  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 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. Time: The afternoon of the next day about four o'clock. First Sentry. All I say is, keep your tobacco dry And don't go wiring the folks at home To have your supper warm to-morrow night. Chauffeur. They'll be to work, all right, you take my word. First Sentry. There's such a thing as eating words until Your belly cries for something solider. Chauffeur. (Pointing toward the mill) You see that smoke back there. First Sentry. That's all right, too. A kid can start a fire. Chauffeur. Wait and see. A Militiaman. (Who, half way back toward the mill, has climbed upon a lumber stack) I nominate J. D. for Governor. A Voice. (Farther back, commandingly) Shut up your mouth up there! Second Voice. Will you be good? (The militiaman gets down from the stack) Second Sentry. How large a force is it they're counting on? Chauffeur. It's not the force. It's the effect 'twill have. You let a dog run for another's bone, You'll see the last dog do some running too. First Sentry. And do some fighting, maybe. Chauffeur. That's up to you. The law protects men in their right to work. (The sentries whisper together) Chauffeur. The old man knows his business. All he says Is simply this, 'I'm bringing in the men. It's up to you to get them to the mill.' You see you don't know everything, my boy. First Sentry. You work for Egerton, and I don't blame you, But when you come right down to solid facts— And if you'll clear your eye a bit you'll see it— He's got his match in this man Williams. Chauffeur. What! Second Sentry. He's got his match in this man Williams. Chauffeur. C-h-rist! First Sentry. Figure it out yourself. (He sees Wes Dicey who, with Jim King and Rome Masters, has just come in, right) What do you want? Dicey. He knows me. Chauffeur. He's all 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 First Sentry. It's easy enough To figure it out, I say. There's thirteen men Returned to work in five weeks. In an hour You calculate four hundred will return. You fellows couldn't count nine pins for me. (Dicey and his companions pull their hats down over their eyes, their collars up about their necks, and make briskly for the gate) First Sentry. (Starts back on his beat) Talk of a man like that running the State. He'd better learn to run his business first. (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) George Egerton. (Coming out a little later) O Jack, will you tell mother—— Chauffeur. Yes, sir. George Egerton. (Provoked) What? Why do you put it that way? Now I've forgot. (Continues putting on his glove) Tell mother I've inquired of the men And they've seen nothing of him. Chauffeur. Yes, sir. George Egerton. What? Chauffeur. Nothing of Harry, sir. George Egerton. (Walks left, then comes back) Jack. Chauffeur. Yes, sir. George Egerton. Jack. (Looks over in the car) Did you find any hair-pins in the car This morning? Chauffeur. Not this morning. George Egerton. (Takes a coin from his pocket and hands it to the chauffeur) You'll take care. (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) Chauffeur. By sun-down, don't it? Second Sentry. Something of the sort. Chauffeur. And the wind sharpening up across the plains. They'll think twice, won't they, before they stay out? Second Sentry. Who signed this name here? Chauffeur. Eg—the boss himself. Second Sentry. Hell of a hand he writes. Chauffeur. Your partner there Knows about as much of the situation here As a sea-turtle knows of sassafras. Talks of a match. There's been no match at all. The old man's never tried to start the mill. But let a thing like that go up some day. (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) Chauffeur. If you've heard thunder, one of those loud claps That ends the winter, and if you'd lived here And knew the old man's power, then you'd know I'm shooting low when I say they'll be here, If they don't all fall dead upon the way. They've got to make hay now. Days don't stand still When the old man is moving to and fro. (Goes about oiling the machine) First Sentry. (Coming forward) If Williams comes, I'll tell you what he'll do. With the big force he'll have behind his back, He'll lock these gates and coop the old man up With Jergens and the Chief and all the rest. Then say, 'Now take me home.' You know the way. You'll take him to the big house on the hill. (The Chauffeur turns and looks at him half in anger, half in contempt) First Sentry. You won't dare look at him that way. Second Sentry. Dan's right. You fellows, you that shove those things about, You have a way of knowing who's the lord. First Sentry. Exactly. And