[Easter eve. The music before and thro' this act, Haydn's Sieben Worte. No. 5. Adagio. Scene the same. The curtains are up. The landscape outside is in a grey light. There is a fire in the stove. The doors are closed. Eleonora is seated near the stove with a bunch of crocuses in her hand. Benjamin enters from R.]

ELEONORA. Where have you been all this long time, Benjamin?

BENJAMIN. It hasn't been very long.

ELEONORA. I have wanted you so!

BENJAMIN. Have you? And where have you been, Eleonora?

ELEONORA. I went down street and bought these crocuses, and now I must warm them. They were frozen. Poor dears!

BENJAMIN. Yes. It's so chilly today, there isn't a bit of sunshine.

ELEONORA. The sun is behind the fog. There aren't any clouds, just sea-fog. I can smell the salt in the air.—

BENJAMIN. Did you see any birds out there?

ELEONORA. Yes, flocks of them, starting north for their summer home. And not one will fall to the earth unless God wills it.

ELIS [Enters from R.]. Has the evening paper come yet?

ELEONORA. No, Elis.

[Elis starts to cross the room—when he is at C. Christine enters from L.]

CHRISTINE [Without noticing Elis]. Has the paper come?

ELEONORA. No, it hasn't come.

[Christine crosses room and goes out R., passing Elis, who goes out too. Neither looks at the other.]

ELEONORA. Huh! how cold and chilly! Hate has entered this house. As long as love reigned one could bear it, but now,—huh! how cold!

BENJAMIN. Why were they so anxious about the evening paper?

ELEONORA. Don't you know? There will be something in it about—

BENJAMIN. What?

ELEONORA. Everything! The theft, the police, and more too—

MRS. HEYST [From R.]. Has the paper come?

ELEONORA. No, mother dear.

MRS. HEYST [As she goes out]. Let me know first when it does come.

ELEONORA. The paper, the paper! Oh, that the print shop would burn down or that the editor were taken ill, or something—No, no. I mustn't say that. I mustn't. Do you know, Benjamin, I was with my father last night.

BENJAMIN [Surprised]. Last night?

ELEONORA. Yes, while I slept. And then I was with my sister. She told me that she sold thirty dollars' worth of things day before yesterday, and that she had earned five dollars for herself.

BENJAMIN. That wasn't much.

ELEONORA. It's a great deal, Benjamin.

BENJAMIN [Slyly]. And who else did you meet in your sleep?

ELEONORA. Why do you ask that? You mustn't try to tease me, Benjamin. You would like to know my secrets—but you mustn't.

BENJAMIN. Well, then you can't know my secrets either.

ELEONORA [Listening]. Can you hear the telephone wires humming? Now the paper is out, and now they are 'phoning each other, "Have you read about it?"—"Yes, indeed I have!"—"Isn't it terrible?"

BENJAMIN. What is terrible?

ELEONORA. Everything. Life is terrible, but we must be satisfied. Think of Elis and Christine. They love each other, and yet hate has come between them, so that when they walk thro' the room the thermometer drops several degrees. She went to the recital last night and today they won't speak to each other. And why,—why?

BENJAMIN. Because your brother is jealous.

ELEONORA. Don't mention that word. What do we know about it, for that matter,—more than that it is disease and punishment? One must never touch evil, for then one will surely catch it. Look at Elis, haven't you noticed how changed he is since he started to read those papers?

BENJAMIN. About the law-suit?

ELEONORA. Yes. It is as if evil had crept into his soul; it is reflected in his face and eyes. Christine feels this, and not to be contaminated by it, she encases herself in an armor of ice. And those papers—if I could only burn them! They are filled with meanness, falsehood and revenge. Therefore, my child, you must keep away from evil and unclean things, both with your lips and heart.

BENJAMIN. How you understand everything!

ELEONORA. Do you know something else that I feel? If Elis and Christine get to know that I bought the Easter lily in that unusual way, they will—

BENJAMIN. What will they do?

ELEONORA. They will send me back—there. Where I just came from. Where the sun never shines. Where the walls are dark and bare. Where one hears only crying and lamentation. Where I sat away a year of my life.

BENJAMIN. Where do you mean?

ELEONORA. There, where one is tortured more than in prison. Where the unfortunate dwell, where unquiet reigns, where despair never sleeps, and whence no one returns.

