The Project Gutenberg eBook of The Americans by Edwin Davies Schoonmaker.

The drama here published is logically the third in a series of racial dramas, as follows:

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.

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,[Pg 12] 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.

(Sits upon a stump and looks off up the valley, then turns and watches the old man busy with his cast)

(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)

(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)

(Picks up a blanket and, sticking pieces of brush in the ground, hangs it between the fire and the town)

(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)

(Goes to the boulder and stands beside Anderson, and they both look off up the valley)

Well, men are ants, and Egerton he's had bread.
[Pg 23] 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——

(Bill Patten comes through the darkness, rear right. He looks about, then spies the men)

(Throws his hat into the air. Harry Egerton comes through the darkness rear right)

(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)

(The men prepare to leave. Cap Saunders rises and begins to pack up the things)

(Patten, Maury, Cap Saunders and the boy go off through the darkness, right rear)

(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)

(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)

(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,[Pg 49] 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.[Pg 50] 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)

(Holding her skirts high the girl executes a graceful high kick and there is a clapping of hands)

(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)

(He turns back and re-enters the conservatory. Mrs. Egerton passes into the room forward right. The lights in the hall become dimmer)

(There is a silence, then a sigh as of innumerable voices, then a silence and another sigh and still another)

(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)

(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)

(The people disappear into the apartment right. Charles, the butler, and two maids, badly frightened, come in rear)

(The four come forward, the butler and maids briskly, George Egerton more slowly and with a sort of defiance. They, too, pass out right)

(The mountain lion upon the newel-post spits the light from his mouth and it breaks upon the floor. The monster then gets down)

(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)

(Carven figures, still rigid, come from the walls. From everywhere they come, in the most fantastic[Pg 63] 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)

(Donald Egerton, with Governor Braddock and Bishop Hardbrooke at his heels, comes hurriedly through the centre door right)

(Egerton and the Bishop follow the Governor out centre right, and the people disappear)

(Forms of men loaded with the spoil of the mansion are seen hurrying out left)

ACT II

THE MILL

Scene: A street showing, right, the great lumber plant of the Egerton Company. Centre, occupying the greater part of the space between left and right, a sort of common, overstrewn, as such places usually are, with sawdust and waste sawings of the mill, extends back a hundred yards or so to where the river sweeps in from behind a rising slope on the left and disappears behind the high fence of the mill-yard on the right. Across the river, right, the same denuded mountains as were seen in the preceding Act, and, centre, the alluvial stretches of the valley widening out into the plains. Left rear, on this side of the river, a sort of hill comes in and upon its rather steep slope are rows of roughly built plank houses which have evidently been standing many years. They are all of one design and rest in the rear upon the ground, the front being propped up on posts, in some cases six or eight feet high. Of two or three of these shacks it would seem that the occupants had tried to have a garden, for here and there are small green patches as of late turnips, also tall stakes with withered bean vines clinging to them. From the numerous footpaths that come down toward the mill-gate it is evident that these[Pg 76] shacks are the homes of the employees of the Egerton Company. The mill-yard on the right is surrounded by a high board-fence. New planks have recently been put in here and there, and on top of the fence, apparently just strung, are several rows of bright new barbed wire. Over the top of the fence and through the open gates of the driveway which is in the corner, a portion of the latter having been cut off for this purpose, are seen countless lumber stacks, and beyond these, far back and facing left, a section of an enormous mill. Along the comb of the roof, doubtless running its full length, is a large red sign with white letters of which one sees only: RTON AND CO.

Before the entrance to the mill-yard two of the State militia with rifles upon their shoulders patrol the property, one of them pacing right and left along the street in the foreground, the other backwards and forwards in the open space that goes toward the river. About twenty feet from the entrance stands a large red automobile, under which, stretched upon his back, lies the chauffeur, with his hands up fixing something.

As the Scene opens, the two sentries, one of them rolling a cigarette, the other with his gun behind his head and with his arms hanging over it, stand listening back toward the mill, where a number of voices are singing, 'There'll Be a Hot Time in the Old Town To-night.' When the song is finished a cheer goes up.