this man Williams up and down Is big as Egerton. And the old man's 'spike' Will touch him where the tailors say it should. And if it's lined with silk Williams won't care. He'll steer the big blow-out this afternoon And they won't know the difference. It's the front And the big planet here that people see; And Williams is as broad as Egerton. (A militiaman comes hurrying from the mill-yard) Militiaman. Who's got a cigarette to trade for news? You couldn't guess it in a thousand years. Second Sentry. We're going home. Militiaman. Guess high; guess something great. First Sentry. The boys have met the strikers at the station And we're all going into action. Militiaman. Nope. Something the old man's done. Second Sentry. What? Militiaman. Put her there. (The Sentry gives him a cigarette) Ordered us down a big red tub of punch, With six or eight kegs of the foaming stuff. (The Sentries stare comically at one another) Militiaman. Well, my tin soldiers? Under a shot like that To stand as cold as you do! (Shouts in the ear of the First Sentry) Punch, old man! (To himself) The wind of liquor and they've gone dead drunk! First Sentry. (Starts for the mill-gate, then turns) Who said 'shut up' when some man back there cried 'Hurrah for Egerton'? Militiaman. Cap. Haskell. First Sentry. (To the Second Sentry) Eh? Second Sentry. Haskell to hell. First Sentry. (Shouting toward the mill) Hurrah for Egerton For Governor! Second Sentry. Hip hurrah! First Sentry. Up with you, Buck! We'll have no traitors in the camp, by God. Up on your pins and shout 'Hurrah!' three times. (He seizes Bentley and they wrestle into the mill-yard) Second Sentry. Eight kegs, you say? Militiaman. (Slapping him on the back) And punch, old man, and punch! Reception punch! (He hurries out toward the mill. Bentley enters, followed by the First Sentry) Second Sentry. What do you think of that? First Sentry. (To the Chauffeur, with affected disdain) Talk about Williams downing such a man! First Sentry. (Nodding toward the Chauffeur) And he, too, in the employ of Egerton! Chauffeur. Fine pair of knaves! You'll drink his wine all right. Second Sentry. (On his way out, points to the notice) Look what a damn fine hand the old man writes. (Goes out right) First Sentry. (On his way back, to the Chauffeur) It's a good thing that some men never tell. (Walks slowly, rifle up; then from rear) Hurrah for Egerton for Governor! Voice of Second Sentry. (Out right) Halt! (A pause) Halt! (Buck Bentley rises from the keg and comes forward) Do You Hear! (The Chauffeur leaps from the car and hurries forward. There is a shot) First Sentry. (Running forward) Who is it? Militiaman. (Hurrying from the mill-yard) What was that? (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) Second Sentry. Where in the hell have you been living That you don't know enough to stop when—— Harvey Anderson. Pard, If I'd stop every time some man said stop, I'd still be standing somewhere. (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) Chadbourne. What's the trouble? Second Sentry. This man came through the line. I called three times. Chadbourne. (To Harvey Anderson) Don't you know better than do such a thing? Captain Haskell. (Comes from the mill-yard, then turns and calls back) Stay where you are. We'll attend to this affair. Egerton. What business have you here? Harvey Anderson. I just came down To look about a bit. Jergens. To look about! You think we're running a menagerie? Didn't you see these soldiers? What do you mean? Harvey Anderson. (To the Chief of Police) Just step back, pard. I'm neither dog nor bear. (Back in the mill-yard militiamen are seen climbing on top of lumber piles to see what the trouble is) Egerton. Came down from where? Harvey Anderson. From up there on the mountains. Jergens. To look about for what? Harvey Anderson. Just anything— Just anything that's 'round to see. (He gets down and begins to fit the pieces together. The men watch him. Suddenly he stops and looks about him) Did I—— (He rises and goes right to where a piece of the cast lies upon the ground) Chief of Police. Shall I take charge of him, Mr. Egerton? I'll lock him up if you say so. Chadbourne. (As Anderson returns) Don't you know That when a sentry challenges a man He's got the right to shoot him in his tracks? Harvey Anderson. The risk's on me, pard. Chadbourne. Eh! Harvey Anderson. The risk's on me. Chadbourne. You take care, sir, how you're addressing me. (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) Egerton. How came you by this thing? Harvey Anderson. I'm of the men That Egerton sent out. Egerton. Jergens, is he One of our men? Harvey Anderson. (Glancing up) You