BENJAMIN. Worse than prison? How could that be?

ELEONORA. In prison one is tried and heard, but there in that place no one listens. Poor little Easter lily that was the cause of all this! I meant so well, and it turned but so badly!

BENJAMIN. But don't you go to the florist and tell him how it happened. You would be like a lamb led to the sacrifice.

ELEONORA. It doesn't complain when it knows that it must be sacrificed, and doesn't even seek to get away. What else can I do?

ELIS [Enters from R., a letter in his hand]. Hasn't the paper come yet?

ELEONORA. No, brother dear.

ELIS [Turns toward kitchen door]. Lina must go out and get an evening paper.

[Mrs. Heyst enters from R., Eleonora and Benjamin show fear.]

ELIS [To Eleonora and Benjamin]. Go out for a few moments. I want to speak to mother.

[Eleonora and Benjamin go out.]

MRS. HEYST. Have you received word from the asylum?

ELIS. Yes.

MRS. HEYST. What do they want?

ELIS. They demand Eleonora's return.—

MRS. HEYST. I won't allow it. She's my own child—

ELIS.—And my sister.

MRS. HEYST. What do you mean to do?

ELIS. I don't know. I can't think any more.

MRS. HEYST. But I can. Eleonora, the child of sorrow, has found happiness, tho' it's not of this world. Her unrest has turned to peace, which she sheds upon others. Sane or not, she has found wisdom. She knows how to carry life's burdens better than I do, better than all of us. Am I sane, for that matter? Was I sane when I thought my husband innocent altho' I knew that he was convicted by the evidence, and that he confessed? And you, Elis—are you sane when you can't see that Christine loves you, when you believe that she hates you?

ELIS. How can I be in the wrong? Didn't she go out with my false friend last night?

MRS. HEYST. She did, but you knew about it. Why did she go? Well, you should be able to divine the reason.

ELIS. No. I cannot.

MRS. HEYST. You will not. Very well, then you must take the consequences.

[The kitchen door opens a little and Lina's hand is seen with evening paper. Mrs. Heyst takes paper and gives it to Elis.]

ELIS. That was the last misfortune. With Christine. I could carry the other burdens, but now the last support has been pulled away and I am falling.

MRS. HEYST. Well, fall then—but land right side up, and then you can start again. Any news worth reading in the paper?

ELIS. I don't know. I am afraid to look at it today.

MRS. HEYST. Give it to me, then. I am not—

ELIS. No, wait a moment—

MRS. HEYST. What are you afraid of?

ELIS. The worst of all.

MRS. HEYST. The worst has happened so many times that it doesn't matter. Oh, my boy, if you knew my life—if you could have seen your father go down to destruction, as I did, and I couldn't warn all those to whom he brought misfortune! I felt like his accomplice when he went down—for, in a way, I knew of the crime, and if the judge hadn't been a man of great feeling, who realized my position as a wife and mother, I too would have been punished.

ELIS. What was really the cause of father's fall? I have never been able to understand.

MRS. HEYST. Pride—pride. Which brings us all down.

ELIS. But why should the innocent suffer for his wrong-doing?

MRS. HEYST. Hush. No more. [She takes paper and reads. Elis walks up and down, worried and nervous.] Ah, what's this? Didn't I say that there was a yellow tulip among the things stolen at the florist's?

ELIS. Yes, I remember.

MRS. HEYST. But here it says that it was an Easter lily.

ELIS [With fear]. An Easter lily? Does it say that?

[They look at each other. A long pause.]

MRS. HEYST [Sinking into a chair]. It's Eleonora. Oh, God keep us!

ELIS. It wasn't the end then.

MRS. HEYST. Prison or the asylum—

ELIS. But it's impossible. She couldn't have done this. Impossible!

MRS. HEYST. And now the family name must be dragged in disgrace again.

ELIS. Do they suspect her?

MRS. HEYST. They say that suspicion leads in a certain direction—it's pretty plain where.

ELIS. I must talk to her.

MRS. HEYST. Don't speak harshly to her. I can stand no more. Oh, she is lost—regained but lost again! Speak kindly to her. [She goes out R.]

ELIS [At door L.]. Oh,—[Calls] Eleonora, come out here. I want to speak to you.

ELEONORA [Coming in, her hair down]. I was just putting up my hair.