(He sees Wes Dicey who, with Jim King and Rome Masters, has just come in, right)

(Careful to keep out of sight of the shacks on the slope, Dicey and his companions whisper together near the fence. The Second Sentry, as[Pg 80] though he had been neglecting his duty, goes out right, patrolling his beat)

(Dicey and his companions pull their hats down over their eyes, their collars up about their necks, and make briskly for the gate)

(George Egerton, looking spick and span, comes out of the mill-yard, putting on one of his gloves. He glances at Dicey and his companions as they pass in. Suddenly he turns and whistles after them and saunters back into the mill-yard as if to speak with them)

(He goes out left, examining his face in a small mirror which he has taken out with the coin. The Second Sentry has come in right and stands reading a notice which is tacked on the fence)

(Buck Bentley with an empty nail keg in his hand comes from the mill-yard and sits down with his back to the farther gate-post and begins to fill his pipe)

(He hurries out toward the mill. Bentley enters, followed by the First Sentry)

(Voices are heard right. A moment later the Second Sentry enters with Harvey Anderson, who carries in his arms fragments of the cast that has been broken by the shot)

(He walks left, away from the others, who exchange glances as if amazed at the man's audacity. He lays the largest of the pieces upon the ground, then looks among the others in his arms. Donald Egerton and General Chadbourne, both evidently dressed for a function, the latter being in full military uniform, brand new, come quickly from the mill-yard, followed by Jergens and the Chief of Police)

(Back in the mill-yard militiamen are seen climbing on top of lumber piles to see what the trouble is)

(He gets down and begins to fit the pieces together. The men watch him. Suddenly he stops and looks about him)

(Jergens walks rear, takes from his pocket some field glasses, which he polishes with a handkerchief. The Chauffeur joins him. Chadbourne turns and says something vicious to the Second Sentry)

(He searches the mountains with his glasses. The rest contemplate him in silence. In Anderson's eyes, as he watches them, there is a strange, glad light. Indeed throughout the Scene his manner is that of a man who is hiding a tremendous triumph)

(Dicey, King, and Masters appear just inside the mill-yard and, catching the eye of the Chauffeur, point to Jergens, who, later, hands the glasses to the Chauffeur and goes to Dicey in the mill-yard)

(The Chief of Police joins Jergens and with the three men they disappear in the mill-yard)

(He comes forward and looks off in the direction from which he came as though he were expecting someone)

(Haskell, who with the Chauffeur has been looking through the glasses, goes into the mill-yard. A number of militiamen who have been hanging around the gate gather about Anderson and they are soon having a good time together)

(He starts for the mill-yard. With a wave of his hand he orders the militiamen back through the gate)

(Egerton goes rear to the Chauffeur and himself adjusts the glasses to his eyes)

(Dicey, King, and Masters come from the mill-yard, followed by Jergens. Dicey is dividing money with his companions)

(The three men go out around the corner right. Jergens joins Egerton and the Chauffeur. Harvey Anderson watches them in silence)

(With his eyes fixed upon them he slowly shoves his foot through the cast and it falls to pieces. He stands still for a moment. He then picks up his hatchet and roll of blankets, and, going to the gate, throws them into the mill-yard. He does the same with the fragments of the cast, first carrying an armful which he empties inside, then coming back and picking up the last two or three pieces, which he jerks in after the others.

The First Sentry, coming from rear, signals to the Second Sentry, who is passing on his beat. The latter waits and, having heard what the former had to say, starts off)

(Like a great boy he stands tossing his hat into the air and trying to catch it. Egerton and Jergens regard him and seem to be saying something about him. Jergens goes into the mill-yard)

(Anderson comes forward and looks off right, the direction from which he came, as though he were expecting some one)

(The Chauffeur comes hurriedly from the mill-yard and goes and gets into the car. A moment later General Chadbourne and Captain Haskell appear)

(Jergens lingers about as though undecided what to do. Finally he goes left and saunters down the street. Haskell enters the mill-yard. Later an old woman, who has evidently been waiting till the mill-owners left, comes down the hill-side rear left and begins to pick up sticks that lie scattered about in the sawdust)

(He starts toward the old woman. Buck Bentley knocks the ashes from his pipe and goes toward the First Sentry)