Egerton? Chief of Police. He is. Jergens. There's many of them that I never saw; But he's got that, so I suppose he is. (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) Haskell. He's out here with his glasses every day. Chadbourne. One of the richest mines in all the West—— Egerton. Very rich mine. Chadbourne. So I have been informed. Chief of Police. Been lost for fifty years. Chadbourne. But with this thing—— (Indicating the cast) You're almost sure to find it. Second Sentry. (To First Sentry, evidently meaning Chadbourne) A damn fool. Egerton. Yes, we expect the signal any day. (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) Chief of Police. The citizens had arranged a demonstration. Flags were to go up that day and cannon boom, And Colonel Egerton was to make a speech. Egerton. Yes, Clayton, and I'll tell them something, too. Chief of Police. I guess they'll be ashamed to have it now. Egerton. Why didn't you stay out on the mountains? Harvey Anderson. Well—— Egerton. Get tired? Jergens. Chief! Harvey Anderson. Can't say—— Egerton. Then what's the trouble? (The Chief of Police joins Jergens and with the three men they disappear in the mill-yard) Harvey Anderson. Well, you see, Mr. Egerton, it's this way: A man can piece together things like this, But somehow you can't get hold of that in here That goes to pieces when your faith breaks up. Egerton. What do you mean? Harvey Anderson. I never could find gold; It don't run in our family. Egerton. Rather late In your discovery, it seems to me. Why didn't you think of it when you first went out? Harvey Anderson. Well, you know how it is. You've seen a stone Hang on a mountain side for years sometimes; You don't know why; you just don't notice it Until some morning—jump! she thunders down And wakes a whole town up; then you remember. (He comes forward and looks off in the direction from which he came as though he were expecting someone) Egerton. (To Chadbourne) A sort of luck, you see, this getting on. Chadbourne. Predestination. Egerton. Yes; if a man's rich He couldn't help but be. There's some old lamp, An heirloom in his family, that he rubs. And if he's poor, 'Hard luck.' Chadbourne. Or been 'ground down.' Egerton. Chadbourne. Egerton's heel. Egerton. Old Egerton's. (They walk toward the automobile) Chadbourne. I don't know what the country's coming to. Egerton. Merchants are merchants, Chadbourne. Chadbourne. I suppose. Captain, will you get my overcoat? (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) Egerton. What do they care for Country or for Art, Or any of the higher things of life? 'Give us this day our daily trade.' We live, We manufacturers, to fill their tills. Chadbourne. They're sowing dragons' teeth and they don't know it. Egerton. You'll see them to-morrow when I start the mill; They'll tip their hats when I pass through the streets. And you could comb the town: they never heard of Any petition to the Governor, Nor any contributions, not a one. They're all staunch friends of mine, and always have been. 'Why, Colonel Egerton, he built this town, Our leading citizen.' I'll get them though. Chadbourne. If you could shut down for a season, say. Egerton. That's just what I've been wanting to do, Chadbourne. Unfortunately, just now we're in a place Where we can't do as we would like to do; Or rather Jergens is. Chadbourne. He told me. Egerton. Yes, He's got to meet his margins. Chadbourne. It's too bad. (The militiamen laugh out at some story Anderson is telling them) Egerton. So I can't strike them without striking him. Chadbourne. I hope you'll find the mine. A Militiaman. (Appearing at the gate) 'Phone, General. Egerton. I'll show them though that J. D. don't forget. Chadbourne. Pardon me. (He starts for the mill-yard. With a wave of his hand he orders the militiamen back through the gate) Harvey Anderson. (Aloud, as they draw away) And we charging up that Hill As if we didn't know what canned beef was, We, when we'd had slow elk[*] out on the plains. (Egerton goes rear to the Chauffeur and himself adjusts the glasses to his eyes) A Militiaman. (As they pass through the gate) Stay and have one with us. Harvey Anderson. After business hours. Egerton. Where did you leave off? Harvey Anderson. Where the big rock hangs On the south slope up yonder. (Dicey, King, and Masters come from the mill-yard, followed by Jergens. Dicey is dividing money with his companions) Dicey. Thank you, boss. Jergens. Then call me up. Dicey. I will. Harvey Anderson. It ain't there now. (The three men go out around the corner right. Jergens joins Egerton and the Chauffeur. Harvey Anderson watches them in silence) Harvey Anderson. And