fire. Recalls the incidents of the early
night_)
And went away.
(_Notices that the boulder is gone. Looks down the slope, left_)
The boulder thundering down the steep.
I must have slept upon the ground.
Ah, what is this?
(_Gets down on his knees where the boulder lay_)
The Mine! _The Mine!_ THE MINE!