  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, 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 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. 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. 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. 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, 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— 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 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, 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, 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. 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) (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 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) (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! |
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