that's another reason I came down To hear those cannon boom and see those flags. You'll have a band play too? (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) Second Sentry. (Evidently quoting Chadbourne) 'Tried to get smart And hit the cast to see the pieces fly.' (The First Sentry starts back on his beat, laughing) Harvey Anderson. (As the Second Sentry passes him) It's steel you're shooting, ain't it? Second Sentry. Go to hell. (Goes out) Harvey Anderson. It's all right, partner. (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) Egerton. (Comes to Anderson) In the line of work, What have you ever done? Harvey Anderson. Most everything, From punching cattle down to hunting gold. But chiefly knocked about among the States. Egerton. Drinking and gambling? Harvey Anderson. Some of that in too. (The Chauffeur goes into the mill-yard) Egerton. There's something in you that I like, my man. You go about things in a way. And then The daring that you showed. You're full of life; A man can see that. Tended cattle, eh? Think you could govern men and round them up If need be? Harvey Anderson. I don't know. (Tosses his hat into the air) Egerton. You don't belong To a Union? Harvey Anderson. No. Egerton. You're not the sort of man To stand dictation. You've a work to do, Men of your type. I think I heard you say That you were with the rangers at San Juan? Harvey Anderson. I did some time down there. Egerton. Well spent, my boy. I had a brother in the Civil War. (Watches Anderson catching his hat) That was a good one. I know how you feel; So full of life you don't care what comes on. 'Out of the way!' It's rare enough these days. You'd be surprised what cowards most men are, Big six foot fellows who want to go to work; Offer it to them and they shake their heads Because they see some pickets round the corner. Harvey Anderson. 'Fraid of your soldiers? Egerton. Pickets; Union men. They'd fly to arms quick enough if Charlie Hare— Charlie's our Mayor—said 'No more free speech.' But Williams he can say, 'No more free work.' They'd rather talk, you see, than be free men. Harvey Anderson. That's a good phrase, 'Free Work.' Egerton. A good 'phrase,' yes. Harvey Anderson. We ought to put that in our Bill of Rights. Egerton. Our Bill of Rights, my boy, 's no more than air. It's men to back it up. We've gone to seed In Sabbath speculations on men's rights. What we need now is Monday morning's work. Harvey Anderson. This Williams, I suppose, has gotten rich Controlling all these men? Egerton. That I don't know. It's not so much the few that he controls As the large numbers they intimidate. Harvey Anderson. Got to accept his terms or not work, eh? Egerton. They have a thing they call the 'Union Scale.' (Looks at his watch) Harvey Anderson. And these men that can't work, they stand for that, Having no voice at all in their affairs? Egerton. They don't see; they're a lot of ignorant men. Harvey Anderson. Why don't you show them? (Egerton smiles, walks to the gate and listens, then comes back) Egerton. Out on the plains, my boy, Tending your cattle, did you speak with them And reason with them? Harvey Anderson. With the cattle? Egerton. Yes. Harvey Anderson. It all depends upon the mood they're in. Sometimes a man can just sit on his horse, If the feed's good; and sometimes in the night, Go round them this way— (Circles and sings one of the strange melodies of the cowboys) for they're restless then. Egerton. Sing to your cattle? Harvey Anderson. Let them know you're friends All out together and a big storm on. Egerton. That's interesting. (Anderson comes forward and looks off right, the direction from which he came, as though he were expecting some one) Egerton. We've got an opening here I think would suit you. Harvey Anderson. Well. Egerton. In half an hour, Or less than that, there'll be a lot of men Guarded by soldiers; then, if I guess right, The Union—they'll be crowding here for work, Wanting to go to work, you understand, But with their eye on Williams. He'll say 'No.' But there's another faction will say 'Yes.' Harvey Anderson. And while they're balanced—— Egerton. That's just what I want. You've got a good cool head, and you know men. And then you have a way of putting things. Harvey Anderson. Make 'em a little speech? Egerton. I don't care how. Harvey Anderson. Just get 'em in your pen, eh? Egerton. It's their last chance. And I can say, my boy, if you make good And prove to be the man we're looking for, I'll push you on as fast as you can go. And then next year we'll take my other mills And break this Union thing or we'll know why. A shot or two for your own land, you see. Harvey Anderson. Free