The Project Gutenberg EBook of The Americans, by Edwin Davies Schoonmaker This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Americans Author: Edwin Davies Schoonmaker Release Date: October 30, 2012 [EBook #41242] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE AMERICANS *** Produced by David Garcia, Judith Picken and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Kentuckiana Digital Library)
[Transcribers notes:
Missing page numbers represent blank pages.
Inconsistencies in hyphenation have been retained.
Page 147 "." added ("Bishop Hardbrooke.")
Page 170 "And" replacing "nd" ("And now a living thing.")
Page 198 "." added ("Egerton.")
Page 252 "Harry" replacing "arry" ("Harry Egerton.")
Page 259 "." added ("Bishop Hardbrooke.")
Page 259 "." added ("We have been busy.")]
Author's Note
PERSONS OF THE DRAMA
ACT I
THE MINE
ACT II
THE MILL
ACT III
THE MANSION
ACT IV
THE LIVING MILL
ACT V
CHRISTMAS EVE
NEW YORK
MITCHELL KENNERLEY
1913
COPYRIGHT 1913 BY MITCHELL KENNERLEY
PRESS OF J. J. LITTLE & IVES COMPANY, NEW YORK
To my Father and my Brother Frank
The drama here published is logically the third in a series of racial dramas, as follows:
Of this series The Saxons, dealing with man's struggle for religious liberty, has already been published. For reasons that need not be given, it has been thought best to postpone The Slavs, which will present man's battle for political liberty, and offer The Americans, the theme of which is the industrial conflict that is now raging. The Hindoos, a drama of spiritual unfoldment, will come in its order.
J. Donald Egerton | Lumber king and mill-owner |
Augustus Jergens | A partner |
Sam Williams | Leader of the strikers |
General Chadbourne | In command of the State Militia |
Captain Haskell | Second in command |
Rev. Ezra Hardbrooke | Bishop of the Diocese |
John. W. Braddock | Governor of the State |
Ralph Ardsley | Editor of the Foreston Courier |
Chief of Police | Coöperating with the Militia |
George Egerton | Son of Donald Egerton |
Harry Egerton | Son of Donald Egerton |
Harvey Anderson | Former cowboy and Rough Rider |
Buck Bentley | One of the Militia |
Wes Dicey | A walking delegate |
Jim King | Supporter of Dicey |
Rome Masters | Supporter of Dicey |
Cap Saunders | An old miner |
Bill Patten | Striker, off in search of work |
Silas Maury | Striker, off in search of work |
Willie Maury | Son of Silas Maury |
Mary Egerton | Wife of Donald Egerton |
Gladys Egerton | Daughter of Donald Egerton |
Sylvia Orr | Friend of Mrs. Egerton |
A chauffeur, a butler, a doctor, a nurse, two maids, two detectives, two sentries, strikers, strike-breakers, militiamen, guests at the reception, etc.
A land is not its timber but its people, |
And not its Art, my father, but its men. |
—Harry Egerton. |
Scene: On the mountains in a timber region of north-western America. In every direction, as far as the eye can see, a wilderness of stumps with piles of brush black with age and sinking from sheer rottenness into the ground. Here and there a dead pine stands up high against the horizon. In the distance, left, cleaving the range and extending on back under an horizon of cold gray clouds, is seen the line of a river of which this whole region is apparently the watershed, for everywhere the land slopes toward it. In the remote distance, beyond the river, innumerable bare buttes, and beyond these a gray stretch of plains. Down the mountains, left, six or seven miles away, the river loops in and a portion of a town is seen upon its banks. At this end of the town, upon a hill overlooking the river, a large white mansion conspicuous for the timber about it. At the farther end, a huge red saw-mill occupies the centre of a vast field of yellow lumber piles, the tall black stack of the mill clearly outlined against the gray of the land beyond.
Back, a hundred yards or so, a road, evidently constructed years ago when the logs were being taken out, comes up on the flats from the direction of the town,[Pg 12] turns sharply to the right and goes toward the ridge. Beyond this road, just at the curve, standing out among the stumps, an old stationary engine eaten up with rust and an abandoned logging-wagon, the hind part resting upon the ground, the two heavy wheels lying upon it. Farther back a small cabin falling into decay. Here and there patches of creeping vines and rank grass cover the ground, hiding in some places to a considerable depth the bases of the stumps. But to the left, where it is evident a steep slope plunges down, and also in the foreground, are open spaces with boulders and, scattered about under a thin loam of rotted needles and black cones, the outlines of a few flat stones. In the immediate foreground, left, a huge boulder, weighing possibly four or five tons, barely hangs upon the slope, ready at any moment, one would think, to slip and plunge down.
Two men, Cap Saunders and Harvey Anderson, the latter down left, the former to the right and farther back, are slowly coming forward. Each has a camping outfit, a roll of blankets, etc., upon his back, and carries in his hands a plaster cast of what would seem to be a cross-section of a log. It is about two feet in diameter and three inches thick. As they come along they try the casts on the various stumps and carefully turn them about to see if they fit, then chip the stump with a hatchet to indicate that it has been tried.
Time: The evening of a day early in November in the present time.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
(Who has left his cast and is hurrying forward excitedly)
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
(Chips the stump)
Cap Saunders.
(Starts back)
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
(Sits upon a stump and looks off up the valley, then turns and watches the old man busy with his cast)
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
(Picks up his cast and comes forward)
Cap Saunders.
Harvey Anderson.
(In an open space in the foreground he puts his things down upon the ground. He goes right to a pile of brush, pulls out a black limb, and proceeds to break it across his knee, throwing the pieces in a little heap upon the ground)
(The old man comes down to the stump which he and Anderson tried earlier in the scene. Anderson picks up his kindling and goes left and proceeds to start a fire. The night gathers quickly)
Cap Saunders.
(Trying the stump)
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
(Picks up a blanket and, sticking pieces of brush in the ground, hangs it between the fire and the town)
Cap Saunders.
Harvey Anderson.
(Goes left and climbs up on the boulder and looks back over the waste)
Cap Saunders.
(Coming forward)
Harvey Anderson.
(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.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
(Goes to the boulder and stands beside Anderson, and they both look off up the valley)
Harvey Anderson.
(They are silent)
Cap Saunders.
(Returning to the fire)
Harvey Anderson.
(He has risen and stands looking back through the darkness)
Cap Saunders.
Harvey Anderson.
Cap Saunders.
Harvey Anderson.
Cap Saunders.
(Goes to the boulder)
Harvey Anderson.
(Bill Patten comes through the darkness, rear right. He looks about, then spies the men)
Bill Patten.
(Goes near the men and gets their line of vision)
Cap Saunders.
Harvey Anderson.
(Gets down from the boulder)
Bill Patten.
Harvey Anderson.
Bill Patten.
Harvey Anderson.
Bill Patten.
(Calls back)
(To Anderson)
(Silas Maury and his son Willie, a boy of twelve or thirteen, enter rear)
Bill Patten.
(They sit down. The workmen seize food and eat ravenously)
Harvey Anderson.
(Patten nods)
Bill Patten.
Silas Maury.
Bill Patten.
Silas Maury.
Bill Patten.
Harvey Anderson.
Cap Saunders.
Bill Patten.
Silas Maury.
Harvey Anderson.
(To Cap Saunders)
Silas Maury.
(He and Anderson walk a little way left and look back toward the mansion)
Bill Patten.
Silas Maury.[Pg 28]
(He and Anderson return to the fire)
Bill Patten.
Silas Maury.
(A pause)
Willie Maury.
Silas Maury.
Bill Patten.
Silas Maury.
Bill Patten.
(Bitterly)
Silas Maury.
Bill Patten.
Cap Saunders.
Bill Patten.
Cap Saunders.
Silas Maury.
Cap Saunders.
(Throws his hat into the air. Harry Egerton comes through the darkness rear right)
Cap Saunders.
Bill Patten.
Harry Egerton.
Harvey Anderson.
(He walks back, left. Harry Egerton joins him, going across rear)
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(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.
Harvey Anderson.
Cap Saunders.
Silas Maury.
Willie Maury.
Cap Saunders.
Silas Maury.
Willie Maury.
Silas Maury.
Cap Saunders.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(Coming forward, notices the casts upon the ground)
Harvey Anderson.
Harry Egerton.
(With interest)
Harvey Anderson.
Harry Egerton.
(The men glare at him)
Cap Saunders.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(Patten and Maury rise and walk aside and whisper together)
(Willie Maury rises and joins his father and Patten)
(The men return to the fire)
Bill Patten.
Silas Maury.
Bill Patten.
Harry Egerton.
Bill Patten.
Harry Egerton.
Bill Patten.
Silas Maury.
Harry Egerton.
Bill Patten.
Harry Egerton.
Bill Patten.
Harry Egerton.
Bill Patten.
Silas Maury.
Harry Egerton.
Bill Patten.
Harry Egerton.
Bill Patten.
Silas Maury.
Harry Egerton.
Silas Maury.
(Plucks him by the sleeve and points off up the valley)
Harry Egerton.
(The men prepare to leave. Cap Saunders rises and begins to pack up the things)
Harry Egerton.
Silas Maury.
Harry Egerton.
Silas Maury.
Bill Patten.
Harry Egerton.
Willie Maury.
Silas Maury.
Willie Maury.
Bill Patten.
Cap Saunders.
Bill Patten.
Harry Egerton.
Bill Patten.
Silas Maury.
Harry Egerton.
Bill Patten.
Harry Egerton.
Cap Saunders.
(The boy picks up the coffee pot)
Harry Egerton.
Silas Maury.