ELIS. Never mind that. Tell me, little sister, where did you get that flower?

ELEONORA. I took it from—

ELIS. Oh, God!

[Eleonora hangs her head, crushed, with her arms over her breast.]

ELEONORA. But I—I left money there, beside the—

ELIS. You left the money? You paid for it, then?

ELEONORA. Yes and no. It's provoking, but I haven't done anything wrong—I meant well—do you believe me?

ELIS. I believe you, little sister—but the newspapers don't know that you are innocent.

ELEONORA. Dear me! Then I must suffer for this also. [She bends her head forward; her hair falls over her face.] What do they want to do with me now? Let them do what they will!

BENJAMIN [Enters from L., beside himself]. No, no. You mustn't touch her. She hasn't done any harm—I know it—as it was I—I—I—[He breaks down] who did it.

ELEONORA. Don't believe what he is saying—it was I.

ELIS. What shall I believe—whom shall I believe?

BENJAMIN. Me!

ELEONORA. Me, me!

BENJAMIN. Let me go to the police—

ELIS. Hush, Benjamin, hush.

ELEONORA. No, I'll go—I'll go.

ELIS. Quiet, children. Here comes mother.

[Mrs. Heyst enters R., takes Eleonora in her arms and kisses her tenderly.]

MRS. HEYST [Stirred]. My dear, dear child! You have come back to your mother and you shall stay with me.

ELEONORA. You kiss me, mother? You haven't kissed me in years. Why just now?

MRS. HEYST. Why, because now—because the florist is out there and asks pardon for making all this fuss.—The money has been found, and your card and—

[Eleonora springs into the arms of Elis and kisses him. Then she goes to Benjamin and kisses him quickly on the forehead.]

ELEONORA [To Benjamin]. You good child, who wanted to suffer for my sake! Why did you do it?

BENJAMIN. Because—I—I—like—you so much, Eleonora.

MRS. HEYST. Well, my children, put on some things now and go out into the orchard. It's clearing up.

ELEONORA. Oh, it's clearing—and soon the sun will be shining!

[She takes Benjamin's hand and they both go out L.]

ELIS. Mother, can't we throw the rod into the fire soon?

MRS. HEYST. Not yet. There is still something—

ELIS. Is it—Lindkvist?

MRS. HEYST. Yes. He is out there. But he looks so queer and bent on talking to you. Too bad he talks so much and always about himself.

ELIS. Let him come. Now that I have seen a ray of sunlight, I am not afraid to meet the giant. Let him come.

MRS. HEYST. But don't irritate him. Providence has placed our destiny in his hands—and he who humbleth himself shall be exalted and he who exalteth himself—well—you know what happens to him.

ELIS. I know. Listen—the galoshes—squeak, squeak, squeak! Does he mean to come in with them on? And why not? They are his own carpets.

[There are three raps on door R.]

MRS. HEYST. Elis, think of us all.

ELIS. I do, mother.

[Mrs. Heyst opens door R. Lindkvist enters, Mrs. Heyst goes out. He is an elderly man of serious, almost tragic aspect, with black bushy eyebrows. Round, black-rimmed eye-glasses. He carries a stout stick in his hand, he is dressed in black, with, fur coat, and over his shoes wears galoshes that squeak.]

LINDKVIST [After looking at Elis]. My name is Lindkvist.

ELIS [Reserved]. Heyst is my name—won't you sit down?

[Lindkvist sits in chair R. of sewing table—looks at Elis with a stern eye.]

ELIS [After a pause]. How can I be of service?

LINDKVIST [With good humor]. H'm. Last evening I had the honor to notify you of my intended visit, but thinking it over, and realizing that it was a holy evening, I refrained from coming then, as my visit is not of a social nature—and I don't talk business on a holy evening.

ELIS. We are very grateful.

LINDKVIST. We are not grateful. [Pause.] However, day before yesterday I made a casual call on the Governor.—[Stops to notice how Elis takes it.] Do you know the Governor?

ELIS [Carelessly.] I haven't that honor.

LINDKVIST. Then you shall have that honor.—We spoke about your father.

ELIS. No doubt.

LINDKVIST [Takes out a paper and lays it down on table]. And I got this paper from him, from the Governor.

ELIS. I've been expecting this for some time, but before you go any further allow me to ask you a question.