Work. Egerton. Free Mills. Harvey Anderson. Free men. (Starts left) Egerton. You know the way? (Egerton turns and goes into the mill-yard) Second Sentry. (Comes in right and meets the First Sentry, who has just come forward) Damn stuck-up fool! Just because Egerton Invites him to his house. First Sentry. He's got a corn. Second Sentry. I hope they'll tramp it off. (The First Sentry quickly signals that some one is coming toward the gate) Second Sentry. God, I don't care. (The Chauffeur comes hurriedly from the mill-yard and goes and gets into the car. A moment later General Chadbourne and Captain Haskell appear) Chadbourne. And I'll be there till nine or ten o'clock, Or even later, for we've some important Matters to attend to. And besides It's going to be a very fine affair. Haskell. All right, sir. Chadbourne. You won't need me, though, I'm sure. Things seem to be all quiet at the station. Second Sentry. (As he goes out) Ass! Haskell. We'll break camp to-morrow, I suppose Chadbourne. That's what I had in mind a while ago! I'm glad you spoke of it. When they pass these gates, You be here, Haskell, and you get me word. I want to be the first to break the news To Egerton and the Governor; want to say: 'I have the honor to report to you, Your Excellency, And it gives me pleasure to announce to you Upon the occasion of the opening Of your new mansion, Colonel Egerton, This bit of news, sir, from the military, And I offer it with our congratulations, The strike is over——' Voice of Jergens. (Back in the mill-yard) General Chadbourne! Chadbourne. Yes!— 'The men have yielded and have gone to work; And all's been done without one drop of bloodshed, Thanks to the Governor and to your co-operation And to the splendid service of the boys. To-morrow we break camp and go our ways. Health to you and long life and peace hereafter In your new home.' Or something of the sort. I haven't whipped it into final shape. Haskell. And got off, I suppose, with glasses lifted. 'Twill be a nice green feather in our cap. Chadbourne. And duty done, it's well to have big friends. There's that old question of the armory; I'm going to try to jam it through this session. And besides that— (Calls toward the gate) What's up? Jergens. (Enters with the Chief of Police) How large a force Did you send to the station? Chadbourne. Why do you ask? Jergens. There's talk of violence among the men. Chief of Police. Some even go so far as to advocate Marching upon—— Jergens. That, Chief, may all be bluster. For this man Dicey—these men have a way Of making things look bad to extort money And earn them credit if they turn out well. Chief of Police. As a precaution though. Jergens. I've no objection. (Egerton comes from the mill-yard) Chief of Police. You'd better throw a guard about the house. You see it's out of my jurisdiction. Egerton. Coming to see me, eh? Jergens. I don't believe it. (Chadbourne talks aside with Haskell) Chief of Police. To see the Governor, they say. Egerton. All right. (Gets into the automobile) They'll find him in the southwest room upstairs When the train comes. Have them clean off their feet. Ralph Ardsley. (Who has just come in, left) Clean off whose feet? Egerton. Yours, Ardsley. Step right in. (The Chief of Police goes out, left) Ralph Ardsley. What's the news now? Egerton. The news is that you've got Barely an hour to get on your togs. (Ardsley unbuttons his light overcoat and shows his full dress) Egerton. You editors are smart men. (Chadbourne gets in behind with Egerton, Ardsley in front with the Chauffeur) Chadbourne. (As they go out right) Don't forget, Haskell. (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) First Sentry. (Who finally sees her) Get out! Old Woman. They're thrown away. Buck Bentley. (Who has come from the mill-yard and resumed his seat on the keg) Let her alone. Old Woman. God help us if we can't have even sticks That's thrown out. First Sentry. Let your old man go to work. Old Woman. Then let 'em pay fair wages. Ain't they all Things goin' up an' wages goin' down? What's the poor to do? First Sentry. That's your look-out. Move on! (He starts toward the old woman. Buck Bentley knocks the ashes from his pipe and goes toward the First Sentry) Second Sentry. (Who has been watching) Know what you're doing, Buck? (There is a fight. Bentley takes the rifle from the First Sentry who, in a rage, starts for the gate) First Sentry. If this goes by I'll show the regiment a thing or two, I'll jump the Service, that's what I'll do. (He hurries into the mill-yard. Bentley helps the old woman pick up the sticks) Old Woman. I thought they'd never go. God bless you, son. (Starts up the slope) Second