(Patten, Maury, Cap Saunders and the boy go off through the darkness, right rear)
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(Calling after the men)
Voice of Silas Maury.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(Looking after the men)
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(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.
(Walks left and looks off up the valley)
(He breaks out crying and, staggering about, falls first upon his knees, then face forward upon the ground. Instantly it becomes pitch dark)
(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)
Second Voice.
(From the valley, full of sorrow)
Third Voice.
(From far back, full of peace)
The Three Voices.
(In chorus)
Voice.
(From above)
First Voice.
Second and Third Voices.
Voice.
(From above)
Second Voice.
First and Third Voices.
Voice.
(From above)
Third Voice.
First Voice.
(Gayly)
Second Voice.
Voice.
(From above)
Harry Egerton.
Voice.
(From above)
Harry Egerton.
Voice.
(As of a drunkard singing)
Voices.
Harry Egerton.
(Presently, about twenty feet up in the rear and on either side, faint lights begin to appear and faint sounds of music are heard. Gradually the lights brighten a little and the sounds of music become more and more audible until one becomes conscious that on the left an orchestra is playing and to the right a piano. One also becomes conscious of a vast and beautiful hall over the floor of which, as the music plays, the forms of dancers are gliding. Occasionally from here and there flashes a sparkle as of diamonds, and low rippling laughter is heard. In the foreground for a space of twelve or fifteen feet, cut off from the main hall by the faintest outlines of an immense arch, small groups of elderly people stand about watching the dancers,[Pg 49] or saunter right and left into the adjoining apartments. In these apartments also people are seen moving about, and there is a hum of voices as of men and women in conversation. At no time does it become very light, and all that passes seems to pass in a dim shadow world.
It is sufficiently light, however, to enable one to discern the grotesque richness of the hall which, as one sees at a glance, is an elaborate representation of a pine forest, the boles of the trees standing out in beautiful irregularity along the walls, the boughs above in the semi-darkness seeming to disappear in some sort of cathedral roof. There, all about, singly and in clusters, innumerable small globes as though the cones were illuminated. Between the trees, also in relief and life-sized, figures of men at work getting out timber. Forward right, teams dragging logs, and, on the opposite wall, a distant view of a river with rafts floating down. Standing on stumps, huge figures support the arched doorways, of which there is one in the rear wall right, and one centre in each of the side walls. Left rear, the grand staircase with the glow of some hidden lamp shining upon the landing. Here the carved scene upon the wall is that of an inclined trestle-work, with logs going up apparently into some mill above.[Pg 50] Below, crouched upon the newel-post and the lower rail, the carved figure of a large mountain lion with a frosted light in its open mouth. Forward from the arched doorway, left, there is no wall from about four feet up, and through this open space, faintly illumined by small hidden lamps, a greenness as of palms and flowers.
The music ceases and the couples break up. Later, the piano begins again, and just inside the main hall Gladys Egerton, in low décolleté and holding her skirts above her ankles, appears dancing ravishingly to the music of the piano)
First Lady.
Second Lady.
(Holding her skirts high the girl executes a graceful high kick and there is a clapping of hands)
Men's Voices.
Third Lady.
(Laughter)
Fourth Lady.
Gladys Egerton.
(Continues dancing)
Mrs. Egerton.
A Man's Voice.
Gladys Egerton.
A Man.
(Appearing forward right)
(Some of the ladies start right, others begin to move about)
Fifth Lady.
Sixth Lady.
Third Lady.
(Calling aloud)
(Laughter)
Fourth Lady.
Sixth Lady.
(Glances in the direction of Mrs. Egerton, then whispers)
Fourth Lady.
(Laughter. They go out right)
Seventh Lady.
Eighth Lady.
Ninth Lady.
Seventh Lady.
Eighth Lady.
Seventh Lady.
Eighth Lady.
Seventh Lady.
Ninth Lady.
Gladys Egerton.
(Who has been skipping to the music, whirls in from the main hall)
Ninth Lady.
Gladys Egerton.
(Continues dancing)
Eighth Lady.
Gladys Egerton.
(The women go out right)
Gladys Egerton.
Mrs. Egerton.
Gladys Egerton.
(Dances)
Mrs. Egerton.
Gladys Egerton.
Mrs. Egerton.
Gladys Egerton.
(Dances)
Mrs. Egerton.
Gladys Egerton.
(Mysteriously)
Mrs. Egerton.
Gladys Egerton.
(Dances)
Mrs. Egerton.
Gladys Egerton.
Mrs. Egerton.
Gladys Egerton.
Mrs. Egerton.
Gladys Egerton.
(Whirling back into the main hall)
(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.
Mrs. Egerton.
George Egerton.
Mrs. Egerton.
George Egerton.
Mrs. Egerton.
George Egerton.
Mrs. Egerton.
George Egerton.
Mrs. Egerton.
(Calling aloud)
(She comes forward)
George Egerton.
(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)
(There is a silence, then a sigh as of innumerable voices, then a silence and another sigh and still another)
Harry Egerton.
(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)
(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.
(The people disappear into the apartment right. Charles, the butler, and two maids, badly frightened, come in rear)
George Egerton.
Charles.
(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)
(The sighs are repeated)
Harry Egerton.
(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.
A Voice.
Lion.
A Voice.
Lion.
A Voice.
Harry Egerton.
(As though a roll were being called)
Lion.
A Voice.
Second Voice.
Lion.
Voices.
(Above)
Third Voice.
Voices.
(Below)
A Voice.
Voices.
(From round the walls)
Voices.
(From far below)
Voices.
Lion.
Voices.
(From far away)
Voices.
(From up the stairs)
Voices.
(Far up)
Lion.
(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.
Other Voices.
(Carven figures, still rigid, come from the walls. From everywhere they come, in the most fantastic[Pg 63] postures, some hopping with one leg lifted, some gliding with raised axes, others bent and in pairs carrying cross-cut saws, still others with peavies in their hands. Up through the floor all round come dark figures with torches in their caps. Stealthily and with muffled voices they gather about the Lion. Suddenly the pounding ceases and all is still)
A Voice.
Second Voice.
Several Voices.
Lion.
All.
A Voice.
(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)
Lion.
Figures.
Donald Egerton.
Lion.
Figures.
Lion.
Figures.
Lion.
Governor Braddock.
Donald Egerton.
Governor Braddock.
Lion.
Figures.
Donald Egerton.
Governor Braddock.
Lion.
Figures.
Lion.
(Egerton says something to the Governor)
Governor Braddock.
Bishop Hardbrooke.
(Steps toward the Figures)
Figures.
(They advance toward him)
Bishop Hardbrooke.[Pg 67]
Figures.
Governor Braddock.
Figures.
Governor Braddock.
Figures.
Governor Braddock.
(Calls)
People.
(Who have been peering in forward right)
(Egerton and the Bishop follow the Governor out centre right, and the people disappear)
Figures.
(Aloud)
Lion.
Figures.
(With tremendous surprise)
(There are shouts and a thunder of tools falling upon the floor)
Shouts.
Other Shouts.
Harry Egerton.
Shouts.
Harry Egerton.
Shouts.
(They rush through the house, right)
Voice of Donald Egerton.
Voice of Mrs. Egerton.
Voice of Donald Egerton.
Men's Voices.
A Deep Voice.
(A pause)
Cries.
The Deep Voice.
(Shots are heard and noises as of a riot)
Harry Egerton.
(The noises die away. In the darkness the walls are heard sighing)
Harry Egerton.
(A pause)
Voice.
(Forward right, in the darkness)
Second Voice.
First Voice.
Second Voice.
First Voice.
(Sounds of quarrelling here and there)
Third Voice.
(Centre right)
Voices.
(From the walls)
Fourth Voice.
(Forms of men loaded with the spoil of the mansion are seen hurrying out left)
Voices.
(Entering right)
Fifth Voice.
(Left)
Sixth Voice.
Sam.
(Entering right)
Voices.
Sam.
Cries.
Other Cries.
Sam.
Cries.
(Of those who have nothing)
Other Cries.
(Of those with their arms full)
(Sounds of scuffling and fighting)
Cries.
(The sounds die away left)
Cries.
(Far left)
(The walls are heard sighing)
Voice.
(From above)
Harry Egerton.
Voice of Mrs. Egerton.
(Full of anguish)
(There is a thundering and crashing in the darkness)
Harry Egerton.
(Quickly staggering to his knees, then to his feet)
(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)
(Notices that the boulder is gone. Looks down the slope, left)
(Gets down on his knees where the boulder lay)
Scene: A street showing, right, the great lumber plant of the Egerton Company. Centre, occupying the greater part of the space between left and right, a sort of common, overstrewn, as such places usually are, with sawdust and waste sawings of the mill, extends back a hundred yards or so to where the river sweeps in from behind a rising slope on the left and disappears behind the high fence of the mill-yard on the right. Across the river, right, the same denuded mountains as were seen in the preceding Act, and, centre, the alluvial stretches of the valley widening out into the plains. Left rear, on this side of the river, a sort of hill comes in and upon its rather steep slope are rows of roughly built plank houses which have evidently been standing many years. They are all of one design and rest in the rear upon the ground, the front being propped up on posts, in some cases six or eight feet high. Of two or three of these shacks it would seem that the occupants had tried to have a garden, for here and there are small green patches as of late turnips, also tall stakes with withered bean vines clinging to them. From the numerous footpaths that come down toward the mill-gate it is evident that these[Pg 76] shacks are the homes of the employees of the Egerton Company. The mill-yard on the right is surrounded by a high board-fence. New planks have recently been put in here and there, and on top of the fence, apparently just strung, are several rows of bright new barbed wire. Over the top of the fence and through the open gates of the driveway which is in the corner, a portion of the latter having been cut off for this purpose, are seen countless lumber stacks, and beyond these, far back and facing left, a section of an enormous mill. Along the comb of the roof, doubtless running its full length, is a large red sign with white letters of which one sees only: RTON AND CO.