(There is a fight. Bentley takes the rifle from the First Sentry who, in a rage, starts for the gate)

(He hurries into the mill-yard. Bentley helps the old woman pick up the sticks)

(The old woman goes out. Bentley comes to the gate and sets the rifle against the fence)

(Militiamen are seen climbing on top of the lumber stacks. Others appear at the gate. Captain Haskell walks left where a noise is heard down the street. Presently a squad of militia enters with fifteen or twenty strike-breakers. Behind them, with the officer in charge, comes Jergens, who is speaking to the crowd of strikers that follows. In front of the crowd walks Sam Williams. Mingling among the men are seen Dicey, King, and Masters. Some women and children straggle in and linger, left. On this side of the crowd, silent, watching everything, is Harvey Anderson)

And we need something bigger than we are,
Don't we, if they do with their mills and lands?
You heard Aug. Jergens what he said just now
When Chris here called to him, 'But you unite.'
You heard him say, 'That's none of your affair.'
Then how's it their affair if we unite?
Logs you can't handle, but you saw them up,
Then you can handle them. It's the same with us;
They want to handle us to suit themselves.
[Pg 123] Comrades, I don't see if you go in there
How you'll not have to come out here again;
Unless you mean to bear whatever comes.
You'll hear no big voice, 'Then we'll all go out,'
That's kept their hands from off you many a time.
Or is it their mercy that you're counting on?
Poor hold you've got there. One window yonder
Of Egerton's big house would put the guards
About the saws. But you hear what he says.
And it's our lives he's talking of.

God playing Santa Claus among the pines—
Why ain't you fellows had your stockings up?
Or if you have, what are you doing here
Weighing yourselves out on the same old scales,
Men against bread? Pard, let me ask you this:
Suppose you do land with your Union boat,
The bosses on the shore saying all right;
What is it you land for? Grub for another cruise?
And you'll go back then to the fishing grounds
And sink your nets again? Who'll get the catch
This time? Them that's had it all these years?
You've made a big haul here, it seems to me,
[Pg 131] Minnows and all. Hundreds of miles like that.
When are you fellows going to dry your nets,
Haul up your boat and say, 'Let's weigh the fish'?
What do you say, pard?

(He discovers Harvey Anderson talking with Harry Egerton and turns, evidently for an explanation, to Haskell)

(Jubilant, Harvey Anderson turns and, catching up one of the mill-boys, lifts him over his head and slides him down his back, holding him by the feet. Jergens advances toward him)

(Tosses his hat into the air. The workmen, in an almost religious ecstasy, go out left, crowding around Harry Egerton and Harvey Anderson. Dicey, King and Masters remain behind, whispering together, then follow the crowd. The militiamen, most of them silent with amazement at the scene they have witnessed, gradually disappear into the mill-yard)

ACT III

THE MANSION

Scene: The great reception hall in the Egerton mansion. One sees at a glance that this is the original of the shadow hall shown in the Dream-Vision in the First Act. The carved mountain lion crouches upon the newel-post, and upon the walls the figures of men at work among the pines are identical with those of the Vision. But here, seen under a natural light, the grotesque grandeur of it all stands out in clear relief. Forward, left and right, just where the great arch separating the main hall comes down, groups of little pines in tubs lend a freshness to the scene.

A brilliant company is gathered. Everywhere, from gestures and lifted eyes, it is evident that the mansion, especially the strange scene upon the walls, is the chief topic of talk among the guests. Centre right, about the piano, a number of young people are watching a couple that is out upon the floor, apparently practising a new step. Near the pines, forward left, General Chadbourne turns from the butler, with whom he has been speaking, to shake hands with some ladies. Later, Ralph Ardsley appears just inside the door, forward right, and holds up a glass of wine. Two or three[Pg 143] men notice him and nudge their companions, and one after another saunter past Ardsley into the side room.