Sentry. We'll see, by God, who's running this shebang. Old Woman. You ain't heard nothin' from the station yet? Buck Bentley. No, mother. (The old woman goes out. Bentley comes to the gate and sets the rifle against the fence) Second Sentry. (Talking into the mill-yard) He even helped her fill her apron. Haskell. (Entering with the First Sentry) Have you gone crazy, Buck? What do you mean? Buck Bentley. (Fills his pipe) Is this the Company's property out here? Haskell. We've got our orders and that settles it. Don't settle it with you, eh? A Militiaman. (From the top of a lumber stack) Here they come! First Sentry. In other words you'll do as you damn please. (Haskell comes forward and looks down the street, left) Haskell. Now shut your mouths. First Sentry. I'm not through with this yet. (Picks up his rifle and goes back on his beat) Second Sentry. Damn pretty soldier you are. Haskell. Do you hear? (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) Jergens. The world is big and we can get the men. Sam Williams. That's all right, Mr. Jergens. Jergens. All we want, And more too. Sam Williams. That's all right. Jergens. We've shown you that. If not, stick it out; that's all I've got to say. Sam Williams. Voice. (From the crowd) There where the boys were killed. Jergens. We will or will not, as it suits ourselves. Voice. (From the crowd) About our places, Sam. Sam Williams. If they come back, You'll give the boys the places that they had, All of them? (The militia, with the strike-breakers, pass into the mill-yard) Voice.. (From the crowd) Will we get our places back? Jergens. The places that have not been filled are yours. As for discharging men that we've brought here, Not one. (He says something to Haskell, then turns to the crowd) Now just one word. When these gates close, You're out. You understand that, do you? Out Not for to-day, to-morrow, or six weeks, But all time. You've got just ten minutes left. Then, Captain, close these gates. Haskell. All right, sir. (Jergens passes into the mill-yard) Voice. (From the crowd) Well? Another Voice. What do you say, Sam? Jim King. Williams has had his say. And you see where we are. Rome Masters. Hear Wes! Jim King. Wes! Several. Sam! Sam Williams. I don't know, comrades, as I ought to say, Seeing as I don't gain or lose in this. For I'm of them that have no place in there. But if you want my—— Cries. Yes, go on! Go on! Sam Williams. Well, comrades, it's the Union first with me. That props the rest. You take that prop away And everything comes down. We've climbed a bit Since we first organized. And what we've won, What is it that keeps it won? The Union, comrades, Is just another name for all of us. Jergens. (Appearing at the gate) Another thing. If you don't come to work We'll want those shacks up there. Remember that. (Goes out) Sam Williams. 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. 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. A Woman. (To another who begins to cry) Never mind. Sam Williams. What is it that gives him power to talk that way? Why is it he can do that, (Lifts his hand) and trains come in With soldiers? We can't do it. And they're two And we're four hundred. Jim King. That don't get us bread. Sam Williams. Is it because they own the mills and lands? It's only when they own us that they're strong. There's bigger gates than these stand open here If you'll just stick together. 'Tain't to-day I'm thinking of. There's a green shore somewhere If you'll just turn your faces from that gate. But if you're going to give your Union up When they say if you don't we'll close these gates, You'll have no peace. They'll hold it over you To force you down. Comrades, the day will come When you'll regret it if you go in there, Giving your Union up. But that's with you. Chris Knudson. Sam's right. We can't be slaves, men. King and Masters. Wes! Hear Wes! Chris Knudson. Let's march on out to Egerton's big house And call the Governor out and lay our case Before him. Cries. Right! That's right! A Voice. First let's go home And get the women folk and all march out. Mike Hawley. You talk like fools. Ain't Braddock, too, a slave? He's 'bout as big to Egerton as your thumb. Wes Dicey. It seems to me like, boys, we're in a boat. We've pulled together hard as any men Tryin' to make the shore off there. But here She's leakin' and our biscuits have give out. The question now is, hadn't we better make For this shore here? It ain't the one we want; But here there's bread and water. But they say— And this it is that seems to rub Sam most— 'Scuttle your boat or you don't land here.' Well, Scuttle her, then I say. (Hisses from the crowd) Now