Before the entrance to the mill-yard two of the State militia with rifles upon their shoulders patrol the property, one of them pacing right and left along the street in the foreground, the other backwards and forwards in the open space that goes toward the river. About twenty feet from the entrance stands a large red automobile, under which, stretched upon his back, lies the chauffeur, with his hands up fixing something.
As the Scene opens, the two sentries, one of them rolling a cigarette, the other with his gun behind his head and with his arms hanging over it, stand listening back toward the mill, where a number of voices are singing, 'There'll Be a Hot Time in the Old Town To-night.' When the song is finished a cheer goes up.
Time: The afternoon of the next day about four o'clock.
First Sentry.
Chauffeur.
First Sentry.
Chauffeur.
(Pointing toward the mill)
First Sentry.
Chauffeur.
A Militiaman.
(Who, half way back toward the mill, has climbed upon a lumber stack)
A Voice.
(Farther back, commandingly)
Second Voice.
(The militiaman gets down from the stack)
Second Sentry.
Chauffeur.
First Sentry.
Chauffeur.
(The sentries whisper together)
Chauffeur.
First Sentry.
Chauffeur.
Second Sentry.
Chauffeur.
First Sentry.
(He sees Wes Dicey who, with Jim King and Rome Masters, has just come in, right)
Dicey.
Chauffeur.
(Careful to keep out of sight of the shacks on the slope, Dicey and his companions whisper together near the fence. The Second Sentry, as[Pg 80] though he had been neglecting his duty, goes out right, patrolling his beat)
First Sentry.
(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)
(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)
Chauffeur.
George Egerton.
(Provoked)
(Continues putting on his glove)
Chauffeur.
George Egerton.
Chauffeur.
George Egerton.
(Walks left, then comes back)
Chauffeur.
George Egerton.
(Looks over in the car)
Chauffeur.
George Egerton.
(Takes a coin from his pocket and hands it to the chauffeur)
(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.
Second Sentry.
Chauffeur.
Second Sentry.
Chauffeur.
Second Sentry.
Chauffeur.
(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.
(Goes about oiling the machine)
First Sentry.
(Coming forward)
(The Chauffeur turns and looks at him half in anger, half in contempt)
First Sentry.
Second Sentry.
First Sentry.
(A militiaman comes hurrying from the mill-yard)
Militiaman.
Second Sentry.
Militiaman.
First Sentry.
Militiaman.
Second Sentry.
Militiaman.
(The Sentry gives him a cigarette)
(The Sentries stare comically at one another)
Militiaman.
(Shouts in the ear of the First Sentry)
(To himself)
First Sentry.
(Starts for the mill-gate, then turns)
Militiaman.
First Sentry.
(To the Second Sentry)
Second Sentry.
First Sentry.
(Shouting toward the mill)
Second Sentry.
First Sentry.
(He seizes Bentley and they wrestle into the mill-yard)
Second Sentry.
Militiaman.
(Slapping him on the back)
(He hurries out toward the mill. Bentley enters, followed by the First Sentry)
Second Sentry.
First Sentry.
(To the Chauffeur, with affected disdain)
First Sentry.
(Nodding toward the Chauffeur)
Chauffeur.
Second Sentry.
(On his way out, points to the notice)
(Goes out right)
First Sentry.
(On his way back, to the Chauffeur)
(Walks slowly, rifle up; then from rear)
Voice of Second Sentry.
(Out right)
(A pause)
(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)
Militiaman.
(Hurrying from the mill-yard)
(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.
Harvey Anderson.
(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.
Second Sentry.
Chadbourne.
(To Harvey Anderson)
Captain Haskell.
(Comes from the mill-yard, then turns and calls back)
Egerton.
Harvey Anderson.
Jergens.
Harvey Anderson.
(To the Chief of Police)
(Back in the mill-yard militiamen are seen climbing on top of lumber piles to see what the trouble is)
Egerton.
Harvey Anderson.
Jergens.
Harvey Anderson.
(He gets down and begins to fit the pieces together. The men watch him. Suddenly he stops and looks about him)
(He rises and goes right to where a piece of the cast lies upon the ground)
Chief of Police.
Chadbourne.
(As Anderson returns)
Harvey Anderson.
Chadbourne.
Harvey Anderson.
Chadbourne.
(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.
Harvey Anderson.
Egerton.
Harvey Anderson.
(Glancing up)
Chief of Police.
Jergens.
(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.
Chadbourne.
Egerton.
Chadbourne.
Chief of Police.
Chadbourne.
(Indicating the cast)
Second Sentry.
(To First Sentry, evidently meaning Chadbourne)
Egerton.
(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.
Egerton.
Chief of Police.
Egerton.
Harvey Anderson.
Egerton.
Jergens.
Harvey Anderson.
Egerton.
(The Chief of Police joins Jergens and with the three men they disappear in the mill-yard)
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
(He comes forward and looks off in the direction from which he came as though he were expecting someone)
Egerton.
(To Chadbourne)
Chadbourne.
Egerton.
Chadbourne.
Egerton.
Chadbourne.
Egerton.
(They walk toward the automobile)
Chadbourne.
Egerton.
Chadbourne.
(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.
Chadbourne.
Egerton.
Chadbourne.
Egerton.
Chadbourne.
Egerton.
Chadbourne.
(The militiamen laugh out at some story Anderson is telling them)
Egerton.
Chadbourne.
A Militiaman.
(Appearing at the gate)
Egerton.
Chadbourne.
(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)
(Egerton goes rear to the Chauffeur and himself adjusts the glasses to his eyes)
A Militiaman.
(As they pass through the gate)
Harvey Anderson.
Egerton.
Harvey Anderson.
(Dicey, King, and Masters come from the mill-yard, followed by Jergens. Dicey is dividing money with his companions)
Dicey.
Jergens.
Dicey.
Harvey Anderson.
(The three men go out around the corner right. Jergens joins Egerton and the Chauffeur. Harvey Anderson watches them in silence)
Harvey Anderson.
(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)
(The First Sentry starts back on his beat, laughing)
Harvey Anderson.
(As the Second Sentry passes him)
Second Sentry.
(Goes out)
Harvey Anderson.
(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)
Harvey Anderson.
Egerton.
Harvey Anderson.
(The Chauffeur goes into the mill-yard)
Egerton.
Harvey Anderson.
(Tosses his hat into the air)
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
(Watches Anderson catching his hat)
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
(Looks at his watch)
Harvey Anderson.
Egerton.
Harvey Anderson.
(Egerton smiles, walks to the gate and listens, then comes back)
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
(Circles and sings one of the strange melodies of the cowboys)
Egerton.
Harvey Anderson.
Egerton.
(Anderson comes forward and looks off right, the direction from which he came, as though he were expecting some one)
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
Egerton.
Harvey Anderson.
(Starts left)
Egerton.
(Egerton turns and goes into the mill-yard)
Second Sentry.
(Comes in right and meets the First Sentry, who has just come forward)
First Sentry.
Second Sentry.
(The First Sentry quickly signals that some one is coming toward the gate)
Second Sentry.
(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.
Haskell.
Chadbourne.
Second Sentry.
(As he goes out)
Haskell.
Chadbourne.
Voice of Jergens.
(Back in the mill-yard)
Chadbourne.
Haskell.
Chadbourne.
(Calls toward the gate)
Jergens.
(Enters with the Chief of Police)
Chadbourne.
Jergens.
Chief of Police.
Jergens.[Pg 113]
Chief of Police.
Jergens.
(Egerton comes from the mill-yard)
Chief of Police.
Egerton.
Jergens.
(Chadbourne talks aside with Haskell)
Chief of Police.
Egerton.
(Gets into the automobile)
Ralph Ardsley.
(Who has just come in, left)
Egerton.
(The Chief of Police goes out, left)
Ralph Ardsley.
Egerton.
(Ardsley unbuttons his light overcoat and shows his full dress)
Egerton.
(Chadbourne gets in behind with Egerton, Ardsley in front with the Chauffeur)
Chadbourne.
(As they go out right)
(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)
Old Woman.
Buck Bentley.
(Who has come from the mill-yard and resumed his seat on the keg)
Old Woman.
First Sentry.
Old Woman.
First Sentry.
(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)
(There is a fight. Bentley takes the rifle from the First Sentry who, in a rage, starts for the gate)
First Sentry.
(He hurries into the mill-yard. Bentley helps the old woman pick up the sticks)
Old Woman.
(Starts up the slope)
Second Sentry.
Old Woman.
Buck Bentley.
(The old woman goes out. Bentley comes to the gate and sets the rifle against the fence)
Second Sentry.
(Talking into the mill-yard)
Haskell.
(Entering with the First Sentry)
Buck Bentley.
(Fills his pipe)
Haskell.
A Militiaman.
(From the top of a lumber stack)
First Sentry.
(Haskell comes forward and looks down the street, left)
Haskell.
First Sentry.
(Picks up his rifle and goes back on his beat)
Second Sentry.
Haskell.
(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.
Sam Williams.
Jergens.
Sam Williams.
Jergens.
Sam Williams.
Voice.
(From the crowd)
Jergens.
Voice.
(From the crowd)
Sam Williams.
(The militia, with the strike-breakers, pass into the mill-yard)
Voice..
(From the crowd)
Jergens.