LINDKVIST. Go ahead.

ELIS. Why don't you put that warrant in the hands of the executors, so we could escape this long and painful business?

LINDKVIST. So—so—my young man.

ELIS. Young or not, I ask no mercy, only justice.

LINDKVIST. Well, well, no mercy—no mercy—eh? Do you see this paper that I put here on the corner of the table?

ELIS. Yes.

LINDKVIST. Ah,—now I put it back again. [Puts it back in his pocket.] Well, then, justice, only justice. Listen, my young friend. Once upon a time, I was deprived of my money and in a disagreeable manner. When I wrote you a courteous letter, asking how much time you needed, you saw fit to answer with an uncourteous note—and treated me as if I were a usurer, a plunderer of widows and children—altho' I was really the one plundered, and you belonged to the plunderer's party. But as I was more judicious, I contented myself with answering your note courteously, but to the point. You know my blue paper, eh? I see you do. And I can put the seals on, too, if I choose—but I don't, not yet. [Looks around the room.]

ELIS. As you please; the things are at your disposal.

LINDKVIST. I wasn't looking at the furniture. I looked to see if your mother was in the room. She no doubt loves justice as much as you do?

ELIS. Let us hope so.

LINDKVIST. Good. Do you know that if justice, which you value so highly, had its course, your mother, who only knew of your father's criminal act, could have been imprisoned?

ELIS. No! No!

LINDKVIST. Yes! Yes! And it isn't too late even now.

ELIS [Rises]. My mother—

[Lindkvist takes out another paper, also blue, and places it on the table.]

LINDKVIST. See—now I put down another paper, and it's blue, too, but as yet—no seals.

ELIS. Oh, God,—my mother! "As ye sow, so shall ye reap."

LINDKVIST. Yes, my young lover of justice, "As ye sow, so shall ye reap." That's the way it goes. Now, if I should put this question to myself: "You, Joseph Lindkvist, born in poverty and brought up in denial and work, have you the right at your age to deprive yourself and children—mark you, your children—of the support, which you thro' industry, economy and denial,—mark you, denial,—saved penny by penny? What will you do, Joseph Lindkvist, if you want justice? You plundered no one—but if you resent being plundered, then you cannot stay in this town, as no one would speak to the terrible creature who wants his own hard-earned money returned." So you see there exists a grace which is finer than justice, and that is mercy.

ELIS. You are right. Take everything. It belongs to you.

LINDKVIST. I have right on my side, but I dare not use it.

ELIS. I shall think of your children and not complain.

LINDKVIST. Good. Then I'll put the blue paper away again.—And now we'll go a step further.

ELIS. Pardon me, but do they intend to accuse my mother?

LINDKVIST. We will go a step further first—I take it that you don't know the Governor personally?

ELIS. No, and I don't want to know him.

[Lindkvist takes out paper again and shakes it warningly at Elis.]

LINDKVIST. Don't, don't say that. The Governor and your father were friends in their youth, and he wishes to see and know you. You see. "As ye sow," and so forth, in everything—everything. Won't you go to see him?

ELIS. No.

LINDKVIST. But the Governor

ELIS. Let us change the subject.

LINDKVIST. You must speak courteously to me, as I am defenseless. You have public opinion on your side, and I have only justice on mine. What have you got against the Governor? He doesn't like this and that, what some people would call pleasure.—But that belongs to his eccentricities, and we needn't exactly respect his eccentricities, but we can overlook them and hold to fundamental facts as human beings; and in the crises of human life we must swallow each other skin and hair, as the saying goes. But will you go to see the Governor?

ELIS. Never.

LINDKVIST. Are you that sort of creature?

ELIS. Yes.

LINDKVIST [Rises, walks about waving his blue paper.] That's too bad—too bad.—Well, then I must start from the other end.—A revengeful person has threatened to take legal steps against your mother.

ELIS. What do you say?

LINDKVIST. Go to see the Governor.

ELIS. No.

LINDKVIST [Taking Elis by the shoulders]. Then you are the most miserable being that I have ever met in all my experience.—And now I shall go and see your mother.

ELIS. No, no. Don't go to her.

LINDKVIST. Will you go to see the Governor then?

ELIS. Yes.

LINDKVIST. Tell me again and louder.

ELIS. Yes.