you hold on. I love the Union much as any man. And I've stood by her, too, through thick and thin. Ain't I stood by her, boys? Jim King. Wes is our friend. Wes Dicey. And will again. Then what do I mean? Just this: It's a queer shore ain't got a cove or two Where you can hide her. I don't mean to say He has. But here she is, she's goin' down, So I say land. For bread tastes mighty good, And air this time o' year won't keep you warm If you're turned out. Later, we get our strength, We'll patch her up and make for that green shore Sam talks of. But just now it's this or this. (Points toward the mill, then to the ground) And if we go down, then where's your Union? Eh? A Voice. He's right. Rome Masters. But if we live, then it lives too. Wes Dicey. So it's the Union that I'm speakin' for. Jim King. He's speakin' for our wives and children too. A Voice. What about us whose places have been filled? Another Voice. You want us all to go down, eh? Sam Williams. No! Several. No! Harvey Anderson. Pards, I'm one of Egerton's men, if you'll let me Butt in here just a minute with a word. You've seen two sides of this thing, but there's three. There's one big black one you don't face at all, Even your Captain here. You're all right, pard, In what you say about their mills and lands Not giving them power; it's their owning you. And if you'll just tear up that bill of sale And call the deal off, Egerton's big shadow That fills the valley, lengthening year by year Until your hair stands up, you'll be surprised How you can cover it with a six-foot pole. For it's on you he's standing. Wes Dicey. Who are you? Harvey Anderson. But look here, pards, are you calling off this sale Or simply trying, as it seems to me, To make him take the goods at the old price? Haskell. What have you got to do with it? Harvey Anderson. And what's the price? Where's all that gone? (Points to the mountains) Were those just weeds up there That's been cleared off to get a better view? Or Christmas trees? Jim King. Who are you? Harvey Anderson. And loaded, too, With food and clothes and homes and silks and gems And punch that bubbles till she runs down here, Flushing the soldier boys until they're gay And on their mettle. Is his name Egerton That planted all those pines? (Points to the sky) Wes Dicey. What's it to you? Harvey Anderson. Worked all these years and yet you've got no bread? Haskell. (Coming toward him) What business is it of yours what these men do? Harvey Anderson. Handled all that and yet you've got no roof To cover you! Buck Bentley. (Following Haskell) Look here, Cap. Harvey Anderson. And this man comes And cracks his whip, 'We'll oust you.' What do you say? Buck Bentley. We came down here to see the square thing done, Not to take sides and try to break this strike. (Haskell stares at him in amazement) Harvey Anderson. What's your name? Buck Bentley. Bentley. Harvey Anderson. I'll remember that. And my name's Anderson. (They shake hands) Haskell. (Beckoning to the militiamen about the gate) Three or four of you. I give you ten days in the guard house, Buck. Harvey Anderson. You won't be there two hours, pard, take my word. There's something going to drop here pretty soon. Haskell. (Calls after the militiamen) Tell Mr. Jergens to step here a minute. (Bentley is led away into the mill-yard) Harvey Anderson. (To the crowd) 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, 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? Sam Williams. You a Union man? Harvey Anderson. I don't know much about your Union, pard. It's all right, I suppose, far as it goes. But tell me this—and here's your black side, men— Long as they own the sea (Points to the mountains and the plains) and own the shore, (Points to the mill) You think they'll care much, pard, who owns the boat? And how'll they not own you? You tell me that. (Williams and the crowd stand silent) Harvey Anderson. What do you say? Haskell. (Watch in hand) You've got two minutes left. Harvey Anderson. Two minutes left of freedom. What do you say? You've got no North to look to, you white men. A Woman. (With a child in her arms) If you go in there, John, don't you come home. Harvey Anderson. Bully for you, sister! The Woman. Don't you dare come home. We ain't starved with you, you to sell yourself. Wes Dicey. It's either go back, boys, or we'll be tramps. Harvey Anderson. There's thousands of them off there good as you. You'd sell your soul to Egerton for bread. They keep theirs and go round the back door. Voice. (From the crowd) Well? Jim King. Listen to me. Sam Williams. Comrades, they can't start up; They've not the men. Wes Dicey. Suppose they don't start up? Suppose they shut down till the ice blocks there? Then where'll we be? Jim King. You'll hear the children cry. Harvey Anderson. Shut up your mouths or, if you're married men, Let your wives speak. 