(He says something to Haskell, then turns to the crowd)
Haskell.
(Jergens passes into the mill-yard)
Voice.
(From the crowd)
Another Voice.
Jim King.
Rome Masters.
Jim King.
Several.
Sam Williams.
Cries.
Sam Williams.
Jergens.
(Appearing at the gate)
(Goes out)
Sam Williams.
A Woman.
(To another who begins to cry)
Sam Williams.
(Lifts his hand)
Jim King.
Sam Williams.
Chris Knudson.
King and Masters.
Chris Knudson.
Cries.
A Voice.
Mike Hawley.
Wes Dicey.
(Hisses from the crowd)
Jim King.
Wes Dicey.
(Points toward the mill, then to the ground)
A Voice.
Rome Masters.
Wes Dicey.
Jim King.
A Voice.
Another Voice.
Sam Williams.
Several.
Harvey Anderson.
Wes Dicey.
Harvey Anderson.
Haskell.
Harvey Anderson.
(Points to the mountains)
Jim King.
Harvey Anderson.
(Points to the sky)
Wes Dicey.
Harvey Anderson.
Haskell.
(Coming toward him)
Harvey Anderson.
Buck Bentley.
(Following Haskell)
Harvey Anderson.
Buck Bentley.
(Haskell stares at him in amazement)
Harvey Anderson.
Buck Bentley.
Harvey Anderson.
(They shake hands)
Haskell.
(Beckoning to the militiamen about the gate)
Harvey Anderson.
Haskell.
(Calls after the militiamen)
(Bentley is led away into the mill-yard)
Harvey Anderson.
(To the crowd)
Sam Williams.
Harvey Anderson.
(Points to the mountains and the plains)
(Points to the mill)
(Williams and the crowd stand silent)
Harvey Anderson.
Haskell.
(Watch in hand)
Harvey Anderson.
A Woman.
(With a child in her arms)
Harvey Anderson.
The Woman.
Wes Dicey.
Harvey Anderson.
Voice.
(From the crowd)
Jim King.
Sam Williams.
Wes Dicey.
Jim King.
Harvey Anderson.
Haskell.
Voice.
(From the crowd)
Another.
Another.
Sam Williams.
Wes Dicey.
Voice.
(From afar, right)
Jim King.
Harvey Anderson.
Wes Dicey.
Jim King.
(Calling attention to the first flakes of snow)
(There is a stampede for the gate)
An Old Woman.
Harvey Anderson.[Pg 135]
(Drawing from his pocket a long blue revolver)
Voice.
(Right as before, now near by)
(Harry Egerton enters breathless)
Harry Egerton.
(Stands for a moment collecting himself)
Harvey Anderson.
Harvey Anderson.
(As Harry Egerton seems about to speak)
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
(Comes to him)
Harry Egerton.
Harvey Anderson.
Harry Egerton.
A Workman.
Jergens.
(With a stick he has picked up comes from the mill-yard)
(He discovers Harvey Anderson talking with Harry Egerton and turns, evidently for an explanation, to Haskell)
Harvey Anderson.
Harry Egerton.
(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.
Harvey Anderson.
Jergens.
(To the men)
(To Harvey Anderson)
(To the militia)
(Glowers at Harry Egerton)
Harry Egerton.
Jergens.
Harry Egerton.
A Militiaman.
Haskell.
(To the militiaman, irritably)
Jergens.
(Beside himself with rage, disappears down the street, left)
Harry Egerton.
Sam Williams.
(Comes toward him)
(Holds out his hand)
Harry Egerton.
(Takes his hand)
Sam Williams.
(To the crowd)
(The men crowd about them)
Harry Egerton.
The Men.
Harry Egerton.
Harvey Anderson.
(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.
Second Militiaman.
Third Militiaman.
Fourth Militiaman.
First Militiaman.
Second Militiaman.
(They go into the mill-yard, talking earnestly)
Second Sentry.
(The First Sentry joins him and they whisper together)
First Sentry.
(Starts with the other for the gate)
Second Sentry.
(They enter the mill-yard)
Scene: The great reception hall in the Egerton mansion. One sees at a glance that this is the original of the shadow hall shown in the Dream-Vision in the First Act. The carved mountain lion crouches upon the newel-post, and upon the walls the figures of men at work among the pines are identical with those of the Vision. But here, seen under a natural light, the grotesque grandeur of it all stands out in clear relief. Forward, left and right, just where the great arch separating the main hall comes down, groups of little pines in tubs lend a freshness to the scene.
A brilliant company is gathered. Everywhere, from gestures and lifted eyes, it is evident that the mansion, especially the strange scene upon the walls, is the chief topic of talk among the guests. Centre right, about the piano, a number of young people are watching a couple that is out upon the floor, apparently practising a new step. Near the pines, forward left, General Chadbourne turns from the butler, with whom he has been speaking, to shake hands with some ladies. Later, Ralph Ardsley appears just inside the door, forward right, and holds up a glass of wine. Two or three[Pg 143] men notice him and nudge their companions, and one after another saunter past Ardsley into the side room.
Time: The same afternoon about five o'clock.
Ralph Ardsley.
First Man.
(Out on the floor the couple that is waltzing jostles an elderly lady)
Lady in Black.
Elderly Lady.
Mrs. Egerton.
(The young people gradually drift out into the conservatory)
Chadbourne.
(Rejoining the Butler)
Butler.
Chadbourne.
Butler.
Second Man.
Chadbourne.
(Sees the lifted hand)
(Joins the Second Man, and the two, with Ardsley, disappear into the side room)
Young Matron.
Third Man.
(With a wink)
(They go into the room, forward right)
Lady With Conspicuous Coiffure.
(Entering forward left with Pale Lady)
Pale Lady.
Lady with Conspicuous Coiffure.
Pale Lady.
(They pass rear and mingle with the throng)
First Man.
(Appearing forward right with a glass of wine)
('The punch! The punch!' is whispered about, and the people begin to pass out centre and forward right)
Fat Lady.
(Goes out)
Lady in Black.
Pale Lady.
(They go out. A moment later Mrs. Egerton comes in and looks about as though she were seeking some one)
Mrs. Egerton.
(To her daughter, who passes toward the conservatory)
Gladys Egerton.
(She enters the conservatory)
Mrs. Egerton.
(Beckons to some one in the room forward left. The Butler appears)
Butler.
(He goes back into the room, forward left. Mrs. Egerton lingers a while, then returns to the room, forward right. Here, a moment later Ralph Ardsley appears)
Ralph Ardsley.
(Calls to a group of four men back near the stairs)
(Bishop Hardbrooke and a fellow-townsman, each with a man who is evidently a stranger, come slowly forward)
Bishop Hardbrooke.
(Indicating the house)
Fellow-Townsman.
Ralph Ardsley.
First Stranger.
Bishop Hardbrooke.
Fellow-Townsman.
Bishop Hardbrooke.
Second Stranger.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
(The Strangers shake hands with Ardsley)
Second Stranger.
Ralph Ardsley.
(Walks back in the hall)
Second Stranger.
Bishop Hardbrooke.
(Stopping near the door, forward right, as if for a final word)
First Stranger.
Bishop Hardbrooke.
(They go out)
Second Stranger.
Ralph Ardsley.
(The stranger goes out)
(Ardsley calls toward the room, forward left)
Butler.[Pg 150]
(Appears at the door)
Ralph Ardsley.
(The Butler walks back toward the conservatory)
Butler.
Ralph Ardsley.
(He goes into the room, forward right. The Butler returns to the opposite room. All the people have now withdrawn with the exception of Mrs. Orr, who has come in, centre right, and who lingers about as though she were listening to the upper part of the walls. Later, Mrs. Egerton re-enters, forward right, and glances back into the room from which she has come, to satisfy herself that her guests are occupied. Seeing her, Mrs. Orr comes forward, shaking her head)
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(Mrs. Egerton glances across into the room, forward right, from which comes a sound of merriment)
Mrs. Orr.
Mrs. Egerton.
(Confidentially)
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(Mrs. Egerton says something to her)
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(Aside)
Mrs. Egerton.
Mrs. Orr.
(A medley of voices is heard, forward right)
Mrs. Egerton.
A Voice.
Mrs. Egerton.
(She starts back for the door, centre right)
Mrs. Orr.
Mrs. Egerton.
(They go out centre right. Amid laughter and a confusion of voices Ralph Ardsley and a fellow-townsman enter forward right leading Governor Braddock, whose eyes are blindfolded. Following these come Donald Egerton, General Chadbourne, Bishop Hardbrooke, members of the Governor's staff in uniform, and other guests)
Governor Braddock.
Ralph Ardsley.
(Egerton points back toward the centre of the hall. Himself and the group about him remain more in the foreground)
Egerton.
(They remove the handkerchief from the Governor's eyes)
Governor Braddock.
Ralph Ardsley.
First Guest.
(Laughter)
Bishop Hardbrooke.
First Staff Member.
Egerton.
(Calls back to the Governor)
Staff Members.
(Who have gone rear)
Fellow-Townsman.
Second Staff Member.
(To Egerton)
Governor Braddock.
Egerton.
General Chadbourne.
Bishop Hardbrooke.
Ralph Ardsley.
Guests.
Egerton.
(Goes back a little, the group following him, and points right rear)
Governor Braddock.
Egerton.
(Comes forward)
Bishop Hardbrooke.
Egerton.
(Points across left)
Governor Braddock.
Third Staff Member.
Egerton.
Fourth Staff Member.
Egerton.
Governor Braddock.
Egerton.
General Chadbourne.
(Returning from a word with the Butler, to Ardsley who comes to meet him)
Governor Braddock.