LINDKVIST [Giving Elis blue paper]. Then that matter is over with—and there is an end to that paper, and an end to your troubles on that score.

[Elis takes paper without looking at it.]

LINDKVIST. Then we have number two—that was number one. Let us sit down. [They sit as before.] You see—if we only meet each other half-way, it will be so much shorter.—Number two—that is my claim on your home.—No illusions—as I cannot and will not give away my family's common property, I must have what is owing me, to the last penny.

ELIS. I understand—

LINDKVIST. So. You understand that?

ELIS. I didn't mean to offend you.

LINDKVIST. No. I gather as much. [He lifts his glasses and looks at Elis.] The wolf, the angry wolf—eh? The rod—the rod—the giant of the mountains, who does not eat children—only scares them—eh? And I shall scare you—yes, out of your senses. Every piece of furniture must come out and I have the warrant in my pocket. And if there isn't enough—you'll go to jail, where neither sun nor stars shine.—Yes, I can eat children and widows when I am irritated.—And as for public opinion? Bah! I'll let that go hang. I have only to move to another city. [Elis is silent.] You had a friend who is called Peter. He is a debater and was your student in oratory. But you wanted him to be a sort of prophet.—Well, he was faithless. He crowed twice, didn't he? [Elis is silent.]

LINDKVIST. Human nature is as uncertain as things and thought. Peter was faithless—I don't deny it, and I won't defend him—in that. But the heart of mankind is fathomless, and there is always some gold to be found. Peter was a faithless friend, but a friend nevertheless.

ELIS. A faithless—

LINDKVIST. Faithless—yes, but a friend, as I said. This faithless friend has unwittingly done you a great service.

ELIS [Sneeringly]. Even that.

LINDKVIST. [Moving nearer to Elis]. As ye sow, so shall ye reap!

ELIS. It's not true of evil.

LINDKVIST. It's true of everything in life. Do you believe me?

ELIS. I must, or else you will torture the life out of me.

LINDKVIST. Not your life—but pride and malice I will squeeze out of you.

ELIS. But to continue—

LINDKVIST. Peter has done you a service, I said.

ELIS. I want no services from him—

LINDKVIST. Are you there again? Then listen! Thro' your friend Peter's intervention the Governor was able to protect your mother. Therefore you must write and thank Peter. Promise me that.

ELIS. Any other man in the world—but not him.

LINDKVIST [Nearer to Elis]. Then I must squeeze you again. How much money have you in the bank?

ELIS. What has that got to do with it? I cannot be responsible for my father's debts!

LINDKVIST. Oh, indeed? Weren't you among those who ate, and drank, when my children's money was spent in this house? Answer.

ELIS. I can't deny it.

LINDKVIST. Well, then, you must sit down immediately and write a check for the balance. You know the sum.

ELIS [As in a dream]. Even that?

LINDKVIST. Yes, even that.—Be good enough to make it out now.

[Elis rises and takes out check-book and pen.]

LINDKVIST. Make it on yourself or an order—

ELIS. Even then it won't be enough.

LINDKVIST. Then you must go out and borrow the rest. Every penny must be paid.

ELIS [Handing check to Lindkvist]. There—everything I have.—That is my summer and my, bride. I haven't anything else to give you.

LINDKVIST. Then you must go out and borrow, as I said.

ELIS. I can't do it.

LINDKVIST. Then you must get security.

ELIS. No one would give security to a Heyst.

LINDKVIST. So. Then I'll propose an alternative. Thank Peter, or you will have to come up with the whole sum.

ELIS. I won't have anything to do with Peter.

LINDKVIST. Then you are the most miserable creature that I have ever known. You can by a simple courtesy save your mother's dwelling and your fiancÉe's happiness, and you won't do it. There must be some motive that you won't come out with. Why do you hate Peter?

ELIS. Put me to death—but don't torture me any longer.

LINDKVIST. Are you jealous of him?

[Elis shrugs his shoulders.]

LINDKVIST. So—that's the way things stand. [Rises and walks up and down.] Did you read the evening paper?

ELIS. Yes, more is the pity!

LINDKVIST. All of it?

ELIS. No, not all.

LINDKVIST. No? Then you didn't read of Peter's engagement?

ELIS. No. That I did not know about.

LINDKVIST. And to whom do you think?

ELIS. To whom?