(Joins the Second Man, and the two, with Ardsley, disappear into the side room)

('The punch! The punch!' is whispered about, and the people begin to pass out centre and forward right)

(They go out. A moment later Mrs. Egerton comes in and looks about as though she were seeking some one)

(He goes back into the room, forward left. Mrs. Egerton lingers a while, then returns to the room, forward right. Here, a moment later Ralph Ardsley appears)

(Bishop Hardbrooke and a fellow-townsman, each with a man who is evidently a stranger, come slowly forward)

(He goes into the room, forward right. The Butler returns to the opposite room. All the people have now withdrawn with the exception of Mrs. Orr, who has come in, centre right, and who lingers about as though she were listening to the upper part of the walls. Later, Mrs. Egerton re-enters, forward right, and glances back into the room from which she has come, to satisfy herself that her guests are occupied. Seeing her, Mrs. Orr comes forward, shaking her head)

(Mrs. Egerton glances across into the room, forward right, from which comes a sound of merriment)

(They go out centre right. Amid laughter and a confusion of voices Ralph Ardsley and a fellow-townsman enter forward right leading Governor Braddock, whose eyes are blindfolded. Following these come Donald Egerton, General Chadbourne, Bishop Hardbrooke, members of the Governor's staff in uniform, and other guests)

(Egerton points back toward the centre of the hall. Himself and the group about him remain more in the foreground)

(Seeing the hall empty, the young people who have looked in occasionally from the conservatory, enter and take possession)

(Ardsley disappears after the others. Mrs. Orr enters, forward right, and is later joined by Mrs. Egerton)

(The Butler goes into the room, forward right. The two women pass left, where they are somewhat shut in by the pines)

(The men are seen coming down the stairs, the Governor and the Bishop on either side of Egerton. They are all laughing and having a good time)

(She leaves Mrs. Egerton standing near the pines. Other ladies have begun to come in)

(The silence is broken by the ringing of a telephone bell in the room forward left)

We are living in an age in many ways
Without a parallel. I sometimes think—
If I may say it not too seriously—
Of those last days we read of when the world
Goes on its way unconscious of the end.
We give and take in marriage, eat and drink,
And meet our friends in social intercourse,
And all the while a Spirit walks beside us,
Enters our homes and writes upon our walls.
There are whispers everywhere if we could hear them;
And some of them grow louder with the days;
And pools of quiet ruffle and show storms.
You, Governor, feel the popular unrest
[Pg 186] As it manifests itself in politics,
The shift of parties and of principles,
Rocks that we used to think would never change.
And brother Egerton in industry;
He feels it.

(Appearing at the door, excited, and keeping back so as not to be seen by the people)

(There is a clapping of hands. General Chadbourne appears just inside the door and beckons to Ardsley, who goes in to him)

(Ardsley stands impassive till the Governor has gone out and the Bishop has again got the attention of the people, then goes quickly into the side room)

Very true. Where would this be,
This beautiful thing that Colonel Egerton
Has built with so much labor and so much taste?
And out there in the world where we all dwell,
Where all of us have places in the walls,
Some working with their hands on farms, in mines;
Some building; some at forges; at machines
Weaving our garments; others more endowed
Loaned to us from the higher planes of being,
Men of the Over-Soul, inventors, dreamers,
Planners of longer railroads, bigger mills,
The great preparers for the finer souls
That build the dome, the finishers of things,
Prophets of God, musicians, artists, poets,
As we've all seen how Colonel Egerton
In his third story has his books and pictures—
Suppose a bitter wind of discontent
Should shake the great walls of this social order,
Set the first story men against the second,
The second against the third, until the mass,
Throwing their tools down on the world's great floor,
Should clamor up the dome for pens and brushes,
Shutting their eyes to the cold facts of life
That we climb up Life's ladder by degrees—
[Pg 190]

(His attention is attracted for a moment to a group of men that has been collecting forward centre, evidently concerned with whatever it is that is going on in the side room)

(Mrs. Egerton, who, since the ringing of the telephone bell, has shown an increasing anxiety as to the message that has come, unable longer to contain herself, comes hurriedly forward through the people)

(Laughter. The people turn just in time to see Governor Braddock, General Chadbourne, and Ralph Ardsley with overcoats on and hats in their hands, stealing across to get out forward right. Mrs. Egerton hurries into the room from which they came)

(George Egerton and Gladys Egerton come quickly from the conservatory and enter the side room)

(They vanish with the other guests. A minute or so later the Butler enters, right rear, and walks as though dazed through the empty hall)