Ralph Ardsley.
Governor Braddock.
Egerton.
Ralph Ardsley.
Governor Braddock.
First Staff Member.
Second Staff Member.
Guests.
Ralph Ardsley.
Several.
Ralph Ardsley.
Egerton.
General Chadbourne.
Egerton.
Ralph Ardsley.
Egerton.
Governor Braddock.
Egerton.
Ralph Ardsley.
First Staff Member.
Egerton.
Ralph Ardsley.
Bishop Hardbrooke.
Second Staff Member.
Governor Braddock.
Third Staff Member.
Governor Braddock.
Bishop Hardbrooke.
Egerton.
(Significantly)
(An embarrassing silence)
Ralph Ardsley.
(Slaps the Governor on the shoulder)
Fourth Staff Member.
(To Bishop Hardbrooke)
Governor Braddock.
Bishop Hardbrooke.[Pg 164]
Governor Braddock.
Egerton.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
(Points to Egerton)
Egerton.
General Chadbourne.
(Points to the Governor)
Governor Braddock.
(Points to Egerton)
Ralph Ardsley.
Egerton.
Governor Braddock.
First Staff Member.
Ralph Ardsley.
(Laughter)
Egerton.
(As they start for the stairs)
Guests.
(Led by Ralph Ardsley)
(Attracted by the shouting, some ladies look in, forward right)
A Lady.
(They withdraw)
General Chadbourne.
(From the steps to the Butler)
(Seeing the hall empty, the young people who have looked in occasionally from the conservatory, enter and take possession)
Ralph Ardsley.
(From the landing)
Gladys Egerton.
Ralph Ardsley.
(Touching his throat)
Gladys Egerton.
(Ardsley disappears after the others. Mrs. Orr enters, forward right, and is later joined by Mrs. Egerton)
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(Mrs. Egerton glances back uneasily into the room)
Mrs. Orr.
Mrs. Egerton
(Beckons to the Butler)
(The Butler goes into the room, forward right. The two women pass left, where they are somewhat shut in by the pines)
Mrs. Orr.
Mrs. Egerton
(She hesitates)
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(With spirit)
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
(Stands regarding the young people dancing)
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(Kisses the little pines)
Mrs. Egerton.[Pg 171]
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(Vaguely)
Mrs. Egerton.
Mrs. Orr.
(In utter astonishment)
Mrs. Egerton.
Mrs. Orr.[Pg 172]
Mrs. Egerton.
Mrs. Orr.
(Mysteriously)
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(The men are seen coming down the stairs, the Governor and the Bishop on either side of Egerton. They are all laughing and having a good time)
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(They watch the men coming down the steps)
Mrs. Egerton.
(The piano stops)
A Girl.
(Who has been waltzing)
Mrs. Orr.
Mrs. Egerton.
A Young Man.
Mrs. Egerton.
(The young people make for the conservatory)
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
A Young Man.
Mrs. Egerton.
(They stand listening)
Egerton.
(A pause)
(Laughter)
Mrs. Orr.
Mrs. Egerton.
(In alarm)
Mrs. Orr.
Mrs. Egerton.
(Beckons to the Butler, who is passing)
Mrs. Orr.
Stop!
Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
Mrs. Egerton.
Mrs. Orr.
(She leaves Mrs. Egerton standing near the pines. Other ladies have begun to come in)
Ralph Ardsley.
Mrs. Orr.
(With a strange smile, calling back)
Egerton.
Mrs. Egerton.
General Chadbourne.
Egerton.
Several.
Egerton.
Cries.
Egerton.
(He leaves the group and comes forward)
Governor Braddock.
Bishop Hardbrooke.
Egerton.
(To the Butler)
Governor Braddock.
Bishop Hardbrooke.
Egerton.
(Ladies come in, centre and forward right)
Egerton.
(He arranges them to face right)
(He steps back near the door, centre right)
Bishop Hardbrooke.
Egerton.
Mrs. Orr.
(Ardently)
Egerton.
(Looks to see who it is)
Bishop Hardbrooke.
Egerton.
(He gives a signal to some one)
(Suddenly the hall is beautifully illuminated)
Guests.
Egerton.
(The hall becomes gray and shadowy)
Mrs. Egerton.
(Half in terror)
Egerton.
(The silence is broken by the ringing of a telephone bell in the room forward left)
General Chadbourne.
Mrs. Orr.
(Across to Mrs. Egerton)
(The Butler goes out to answer the telephone)
Governor Braddock.
General Chadbourne.
(Comes forward and takes his stand near the door forward left)
Egerton.
(The silence is intense)
General Chadbourne.
(Rehearsing his speech)
(Enter the Butler hurriedly)
General Chadbourne.
Butler.
(Passing him)
General Chadbourne.
Butler.
(In a low voice over the crowd)
General Chadbourne.
Butler.
(Egerton comes forward, making his way through the crowd)
General Chadbourne.
(The Butler goes to him and they talk)
Ralph Ardsley.
(Calls after Egerton as he goes out left)
(Calls to Chadbourne)
Governor Braddock.
Bishop Hardbrooke.
Governor Braddock.
Bishop Hardbrooke.
Ralph Ardsley.
(Calls to Chadbourne)
Bishop Hardbrooke.
Egerton.
(Appearing at the door, excited, and keeping back so as not to be seen by the people)
(The General joins him and they disappear)
Bishop Hardbrooke.
(There is a clapping of hands. General Chadbourne appears just inside the door and beckons to Ardsley, who goes in to him)
Bishop Hardbrooke.
Ralph Ardsley.
(Appears and calls to one of the guests farther back)
Bishop Hardbrooke.
(General clapping of hands)
Several.
Guest.
(In a low voice over the crowd)
Several.
(The Governor bows)
Cries.
Governor Braddock.
Several.
Governor Braddock.
(More laughter. The Governor catches sight of the guest beckoning to him)
Governor Braddock.
Ralph Ardsley.
(Calls urgently to the Bishop in a voice that is barely heard)
Bishop Hardbrooke.
(Ardsley stands impassive till the Governor has gone out and the Bishop has again got the attention of the people, then goes quickly into the side room)
Bishop Hardbrooke.
A Voice.
Bishop Hardbrooke.
(His attention is attracted for a moment to a group of men that has been collecting forward centre, evidently concerned with whatever it is that is going on in the side room)
Bishop Hardbrooke.
(Recovering himself quickly)
Several.
Bishop Hardbrooke.
A Man's Voice.
Bishop Hardbrooke.
(Laughter)
A Lady.
(In the foreground)
Bishop Hardbrooke.
A Man.
(Joining the group)
Bishop Hardbrooke.
(Laughter)
A Voice.
(General laughter)
Bishop Hardbrooke.
(Mrs. Egerton, who, since the ringing of the telephone bell, has shown an increasing anxiety as to the message that has come, unable longer to contain herself, comes hurriedly forward through the people)
Bishop Hardbrooke.
(Laughter. The people turn just in time to see Governor Braddock, General Chadbourne, and Ralph Ardsley with overcoats on and hats in their hands, stealing across to get out forward right. Mrs. Egerton hurries into the room from which they came)
Ralph Ardsley.
(The three go out)
Voices.
Pale Lady.
Lady in Black.
(George Egerton and Gladys Egerton come quickly from the conservatory and enter the side room)
Elderly Lady.
Lady in Black.
Lady With the Conspicuous Coiffure.
Fat Lady.
Young Matron.
(Calling out)
(A silence)
Pale Lady.
Bishop Hardbrooke.
(Coming forward)
(There is a movement of people departing)
Pink Lady.
Fat Lady.
Lady With the Conspicuous Coiffure.
Lady in Black.
(They vanish with the other guests. A minute or so later the Butler enters, right rear, and walks as though dazed through the empty hall)
A Maid.
(Appearing right rear)
Second Maid.
(Appears beside her)
Butler.
(Without turning)
First Maid.
Butler.
Second Maid.
Gladys Egerton.
(Appearing forward left)
George Egerton.
(Comes in quickly)
(Goes rear)
Gladys Egerton.
(Looks in the room forward right)
George Egerton.
(Calls into the conservatory)
Gladys Egerton.
George Egerton.
Gladys Egerton.
George Egerton.
(To the Butler)
(Comes to the door forward left)
(Donald Egerton comes in, putting on his overcoat)
Mrs. Egerton.
(Following him)
George Egerton.
Mrs. Egerton.
Gladys Egerton.
Egerton.
(To the Butler)
(The Butler goes out centre right)
George Egerton.
(Starts for the room forward left)
Mrs. Egerton.
(Harry Egerton comes in right rear, his hat and shoulders covered with snow)
Mrs. Egerton.
(She hurries to him and embraces him)
Harry Egerton.
Mrs. Egerton.
Harry Egerton.
(George Egerton reappears)
Gladys Egerton.
Harry Egerton.
George Egerton.
(With a sneer)
Egerton.
Harry Egerton.
George Egerton.
Harry Egerton.
Mrs. Egerton.
George Egerton.
(To the Butler and the Maids who have appeared at the doors)
Harry Egerton.
(Egerton Tosses His Overcoat Into the Side Room)
Mrs. Egerton.
Harry Egerton.
Egerton.
George Egerton.
(To his mother)
Mrs. Egerton.
Harry Egerton.
Egerton.
Harry Egerton.
Egerton.
Harry Egerton.
(He pauses)
Mrs. Egerton.
Harry Egerton.
Egerton.
Harry Egerton.
Egerton.
Harry Egerton.
Egerton.
Harry Egerton.
George Egerton.
Harry Egerton.
Mrs. Egerton.
George Egerton.