'You'll hear the children cry!' Where in the hell do you hail from any way? Or have they starved you till you've lost your grit? Haskell. One minute. Voice. (From the crowd) Bread! Another. What will we do, Sam? Another. Vote! Sam Williams. I've said my last word. Wes Dicey. We've no time to vote. Voice. (From afar, right) Wait! Jim King. Be quick. Harvey Anderson. Hold on! Wes Dicey. Boys, suppose they say, 'First come, first served, and we don't need the rest'? Jim King. (Calling attention to the first flakes of snow) Look at these flakes, men! (There is a stampede for the gate) An Old Woman. Run, Tommy! Harvey Anderson. (Drawing from his pocket a long blue revolver) Halt! The first man puts his foot inside that gate I'll kill him. Voice. (Right as before, now near by) One word before you go in there! (Harry Egerton enters breathless) Harry Egerton. Pardon me; I have run some seven miles To be here ere the sun went down, for I Knew what it meant to you. (Stands for a moment collecting himself) Men, my friends, What is it you are about to do? Harvey Anderson. They're going back. Harvey Anderson. (As Harry Egerton seems about to speak) Now listen, boys, for now you'll hear a word That you'll remember till the crack o' doom. Harry Egerton. I wouldn't do it, friends, if I were you. What will to-morrow be and the next day And years to come if you surrender now? I in my father's offices have struck The balances between you men and him. I know what part you've had of all these trees And what part he has had, and in my heart I know there is a balance on your side. Things can't go on forever in this way. Harvey Anderson. Now the snow falls they're afraid the wolf will howl. Harry Egerton. Will you be stronger then a year from now, Your Union broken up, your wages less, And this defeat behind you dampening all? Or do you intend henceforth never to lift The voice of protest, silent whatever comes? God will provide, my friends. Do not give up. Harvey Anderson. (Comes to him) Tell 'em about it, partner. Harry Egerton. Not yet. Harvey Anderson. Why? Harry Egerton. Their enemies would say it was the gold. And we must show them that they're wrong. A Workman. Look out! Jergens. (With a stick he has picked up comes from the mill-yard) What do you mean by interfering here? (He discovers Harvey Anderson talking with Harry Egerton and turns, evidently for an explanation, to Haskell) Harvey Anderson. You've filed your claim though? Harry Egerton. Yes. (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) A Workman. Look out, comrade! Harvey Anderson. I wouldn't try it, pard, if I were you. Jergens. (To the men) You'll rue this day! (To Harvey Anderson) We'll fix you! (To the militia) Close these gates! (Glowers at Harry Egerton) Clear these streets, Captain! Harry Egerton. Stand where you are, my friends. Jergens. Captain, I order you to clear these streets. Harry Egerton. Be careful, Captain Haskell, what you do. This is a public place. A Militiaman. What's the word, Cap.? Haskell. (To the militiaman, irritably) Who's in command here, I should like to know? Jergens. Your father will attend to you, young man. (Beside himself with rage, disappears down the street, left) Harry Egerton. Now then go quietly to your homes, my friends, And I to-night will see what I can do. Sam Williams. (Comes toward him) Mr. Egerton. (Holds out his hand) Harry Egerton. Yes, Sam. (Takes his hand) Sam Williams. (To the crowd) Comrades, I never thought we'd live to see this day. (The men crowd about them) Harry Egerton. Some of you men are hungry. The Men. We're all right! We're all right, Mr. Egerton! Harry Egerton. But never mind. We will begin a new age in this land. Harvey Anderson. Up with your hats, pards! God's on the mountains! (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) First Militiaman. I'm for young Egerton if it comes to that. Second Militiaman. Most of us boys are sons of workingmen. Third Militiaman. I never thought of that. Fourth Militiaman. Buck's about right, too, kids. We came here to see the square thing done, Not to be half-sole to the old man's boot. First Militiaman. Let's set Buck free. Second Militiaman. What do you say, kids? (They go into the mill-yard, talking earnestly) Second Sentry. Dan! (The First Sentry joins him and they whisper together) First Sentry. (Starts with the other for the gate) Second Sentry. Haskell's too fast. (They enter the mill-yard) |
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