We talked together and you said that now
Three things lay open to me, that I could choose
And that you'd back me up. First, there was Art.
And though you didn't say so, I could see
You'd have been glad if I had chosen that.
I had a talent for it, so you said,
And I could study with the best of them.
You'd set aside a hundred thousand dollars;
And I could finish up by travelling,
Seeing the beautiful buildings of the world;
That I could take my time, then settle down
And glorify my land: that's what you said.
[Pg 200] Then there was Public Life. You'd start me in
By giving me the Courier. That, you said,
Would give me at once a standing among men
And training in political affairs.
And that if I made good you'd see to it
I had a seat in Congress, and in the end
That probably I'd be Governor of the State.
And then you paused. You didn't like the third.
Business, you said, was an unpleasant life.
'Twas all right as you'd used it, as a means,
But as an end—And then you used words, father,
That changed my life although you didn't know it—
'Business, my son, is war; needful at times,
But as a life,—you shook your head and sighed.
With that we ended it, for some one came
And I went out. Six years ago last June,
The seventh of June; I can't forget the day.
The sun was shining but a strange new light
Lay over everything. All of a sudden
It dawned upon my mind that I'd been reared
Inside a garden full of flowers and trees,
And only now had chanced upon the gate
And stepped out. There was smoke upon the skies
And a rumbling of strange wagons in the street.
I was afraid. For every man I met
Seemed just about to ask, 'What side are you on?'
And I was twenty-one and didn't know.

I'd always thought 'twas garden everywhere.
I walked on up the river and sat down
Upon the logs up there, and night came on.
And in the waters flowing at my feet
The lighted land went by, cities and towns
And the vast murmur and the daily life
Of those that toil, the hunger and the care.
And in my heart I knew that it was true,
That what you said was true. And I came back
Filled with such peace as I had never known.
'I'll enter business, father.' And I did.
I started at the bottom in the mill
Helping the engineer, and from the saws
Carried the lumber with the other men.
Then in the yard. You always praised my work.
I'm in the office now at twenty-seven,
And Secretary of the Company.
I think I know the business pretty well.
You've said so. But somehow——

(George Egerton walks away and stands by the pine trees, picking off and biting the needles)

(Turns and looks at Harry, whose face shows the sadness he feels at his father's refusal)

(The cannon are heard in volley upon volley as of a town giving itself up to celebration)

ACT IV

THE LIVING MILL

Scene: Inside the mill, showing in front a sort of half storeroom, half office shut in from the main body of the mill by a railing in the centre of which is a gate that swings in and out. Far back in this main body of the mill one sees a number of great gang saws from which off-carriers, with freshly sawed slabs and lumber upon their rollers, branch right from the main line that runs the full length of the mill. Through an opening in the far end, whence the logs are drawn up an incline to the saws, one sees as through a telescope a portion of the river and of the mountains on the opposite bank. Up toward the front, left, in this main body of the mill is a wide door that opens outside. In the foreground, within the space partitioned off by the railing, a pair of stairs, evidently connecting with the outdoors on the ground floor, comes up rear left. Centre, against this left wall, a pole six or eight inches in diameter, and to all appearances only recently set, goes up through a hole in the roof. Upon the floor at the foot of the pole, from which two long ropes hang down, lies a large American flag partially strung upon the rope. Forward from the pole is a door which apparently is no longer in use, a strip being nailed across[Pg 219] it. About this end of the enclosure are piles of window sash and kegs of nails. Centre rear, at right angles to the side walls, so that one sitting upon a stool may look back into the mill, is a long checkers' desk with two or three stools before it and with the usual litter of papers, books, and a telephone upon it. In the right wall, rear, where one coming up the stairs may walk straight on and enter, is a door connecting with the main office.

As the Scene opens, something very important seems to be going on in this main office. A crowd of men, workmen and militiamen together, are packed about the door, intent upon whatever it is that is transpiring inside. Forward, away from the crowd, a small group, mostly of militiamen, is gathered about two guards with rifles in their hands, who have evidently just come in. Back, beyond the railing and close to the crowd, a group of workmen about Wes Dicey is engaged in a heated argument. And farther back in the mill, especially about the large door, left, are bodies of men talking together. As the Scene opens, and for a few minutes afterwards, some one up the pole is heard singing.