LINDKVIST. Why, he is engaged to Miss Alice, and it was made known at a certain recital, where your fiancÉe helped spread the glad news.

ELIS. Why should it have been such a secret?

LINDKVIST. Haven't two young people the right to keep their hearts' secrets from you?

ELIS. And on account of their happiness I had to suffer this agony!

LINDKVIST. Yes, just as others have suffered for your happiness—your mother, your father, your fiancÉe, your sister, your friends. Sit down and I'll tell you a little story.

[Elis sits, against his will, through this scene and the following. It is clearing outside.]

LINDKVIST. It's about forty years since I came to this town, as a boy, you understand—alone, unknown, without even one acquaintance, to seek a position. All I owned was one silver dollar. The night that I arrived was a dark, rainy one. As I didn't know of any cheap hotel, I asked the passers-by about one, but no one stopped to answer. Took me for a beggar, most likely. When I was at the height of my despair, a young man came up and asked me why I was crying—evidently I was crying.—I told him my need, and he turned from his course and took me to a hotel, and comforted me with friendly words. As I entered the hotel the glass door of a store next door was thrown open and hit my elbow and was smashed to pieces. The furious owner of the store grabbed me and insisted that I should pay for it, or else he would call the police. Can you imagine my despair? The kindly-intentioned unknown man, who was a witness of the affair, protested, and went to the trouble of calling the police himself, explained, and saved me from a night in the street. This man was your father! So you see, "As ye sow, so shall ye reap." And for your father's sake, I have foregone what is owed me. Therefore take this paper and keep your check. [Rises.] And as you find it hard to say thanks, I'll go immediately, and especially as I find it painful to be thanked. [Goes to door back.] Go to your mother as soon as your feet can carry you and relieve her of her worries. [Elis starts to Lindkvist to thank him, but Lindkvist makes a gesture toward R.] Go—

[Elis hastens out R. The center door opens and Eleonora and Benjamin enter. On seeing Lindkvist, she shows extreme fear.]

LINDKVIST. Well, little ones, step in and have no fear. Do you know who I am? [In a blustering voice.] I am the giant of the mountains,—muh, muh, muh!—and yet I am not dangerous. Come here, Eleonora. [She goes to him and he takes her head in his hand and looks into her eyes.] You have your father's kind eyes,—he was a good man—but he was weak. [Kissing her forehead.] There.

ELEONORA. You speak well of my father? Can it be any one wishes him well?

LINDKVIST. I can—ask your brother Elis.

ELEONORA. Then you don't want to harm us?

LINDKVIST. No, my dear child.

ELEONORA. Well, help us then.

LINDKVIST. Child, I can't help your father in his sentence. I can't help Benjamin in his Latin. But everything else is helped already. Life doesn't give everything, and nothing is given for nothing. Therefore you must help me,—will you?

ELEONORA. Poor me, what can I do?

LINDKVIST. What is the date today?

ELEONORA. Why, it's the sixteenth.

LINDKVIST. Good. Before the twentieth you must, have your brother Elis make a call on the Governor, and you must get him to write a letter to Peter.

ELEONORA. Is that all?

LINDKVIST. Oh, you dear child! But if he neglects these things the giant will come again and say muh, muh!

ELEONORA. Why should the giant come and scare children?

LINDKVIST. So that the children will be good.

ELEONORA. That's true. The giant is right. [She kisses Lindkvist's coat sleeve.] Thanks, dear giant.

LINDKVIST. You should say Mr. Giant, I should think.

ELEONORA. Oh, no. That's not your real name—

LINDKVIST [Laughing]. Good-bye, children. Now you can throw the rod in the fire.

ELEONORA. No, we must keep it. Children are so forgetful.

LINDKVIST. How well you know children, little one![He goes out.]

ELEONORA. We are going to the country, Benjamin. Within two months! Oh, if the time would only pass quickly. [She takes calendar and tears the pages off one by one.] April, May, June, and the sun is shining on them all. Now you must thank God, who helped us to the country.

BENJAMIN [Bashfully]. Can't I say my thanks in silence?

ELEONORA. Yes, you can say it in silence, for now the clouds are gone, and it can be heard up there.

[Christine has entered from L. and stopped. Elis and Mrs. Heyst from R. Christine and Elis start to meet each other with loving smiles. Before they meet—]