Mrs. Egerton.
Harry Egerton.
George Egerton.
Egerton.
(George Egerton walks away and stands by the pine trees, picking off and biting the needles)
Harry Egerton.
Egerton.
Harry Egerton.
Egerton.
Harry Egerton.
Egerton.
Harry Egerton.
Gladys Egerton.
(In tears, to her mother)
Harry Egerton.[Pg 206]
(The telephone bell rings)
Gladys Egerton.
George Egerton.
(Starts for the room, then stops)
Gladys Egerton.
Egerton.
(Keeping his eye on Harry)
(George goes out)
Harry Egerton.
Gladys Egerton.
(Calling into the room)
Harry Egerton.
Egerton.
(Calling toward the room)
Harry Egerton.
Egerton.
(Gladys goes into the room)
Mrs. Egerton.
(Approaching him)
Egerton.
Mrs. Egerton.
Egerton.
Harry Egerton.
Mrs. Egerton.
Egerton.
(Looks at him a long time)
(Turns away)
(Walks about)
Voices of George and Gladys.
(They come running in)
Egerton.
George Egerton.
(Egerton goes out)
George Egerton.
(Brother and sister wait near the door, tense, listening)
Mrs. Egerton.
(With a sigh)
Gladys Egerton.
(Under her breath)
George Egerton.
Mrs. Egerton.
(Turns and looks at Harry, whose face shows the sadness he feels at his father's refusal)
Harry Egerton.
(A pause)
(Distant cannon are heard)
George Egerton.
Gladys Egerton.
(Starting back through the house)
(The servants appear)
(Further booming is heard)
George Egerton.
(He starts for the stairs and goes bounding up three steps at a time)
Gladys Egerton.
(Calling after him)
Harry Egerton.
Gladys Egerton.
(Whirling round on her toe)
Harry Egerton.
Mrs. Egerton.
Gladys Egerton.
(Comes running forward)
(She disappears into the room, forward left)
Mrs. Egerton.
(Strangely)
(Turns upon her son a look of awe)
Harry Egerton.
Mrs. Egerton.
Harry Egerton.
(Egerton appears in the doorway and stands looking at his son)
Gladys Egerton.
(Clinging to his hand)
George Egerton.
(Appearing upon the stairs)
Egerton.
Harry Egerton.
Egerton.
Gladys Egerton.
Egerton.
Harry Egerton.
Gladys Egerton.
Egerton.
Gladys Egerton.
(She backs toward George, who has come down the stairs)
Harry Egerton.
George Egerton.
(At a word from Gladys)
(Egerton drops his eyes for a moment and stands as though in deep thought)
Mrs. Egerton.
Gladys Egerton.
(To Harry)
George Egerton.
(With a sneer)
Egerton.
George Egerton.
(To Harry)
(Goes out left)
Egerton.
Voice of George.
Gladys Egerton.
Egerton.
Harry Egerton.
Gladys Egerton.
Egerton.
Harry Egerton.
(Goes to his mother)
(Kisses her)
Egerton.
Harry Egerton.
(Starting for the door)
Egerton.
Gladys Egerton.
(Breaks out crying)
Egerton.
Harry Egerton.
(From back in the hall)
Egerton.
Harry Egerton.
(He goes out)
Egerton.
(Roaring after him)
(He stands staring at the door)
Mrs. Egerton.
(Wonderingly)
(The cannon are heard in volley upon volley as of a town giving itself up to celebration)
Egerton.
(Calls into the room, left)
Gladys Egerton.
(Shaken with sobs)
Mrs. Egerton.
(As before)
(She wanders back in the hall as in a dream)
Egerton.
Voice of George.
Egerton.
Mrs. Egerton.
(Vacantly, to her husband)
Egerton.
Gladys Egerton.
Mrs. Egerton.
(Who has come forward and stands facing him)
Scene: Inside the mill, showing in front a sort of half storeroom, half office shut in from the main body of the mill by a railing in the centre of which is a gate that swings in and out. Far back in this main body of the mill one sees a number of great gang saws from which off-carriers, with freshly sawed slabs and lumber upon their rollers, branch right from the main line that runs the full length of the mill. Through an opening in the far end, whence the logs are drawn up an incline to the saws, one sees as through a telescope a portion of the river and of the mountains on the opposite bank. Up toward the front, left, in this main body of the mill is a wide door that opens outside. In the foreground, within the space partitioned off by the railing, a pair of stairs, evidently connecting with the outdoors on the ground floor, comes up rear left. Centre, against this left wall, a pole six or eight inches in diameter, and to all appearances only recently set, goes up through a hole in the roof. Upon the floor at the foot of the pole, from which two long ropes hang down, lies a large American flag partially strung upon the rope. Forward from the pole is a door which apparently is no longer in use, a strip being nailed across[Pg 219] it. About this end of the enclosure are piles of window sash and kegs of nails. Centre rear, at right angles to the side walls, so that one sitting upon a stool may look back into the mill, is a long checkers' desk with two or three stools before it and with the usual litter of papers, books, and a telephone upon it. In the right wall, rear, where one coming up the stairs may walk straight on and enter, is a door connecting with the main office.
As the Scene opens, something very important seems to be going on in this main office. A crowd of men, workmen and militiamen together, are packed about the door, intent upon whatever it is that is transpiring inside. Forward, away from the crowd, a small group, mostly of militiamen, is gathered about two guards with rifles in their hands, who have evidently just come in. Back, beyond the railing and close to the crowd, a group of workmen about Wes Dicey is engaged in a heated argument. And farther back in the mill, especially about the large door, left, are bodies of men talking together. As the Scene opens, and for a few minutes afterwards, some one up the pole is heard singing.
Time: Saturday afternoon the week following the preceding Act.
A Workman.
(Comes from the crowd to the militiamen)
Militiaman.
Second Militiaman.
Third Militiaman.
(To Fourth Militiaman, who has just come up the stairs with his shoulders hung with knapsacks)
Second Workman.
Fifth Militiaman.
(He unfolds a paper and a group gathers about him)
Cries.
(Near the door)
Third Workman.
(From the edge of the crowd)
Fourth Workman.
(On the edge of the crowd, looking toward the group about Dicey)
First Militiaman.
Second Militiaman.
Fourth Workman.
Voice.
(From back in the mill)
(The Sixth Militiaman comes up the stairs, with four or five bugles, and shows surprise to see the crowd gathered)
Third Militiaman.
(In the group about the paper)
Fourth Workman.
Fifth Militiaman.
Several.
Voice.
(Rear)
A General Shout.
(Back in the mill)
Fifth Militiaman.
(They join the crowd about the door. Jim King comes through the gate in the railing, followed by Rome Masters, who is considerably intoxicated)
Jim King.
Rome Masters.
Jim King.
Rome Masters.
Jim King.
Voice.
(Near the door)
Rome Masters.
Jim King.
(Stands on tip-toe and looks over the crowd, then turns back to Masters)
(The group about Dicey become more noisy)
Voice.
(From the crowd)
(Dicey comes from the centre of the group and catches sight of King, who beckons to him)
First Workman.
(From the group)
Second Workman.
(Following Dicey)
(Dicey, King and Masters walk over to the pile of sash, left)
Third Workman.
(Of the Dicey faction)
Fourth Workman.
Fifth Workman.
Voice.
(Back in the mill)
Chris Knudson.
(Comes out of the crowd)
(To the Dicey faction)
(To the other party)
(Suddenly there is a tremendous cheering by those about the door. A militiaman hurries from the crowd, grabs a bugle from the Sixth Militiaman and, darting out centre, starts to blow it)
Sixth Militiaman.
(Excitedly)
Militiaman.
(With the knapsacks)
(The crowd begins to break up, many of the men climbing back over the railing into the mill proper)
Militiaman.
(Comes sliding down the pole)
Jim King.
(Returning with Dicey and Masters)
Seventh Militiaman.
(Coming away with two or three others)
Wes Dicey.
(He separates himself from the other two, and they mingle with the men)
Eighth Militiaman.
Voice.
(From back in the mill)
Voice.
(Near the door)
Second Voice.
First Voice.
Fifth Militiaman.
(Getting a group together)
First Militiaman.
Third Voice.
(Rear)
Chris Knudson.
(General Chadbourne comes from the office, followed by Captain Haskell, and after these Harry Egerton, Sam Williams, Harvey Anderson, Buck Bentley, and others. The militiamen make a big smoke)
General Chadbourne.
Harry Egerton.
General Chadbourne.
Sam Williams.
Workmen.
General Chadbourne.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Sam Williams.
General Chadbourne.[Pg 229]
(Ignoring Anderson, as he does throughout)
Voice.
(From the crowd)
General Chadbourne.
Sam Williams.
General Chadbourne.
(Murmurs in the crowd)
Chris Knudson.
Harry Egerton.
Harvey Anderson.
(To Buck Bentley)
Harry Egerton.
General Chadbourne.
Harry Egerton.
General Chadbourne.
Sam Williams.
General Chadbourne.
Sam Williams.
Harry Egerton.
Harvey Anderson.
General Chadbourne.
Harvey Anderson.
Harry Egerton.
General Chadbourne.
(To Captain Haskell)
Workmen.
Harry Egerton.
Buck Bentley.
Workmen.
Harvey Anderson.[Pg 232]
(Cheers)
(He laughs)
Harry Egerton.
General Chadbourne.
Harry Egerton.
Sam Williams.
Voice.
(From the crowd)
Sam Williams.
Buck Bentley.
Cries.
(Some militiamen joining in)
Workmen.