(To Fourth Militiaman, who has just come up the stairs with his shoulders hung with knapsacks)

(The Sixth Militiaman comes up the stairs, with four or five bugles, and shows surprise to see the crowd gathered)

(They join the crowd about the door. Jim King comes through the gate in the railing, followed by Rome Masters, who is considerably intoxicated)

(Dicey comes from the centre of the group and catches sight of King, who beckons to him)

(Suddenly there is a tremendous cheering by those about the door. A militiaman hurries from the crowd, grabs a bugle from the Sixth Militiaman and, darting out centre, starts to blow it)

(The crowd begins to break up, many of the men climbing back over the railing into the mill proper)

(General Chadbourne comes from the office, followed by Captain Haskell, and after these Harry Egerton, Sam Williams, Harvey Anderson, Buck Bentley, and others. The militiamen make a big smoke)

(This cry is caught up by the crowd and is carried on back through the mill. Chadbourne looks at the militiamen and unbuttons his overcoat and feels about in his pockets)

(Two militiamen are seen coming up the stairs, the one loaded with blankets, the other with ten or twelve rifles)

(Disappears down the stairs. There is a movement of the workmen back into the mill)

(The militiamen gather left, and to some of them the rifles, knapsacks, etc., are distributed. Buck Bentley, who has taken the bugles in his hands, walks to and fro)

(Calls rear left to Harry Egerton, who is engaged with Dicey, a number of workmen being gathered about them)

(Harry Egerton starts toward them, but Dicey keeps after him, the men following)

(To Anderson, who has turned aside and half pulled from his inside pocket a legal looking document)

(Harry Egerton stands and watches the militiamen depart. As Bentley goes down the stairs he turns and looks at Harry Egerton, who lifts his hand to his head in a sort of military salute)

(The workmen go back into the mill. Harry Egerton watches Dicey until he is lost among the men that pass out rear)

(They go back through the gate in the railing and out through the great door, left, whence the crowd has passed. Rome Masters comes furtively up the stairs and looks about. He then comes past the sash to the door, forward left, and begins to pull off the strip that is nailed across it. He has just loosened it when Jim King appears upon the stairs and gives a low whistle. Rome Masters quickly joins him and together they hurry back through the mill[Pg 253] and out the great door, left. A moment later the First Guard comes up the stairs, followed by Ralph Ardsley and Bishop Hardbrooke)

(He gets up on one of the stools before the desk and takes from his overcoat pocket a newspaper which he spreads out before him)

(He reads the paper. The Bishop stands listening to the indistinct noises that come from the crowd outside)

(The Guard enters the mill, back left, and comes through the gate in the railing)

Harry,
We've come to see if something can't be done
To end this controversy and bring peace,
An honorable peace to all concerned.
A permanent state of strife is far from pleasant.
There's nothing sadder in the life of man
[Pg 261] Than to see towns disrupted, classes arrayed
Against each other, to say nothing, Harry,
Of this far dearer tie that's straining here,
That pains us all far more than we can tell.
We've often had these troubles in the Church,
Mostly in the past, of course, men differing
Upon some point of doctrine or government.
And my experience is that at the bottom
There's something that at first was overlooked,
Then, in the strife that followed, overwhelmed.
There's common ground, there must be in these things.
Look at the world; we pass along the street.
We don't confront each other and block the way.
Each yields a bit and so we all pass on.
And in relationships it must be the same.
We're one, my brother.

(The Bishop and Ardsley go out down the stairs. Harry Egerton starts back toward the gate)

(Harry Egerton turns back to the desk and takes up the telephone. Jim King vanishes through the great door, left)

(A pause. The door, forward left, opens slowly and Rome Masters comes stealthily in with a bar of iron in his hand, and moves toward Harry Egerton, whose back is to him)

(He sinks to the floor. Masters, iron in hand, flees down the stairs. The cheering outside continues. Then, as the noise subsides, there is heard a steady buzzing of the telephone as though some one were trying to get connection)