(This cry is caught up by the crowd and is carried on back through the mill. Chadbourne looks at the militiamen and unbuttons his overcoat and feels about in his pockets)
Harry Egerton.
Buck Bentley.
General Chadbourne.
(Handing Haskell a notebook)
Buck Bentley.
Sam Williams.
Harvey Anderson.
First Militiaman.
(To Haskell)
First Guard.
Second Militiaman.
Harvey Anderson.
Third Militiaman.
Second Guard.
Harry Egerton.
Fourth Militiaman.
Harvey Anderson.
Buck Bentley.
Sixth Militiaman.
Seventh Militiaman.
Harvey Anderson.
(To Chadbourne)
(Points to the flag on the floor)
(Tremendous cheering)
(Two militiamen are seen coming up the stairs, the one loaded with blankets, the other with ten or twelve rifles)
General Chadbourne.
(To Harry Egerton)
Voice.
(From the crowd)
Workmen.
(Catching sight of the two militiamen)
(Tremendous cheering)
Harry Egerton.
General Chadbourne.
(Starts for the stairs)
Voice.
(Back in the mill)
Fifth Militiaman.
(With the paper)
Harry Egerton.
General Chadbourne.
Harry Egerton.
General Chadbourne.
(Goes down the stairs, the two guards leading the way)
Harry Egerton.
Captain Haskell.
(To two militiamen who are busy stringing the flag on the rope)
First Militiaman.
Second Militiaman.
Captain Haskell.
(Disappears down the stairs. There is a movement of the workmen back into the mill)
Harvey Anderson.
(Shouting)
(The militiamen gather left, and to some of them the rifles, knapsacks, etc., are distributed. Buck Bentley, who has taken the bugles in his hands, walks to and fro)
Harvey Anderson.
Buck Bentley.
Harvey Anderson.
(Calls rear left to Harry Egerton, who is engaged with Dicey, a number of workmen being gathered about them)
(They stand silent, watching the group)
Buck Bentley.
A Workman.
(Leaving the group and passing rear, calls to Anderson)
Harvey Anderson.
Buck Bentley.
(Harry Egerton starts toward them, but Dicey keeps after him, the men following)
Buck Bentley.
(To Anderson, who has turned aside and half pulled from his inside pocket a legal looking document)
Harvey Anderson.
Harry Egerton.
(To Dicey)
Voice.
(Back in the mill)
Harry Egerton.
Wes Dicey.
Sam Williams.
Wes Dicey.
Harry Egerton.[Pg 242]
Several.
Harry Egerton.
Wes Dicey.
Two Or Three.
Wes Dicey.
Sam Williams.
Wes Dicey.
Sam Williams.
Chris Knudson.
Wes Dicey.
Harvey Anderson.
Wes Dicey.
Harvey Anderson.
(Cheers)
A Militiaman.
Sam Williams.
(Jim King takes Dicey aside, where Masters joins them)
Harry Egerton.
(Coming to Bentley and the militiamen)
Buck Bentley.
Harry Egerton.
Buck Bentley.
Harry Egerton.
Fifth Militiaman.
Sixth Militiaman.
Harry Egerton.
A Militiaman.
Harry Egerton.
(Shakes hands with them)
(The three remain aside talking together)
Harry Egerton.
Subdued Voices.
Harry Egerton.
(With a swift glance toward Dicey, King and Masters)
Subdued Voices.
Harry Egerton.
Militiamen.
(Leaving)
Harry Egerton.
Workmen.
Buck Bentley.
Harry Egerton.
Buck Bentley.
Harry Egerton.
(Takes a paper from his pocket)
Cries.
Harry Egerton.
Sam Williams.
(Taking a bugle and holding it up to the crowd)
(Cheers)
Chris Knudson.
Harry Egerton.
Buck Bentley.
A Workman.
Harvey Anderson.
(Harry Egerton stands and watches the militiamen depart. As Bentley goes down the stairs he turns and looks at Harry Egerton, who lifts his hand to his head in a sort of military salute)
Chris Knudson.[Pg 249]
Wes Dicey.
(To Harry Egerton)
Several.
A Voice.
Harry Egerton.
Wes Dicey.
(The workmen go back into the mill. Harry Egerton watches Dicey until he is lost among the men that pass out rear)
Harvey Anderson.
(Who has been watching him)
Harry Egerton.
(Who has started to follow the men)
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
(Takes the will from his pocket)
Harry Egerton.
Harvey Anderson.
(To Jim King, who lingers about beyond the railing)
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
(Looks at him a long while, then lays his hands upon his shoulders)
Harry Egerton.
(They go back through the gate in the railing and out through the great door, left, whence the crowd has passed. Rome Masters comes furtively up the stairs and looks about. He then comes past the sash to the door, forward left, and begins to pull off the strip that is nailed across it. He has just loosened it when Jim King appears upon the stairs and gives a low whistle. Rome Masters quickly joins him and together they hurry back through the mill[Pg 253] and out the great door, left. A moment later the First Guard comes up the stairs, followed by Ralph Ardsley and Bishop Hardbrooke)
First Guard.
Bishop Hardbrooke.
(The Guard goes back through the mill)
Bishop Hardbrooke.
Ralph Ardsley.
(Looks about)
(He gets up on one of the stools before the desk and takes from his overcoat pocket a newspaper which he spreads out before him)
Bishop Hardbrooke.
Ralph Ardsley.
(He reads the paper. The Bishop stands listening to the indistinct noises that come from the crowd outside)
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
(Cheers outside)
(Tremendous cheering)
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
(A pause)
Bishop Hardbrooke.
(Half to himself)
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.[Pg 257]
(Cheers outside)
(The Guard enters the mill, back left, and comes through the gate in the railing)
Guard.
Bishop Hardbrooke.
(The Guard goes out down the stairs)
Ralph Ardsley.
(To himself)
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
(Cheers outside. The two men remain silent)
Ralph Ardsley.
(Cheers outside)
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
(He gets down from the stool)
(Harry Egerton enters)
Bishop Hardbrooke.
Harry Egerton.
Ralph Ardsley.
Harry Egerton.
Ralph Ardsley.[Pg 260]
Harry Egerton.
Ralph Ardsley.
Harry Egerton.
Ralph Ardsley.
Harry Egerton.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Harry Egerton.
(Walks rear and listens)
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Harry Egerton.
(Who has come forward)
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Harry Egerton.
Ralph Ardsley.
Harry Egerton.
Ralph Ardsley.[Pg 265]
Harry Egerton.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Ralph Ardsley.
Harry Egerton.
Ralph Ardsley.
Bishop Hardbrooke.
(Harry Egerton walks rear and listens)
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Harry Egerton.
(Returning)
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Ralph Ardsley.
Bishop Hardbrooke.
Harry Egerton.
(Listens back)
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
(Walks back)
Ralph Ardsley.
Bishop Hardbrooke.
(Cheering outside)
(Continuous cheering)
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Ralph Ardsley.
Harry Egerton.
Harvey Anderson.
(Hurrying in)
(Goes quickly left and, seizing the rope, pulls the flag up on the pole)
Harry Egerton.
Harvey Anderson.
(Tremendous cheering outside)
Harvey Anderson.
(Comes right and takes Harry Egerton's two hands in his)
Ralph Ardsley.
Harvey Anderson.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(Prolonged cheering)
Ralph Ardsley.
Harry Egerton.
(A volley of shots)
Harvey Anderson.
(Seizes Harry Egerton by the shoulders and lifts him off his feet)
(Hurries back through the mill)
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
Bishop Hardbrooke.
Harry Egerton.
(The Bishop and Ardsley go out down the stairs. Harry Egerton starts back toward the gate)
Jim King.
(Suddenly appears just beyond the railing)
(Harry Egerton turns back to the desk and takes up the telephone. Jim King vanishes through the great door, left)
Harry Egerton.
(A pause)
(A pause)
(A pause)
(A pause)
(A pause)
(A pause)
(A pause)
(A pause)
(A pause)
(A pause)
(A pause. The door, forward left, opens slowly and Rome Masters comes stealthily in with a bar of iron in his hand, and moves toward Harry Egerton, whose back is to him)
Harry Egerton.
(Cheering outside)
(A pause)
(A pause)
(A pause)
(Masters strikes him)
Harry Egerton.
(He sinks to the floor. Masters, iron in hand, flees down the stairs. The cheering outside continues. Then, as the noise subsides, there is heard a steady buzzing of the telephone as though some one were trying to get connection)
Scene: Inside the large room of a newly built board cabin up at the mine. Centre, rear, the open mouth of the tunnel, with the wall resting upon the rocks above. Left, in this same wall, near the corner, a door opening outside. Right, near the other corner, about four feet up from the floor, a small oblong window through which one sees the snow lying thick upon the mountains, and beyond the snow the dark of the sky with the winter stars shining brightly. In the right wall, well back, a door opens into a bedroom. Centre, in the opposite wall, a second door opens into a sort of woodshed. Left, a little way to the rear from the centre of the room, a heavy iron stove with chairs standing about. A woodbox is over near the wall, left. Forward right, a table with a bugle lying upon two or three sheets of loose paper, and, farther over, a heap of ore samples in which, with the light of the near-by lamp falling upon them, the gold is plainly visible.
Harvey Anderson, his hat pulled low over his eyes, sits with his back to the bedroom, staring at the stove. The only motion discernible is an occasional pressing of the lip when he bites his moustache. Later, Mrs. Egerton, careworn and evidently in deep distress, enters[Pg 278] from the bedroom and starts to say something to Harvey Anderson, but decides not to. Instead she goes to the window and stands looking out as though she were anxiously waiting for some one.
Time: Christmas Eve.
Mrs. Egerton.