ACT V

CHRISTMAS EVE

Scene: Inside the large room of a newly built board cabin up at the mine. Centre, rear, the open mouth of the tunnel, with the wall resting upon the rocks above. Left, in this same wall, near the corner, a door opening outside. Right, near the other corner, about four feet up from the floor, a small oblong window through which one sees the snow lying thick upon the mountains, and beyond the snow the dark of the sky with the winter stars shining brightly. In the right wall, well back, a door opens into a bedroom. Centre, in the opposite wall, a second door opens into a sort of woodshed. Left, a little way to the rear from the centre of the room, a heavy iron stove with chairs standing about. A woodbox is over near the wall, left. Forward right, a table with a bugle lying upon two or three sheets of loose paper, and, farther over, a heap of ore samples in which, with the light of the near-by lamp falling upon them, the gold is plainly visible.

Harvey Anderson, his hat pulled low over his eyes, sits with his back to the bedroom, staring at the stove. The only motion discernible is an occasional pressing of the lip when he bites his moustache. Later, Mrs. Egerton, careworn and evidently in deep distress, enters[Pg 278] from the bedroom and starts to say something to Harvey Anderson, but decides not to. Instead she goes to the window and stands looking out as though she were anxiously waiting for some one.

(She glances toward Mrs. Egerton, then goes quietly to the door, rear left, and looks out)

(Anderson turns and shakes his head at the Nurse, who goes into the bedroom, closing the door after her)

(There is a slight noise in the bedroom. Anderson turns and listens; but everything becomes quiet again)

(Anderson starts for the bedroom. Suddenly Harry Egerton appears struggling with his mother and the Nurse. His head is bandaged and his face is covered with a six weeks' beard)

(A shadowy line of workmen with their wives and children in their Sunday clothes comes in left)

(Laughs. A little boy remains after the other children have gone back to their parents)

(Advancing and shaking hands with the men and women, who file by him and pass out rear)

(Last in the line comes a figure in the garb of a workman, but with the tender, bearded face of the Christ)

(The figure looks back one moment, then vanishes. Harry Egerton is seen falling into the arms of Harvey Anderson, who carries him into the bedroom. His mother and the Nurse follow. Sam Williams and Chris Knudson stand staring across at the door)

(Donald Egerton enters, followed by the Doctor and two strange men, apparently surgeons, one of them carrying an instrument case. Egerton glances about and instinctively locates the bedroom, and at once goes toward it)

(They stand silent about the stove. Anderson picks up two chairs, which he takes over to the two strangers, who are standing by the table)

(He shuts the door and walks about, stopping occasionally by the stove, absorbed in thought)

(The Doctor goes out. Egerton shuts the door and stands for a moment apparently waiting till those who have just left get farther from the cabin. He then starts pacing to and fro as though he were undecided what to do. As he walks left toward Harvey Anderson his brow darkens. But as he turns right and draws near the bedroom the hard lines of his face relax. It is clear that a terrible struggle is going on within him)

(The Second Stranger removes his overcoat. The First lifts the instrument case upon the table and begins to open it. Egerton walks toward the bedroom)

(The Second Detective bolts the outside door. He then comes to the table and takes from the case two pairs of handcuffs, a long black mackintosh, and a black cap)

(The Second Detective hands to Egerton his son's will, which, in buttoning the coat up about Anderson, he has found in the latter's pocket)

(The Second Detective handcuffs himself to Anderson on the left side. The First Detective puts the cap on Anderson so that with the high[Pg 303] collar of the coat turned up, only his eyes are visible under the poke)

(He goes out and locks the door after him. A few moments pass. Suddenly at some distance outside a shot is heard. Again a few moments pass. Then, with a crash, the door is broken in and Buck Bentley, with the will in his hand, pulls himself hurriedly through the hole. He staggers to the table and seizes the bugle and blows a loud blast, then reels and, trying to steady himself, falls dead upon the floor, taking the table down with him. There is a clattering of the ore samples and a breaking of glass, and the lamp goes out, leaving the room in darkness. A half mile or so away, in the direction of Foreston, a bugle is heard, then, farther away, another, and fainter, another, and still another. And out through the window in the starlight of the Christmas morning soldiers with rifles in their hands are seen running rear left through the snow)

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