(In a low voice)
(Speaks back as though into the bedroom)
Harvey Anderson.
Mrs. Egerton.
Harvey Anderson.
Mrs. Egerton.
(Turns again to the window)
Harvey Anderson.[Pg 279]
Nurse.
(Entering from the bedroom)
Harvey Anderson.
Nurse.
Harvey Anderson.
(Looks at his watch)
(They look at one another)
Nurse.
(Anderson goes to the woodbox and looks in)
Mrs. Egerton.
(At the window, to herself)
Nurse.
(As Anderson goes into the woodshed)
(She glances toward Mrs. Egerton, then goes quietly to the door, rear left, and looks out)
Nurse.
(Comes back)
Mrs. Egerton.
Nurse.
Mrs. Egerton.
Nurse.
Mrs. Egerton.
Nurse.
(Goes to the window)
(Mrs. Egerton leaves the window and walks about the room)
Mrs. Egerton.
(Half to herself)
(She stops by the bedroom door and stands looking in)
Nurse.
Mrs. Egerton.
Nurse.
(A pause)
Mrs. Egerton.
Nurse.
(Mrs. Egerton walks about)
Nurse.
Mrs. Egerton.
Nurse.
(Shakes her head)
Mrs. Egerton.
Nurse.
(Harvey Anderson enters with an armful of wood)
Nurse.
Mrs. Egerton.
Nurse.
Harvey Anderson.
Nurse.
Harvey Anderson.
Nurse.
(To Mrs. Egerton)
Harvey Anderson.
(Quietly replenishes the fire)
Mrs. Egerton.
(At the bedroom door)
Nurse.
Mrs. Egerton.
Nurse.
Harvey Anderson.
(Who has come to the table, picks up one of the sheets of paper)
Nurse.
Harvey Anderson.
Nurse.
Harvey Anderson.
Mrs. Egerton.
Nurse.
Harvey Anderson.
Nurse.
Buck Bentley.
(Entering hurriedly from outside)
Mrs. Egerton.
(Collecting herself)
Harvey Anderson.
(Mrs. Egerton kisses him and goes into the bedroom)
Buck Bentley.
Nurse.
(She goes to the window)
Buck Bentley.
Harvey Anderson.
Buck Bentley.
(Starts for the door)
Harvey Anderson.
Buck Bentley.
(He goes out. Anderson stands staring at the door)
Nurse.
Harvey Anderson.
Nurse.
(Buck Bentley enters quickly. Looks from Harvey to the Nurse)
Harvey Anderson.
Buck Bentley.
(Sam Williams and Chris Knudson come in with a lantern)
Harvey Anderson.
(The men show surprise)
Buck Bentley.
Sam Williams.
Harvey Anderson.
(To Bentley, who starts out)
Buck Bentley.
(Anderson turns and shakes his head at the Nurse, who goes into the bedroom, closing the door after her)
Harvey Anderson.
Chris Knudson.
Harvey Anderson.
(They sit silent about the stove)
Harvey Anderson.
Chris Knudson.
(They are silent)
Harvey Anderson.
(Sam Williams nods)
Harvey Anderson.
Chris Knudson.
(They are silent)
Sam Williams.
Harvey Anderson.
Chris Knudson.
Harvey Anderson.
Chris Knudson.
Sam Williams.
(They are silent)
Harvey Anderson.[Pg 290]
(They are silent)
Chris Knudson.
Harvey Anderson.
(There is a slight noise in the bedroom. Anderson turns and listens; but everything becomes quiet again)
Harvey Anderson.
Nurse.
(Appears at the door and calls quickly)
(Anderson starts for the bedroom. Suddenly Harry Egerton appears struggling with his mother and the Nurse. His head is bandaged and his face is covered with a six weeks' beard)
Harry Egerton.[Pg 291]
(A shadowy line of workmen with their wives and children in their Sunday clothes comes in left)
Harry Egerton.
(Shouting right)
Mrs. Egerton.
Harry Egerton.
(Shaking himself free)
(The children crowd about him)
Mrs. Egerton.
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(Laughing)
Mrs. Egerton.
Harry Egerton.
(Laughs. A little boy remains after the other children have gone back to their parents)
Harry Egerton.
Harvey Anderson.
Harry Egerton.
(The little boy returns to the others)
Harry Egerton.
(Advancing and shaking hands with the men and women, who file by him and pass out rear)
(Last in the line comes a figure in the garb of a workman, but with the tender, bearded face of the Christ)
Harry Egerton.
(Looking at his brow)
(The figure holds out both hands to him)
Harry Egerton.
(At first wildly, but with growing calmness)
(The figure looks back one moment, then vanishes. Harry Egerton is seen falling into the arms of Harvey Anderson, who carries him into the bedroom. His mother and the Nurse follow. Sam Williams and Chris Knudson stand staring across at the door)
Sam Williams.
Chris Knudson.
Yes, I fear so.
Harvey Anderson.
(Coming in and closing the bedroom door after him)
A Guard.
(Pushing open the outside door)
(Donald Egerton enters, followed by the Doctor and two strange men, apparently surgeons, one of them carrying an instrument case. Egerton glances about and instinctively locates the bedroom, and at once goes toward it)
Harvey Anderson.
(To the Doctor)
Doctor.
Harvey Anderson.
Voice of Mrs. Egerton.
(As Egerton opens the bedroom door)
(The Doctor follows Egerton into the bedroom)
Chris Knudson.
(Looking toward the door that the Doctor has shut)
Harvey Anderson.
(They stand silent about the stove. Anderson picks up two chairs, which he takes over to the two strangers, who are standing by the table)
Chris Knudson.
Sam Williams.
(Looking toward the bedroom)
Chris Knudson.
Sam Williams.
Harvey Anderson.
Chris Knudson.
Harvey Anderson.
Sam Williams.
(Takes up the lantern)
Harvey Anderson.
Sam Williams.
Chris Knudson.
Harvey Anderson.
Chris Knudson.
Harvey Anderson.
Sam Williams.
Harvey Anderson.
Sam Williams.
Harvey Anderson.
Sam Williams.
Chris Knudson.
Harvey Anderson.
First Stranger.
(Indicating Anderson)
(The two workmen go out)
Harvey Anderson.
(He shuts the door and walks about, stopping occasionally by the stove, absorbed in thought)
Second Stranger.
First Stranger.
(They take up pieces of the ore)
First Stranger.
(To Anderson, who is walking about)
Second Stranger.
Egerton.
(Enters with the Doctor and speaks with him aside)
(Mrs. Egerton and the Nurse come in. Both are dressed for travelling)
Mrs. Egerton.
(Walks toward the outer door, then suddenly turns)
Egerton.
(Tenderly)
Nurse.
Harvey Anderson.
Mrs. Egerton.
(She embraces him and goes out with the Nurse)
Egerton.
(To the Doctor)
Doctor.
(The Doctor goes out. Egerton shuts the door and stands for a moment apparently waiting till those who have just left get farther from the cabin. He then starts pacing to and fro as though he were undecided what to do. As he walks left toward Harvey Anderson his brow darkens. But as he turns right and draws near the bedroom the hard lines of his face relax. It is clear that a terrible struggle is going on within him)
Egerton.
(To Harvey Anderson)
Harvey Anderson.
(Egerton stands for a moment, then resumes his walk)
Harvey Anderson.
Egerton.
(Stopping midway between the bedroom and Anderson, to the strangers)
First Stranger.
(The Second Stranger removes his overcoat. The First lifts the instrument case upon the table and begins to open it. Egerton walks toward the bedroom)
Harvey Anderson.
(Following him)
First Stranger.
(Suddenly covering Anderson with pistols which he has taken from the case)
(The Second Detective bolts the outside door. He then comes to the table and takes from the case two pairs of handcuffs, a long black mackintosh, and a black cap)
First Detective.
Second Detective.
(Feels about Anderson's hips and sides)
Harvey Anderson.
(To Egerton, while the detective puts the coat on him)
(Nodding toward the bedroom)
First Detective.
Egerton.
Harvey Anderson.
First Detective.
Egerton.
First Detective.
Egerton.
(Looks at his watch)
First Detective.
(The Second Detective hands to Egerton his son's will, which, in buttoning the coat up about Anderson, he has found in the latter's pocket)
Egerton.
(Looks into it a moment)
Second Detective.
First Detective.
(The Second Detective handcuffs himself to Anderson on the left side. The First Detective puts the cap on Anderson so that with the high[Pg 303] collar of the coat turned up, only his eyes are visible under the poke)
Harvey Anderson.
(The First Detective then handcuffs himself to Anderson on the right side)
Egerton.
First Detective.
Egerton.
First Detective.
(Showing Anderson his pistol)
(He puts the pistol in his side overcoat pocket and keeps his hand on it)
Egerton.
Harvey Anderson.
(The detectives, with Anderson between them, go out)
Egerton.
(Puts the key on the outside of the door)
(He goes out and locks the door after him. A few moments pass. Suddenly at some distance outside a shot is heard. Again a few moments pass. Then, with a crash, the door is broken in and Buck Bentley, with the will in his hand, pulls himself hurriedly through the hole. He staggers to the table and seizes the bugle and blows a loud blast, then reels and, trying to steady himself, falls dead upon the floor, taking the table down with him. There is a clattering of the ore samples and a breaking of glass, and the lamp goes out, leaving the room in darkness. A half mile or so away, in the direction of Foreston, a bugle is heard, then, farther away, another, and fainter, another, and still another. And out through the window in the starlight of the Christmas morning soldiers with rifles in their hands are seen running rear left through the snow)
[*] Stolen cattle
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