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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/13275-0.txt b/13275-0.txt new file mode 100644 index 0000000..a44527d --- /dev/null +++ b/13275-0.txt @@ -0,0 +1,3145 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 13275 *** + +The + +Gibson Upright + + +By + +BOOTH TARKINGTON + +and + +HARRY LEON WILSON + + +1919 + + + +THE STAGE PRODUCTION OF THIS PLAY IS BY STUART WALKER + + + + +THE GIBSON UPRIGHT + + + + +CAST OF CHARACTERS + + +ANDREW GIBSON, a piano factory owner + +NORA GORODNA, a piano tester and socialist labor organizer + +MR. MIFFLIN, a socialist journalist + +CARTER, an elderly factory worker + +FRANKEL, a young Jewish factory worker + +SHOMBERG, a factory worker + +SIMPSON, an elderly factory worker + +SALVATORE, an Italian factory worker + +RILEY, a truck driver + +ELLA, Mr. Gibson's housemaid + +MRS. SIMPSON, wife of Simpson + +MRS. COMMISKEY, wife of a worker (offstage voice) + +POLENSKI, a worker + +FIRST WOP and SECOND WOP, workers + + + + +ACT I + + ANDREW GIBSON'S _office in his piano factory where he + manufactures "The Gibson Upright." A very plain interior; + pleasant to the eye, yet distinctly an office in a factory, and + without luxuries; altogether utilitarian. + + Against the wall on our right is a roll-top desk, open, very + neat, and in the centre of the writing pad a fresh rose stands + in a glass of water. Near by is a long, plain table and upon it + a very neat arrangement of correspondence and a couple of + ledgers. + + Against the walls are a dozen plain cane-seated chairs. Near + the centre of the room is a sample of the Gibson upright piano + in light wood. There is a large safe, showing the word + "Gibson," and there are filing cases. In the rear wall there is + a door with the upper half of opaque glass, which shows "Mr. + Gibson" in reverse; and near this door is a water filter upon a + stand. In the wall upon our left is a plain wooden door. The + rear door opens into the factory; the other into a hall that + leads to the street. + + Upon the walls are several posters, one showing "The Gibson + Upright"--a happy family, including children and a grandparent, + exclaiming with joy at sight of this instrument. Another shows + a concert singer singing widely beside "The Gibson Upright," + with an accompanist seated. Another shows a semi-colossal + millionaire, and a workingman of similar size in paper cap and + apron, shaking hands across "The Gibson Upright," and, printed: + "$188.00--The Price for the Millionaire, the Same for Plain + John Smith--$188.00." This poster and the others all show the + slogan: "How Cheap, BUT How Good!" + + Nothing is new in this room, but everything is clean and + accurately in order. The arrangement is symmetrical. + + As the curtain rises_ NORA GORODNA _is seen at work on the + sample "Gibson Upright." The front is not removed; but through + the top of the piano she is adjusting something with a small + wrench._ NORA _is a fine-looking young woman, not over + twenty-six; she wears a plain smock over a dark dress. As she + is a piano tester in the factory she is dressed neither so + roughly as a working woman nor perhaps so fashionably as a + stenographer. She is serious and somewhat preoccupied. From + somewhere come the sounds of several pianos being tuned. After + a moment_ NORA _goes thoughtfully to the desk and looks at the + rose in the glass; then lifts the glass as if to inhale the + odour of the rose, but abruptly alters her decision and sets + the glass down without doing so. She returns quickly and + decisively to her work at the piano, as if she had made a + determination. + + A bell at the door on our left rings._ NORA _goes to the door + and opens it._ + +NORA: Good morning, Mr. Mifflin. + +MIFFLIN [_entering_]: Good morning, Miss Gorodna. + + [MIFFLIN _is a beaming man of forty, with gold-rimmed + eyeglasses and a somewhat grizzled beard which has been, a week + or so ago, a neatly trimmed Vandyke. He wears a "cutaway suit," + not much pressed, not new; a derby hat, a standing collar, and + a "four-in-hand" dark tie; hard, round cuffs, not link cuffs. + He carries a folded umbrella, not a fashionable one; wears no + gloves; and has two or three old magazines and a newspaper + under his arm._] + +MIFFLIN: I believe I'm here just to the hour, Miss Gorodna. + +NORA: Mr. Gibson has been very nice about it. He told me he would give +you the interview for your article. He's in the factory--trying to +settle some things he _can't_ settle. I'll let him know you're here. + + [_She goes out by the door into the factory._ MIFFLIN, _smiling + with benevolent anticipation, places his umbrella and hat on a + chair, then takes his fountain pen and a pencil from his + pocket, smilingly decides to use the pencil, sharpens it + without going to a wastebasket over by the desk; then beamingly + looks about the room. He is about to strike a chord on the + piano, seems alarmed by the idea, moves away from it, dusts the + lapel of his coat, adjusts his collar, studies the posters, + shakes his head over them as if they were not to his taste, + goes to the desk, and after studying it smiles at the rose and + gives it a kittenish peck with his forefinger._ NORA _comes + back and_ MIFFLIN _turns to her with his benevolent smile._] + +NORA [_going back to her work at the piano_]: He'll be right here. + + [GIBSON _appears in the open doorway, speaking with crisp + determination to someone not seen._] + +GIBSON: That's my last word on it; that's in accordance with the +agreement you signed two weeks ago. + +A HARSH VOICE: We don't care nothin' about no agreement! + +GIBSON: That's all! + + [_He comes in. He is a man of thirty-something; well but not + clubbishly dressed; an intelligent, thoughtful face; a man of + affairs. Just now he is exercising some self-control over + irritations which have become habitual, but he is not + uncordial, merely quiet, during his greeting of_ MIFFLIN.] + +NORA: This is Mr. Mifflin, Mr. Gibson. + +GIBSON: How do you do, Mr. Mifflin. + +MIFFLIN [_heartily, as they shake hands_]: I am very glad to meet you, +Mr. Gibson! I hope you don't mind my not writing to you myself for this +interview. + +GIBSON: Not at all! + +MIFFLIN [_taking a chair_]: I heard Miss Gorodna speak at a meeting two +nights ago-- + +GIBSON: Yes? + +MIFFLIN: And learning that she was one of your employees I asked her to +speak to you about it for me. + +GIBSON: I see. + +MIFFLIN: Now, in the first place, Mr. Gibson-- + + [_There is a telephone on_ GIBSON'S _desk; its bell rings._] + +GIBSON: Excuse me a moment! + +[_At the telephone_]: Hello!... Yes--Gibson.... Oh, hello, McCombs!... +Yes. I want you to buy it.... I want you to buy all of that grade wire +you can lay your hands on. Get it now and go quick. All you can get; I +don't care if it's a three years' supply. There'll be a shortage within +a month.... No; I don't want any more of the celluloid mixture.... No, I +don't want it. They can't make a figure good enough. I've got my own +formula for keys and we're going to make our own mixture.... I'm going +to have my own plant for it right here. I can make it just under fifty +per cent, better than I can buy it.... Wait a minute! I want you to get +hold of that lot of felt over in Newark; the syndicate's after it, but I +want you to beat them to it. Don't go to Johnson. You go to +Hendricks--he's Johnson's brother-in-law. You tell him as my purchasing +agent you've come to finish the talk I had with him the other night. +You'll find that does it.... All right. Wait! Call me up to-morrow +afternoon; I'm on the track of a stock of that brass we've been using. +We may get three-eighths of a cent off on it. I'll know by that time. +All right!... All right! [_Then he hangs up the receiver and turns to_ +MIFFLIN.] Where do you propose to publish this interview, Mr. Mifflin? + +MIFFLIN [_cheerily_]: Oh, I shall select one of the popular magazines in +sympathy with my point of view in these matters. You probably know my +articles. Numbers of them have been translated. One called "Coöperation +and Brotherhood" has been printed in thirteen languages and dialects, +including the Scandinavian. But I expect this to be my star article. + +GIBSON: Why? + +MIFFLIN: Because your factory here is so often called a model factory. +"_The_ model factory!" [_He repeats the phrase with unction._] + +GIBSON [_wearily_]: Yes, model because it has the most labour trouble! + +MIFFLIN [_enthusiastically_]: That is the real reason why it will be my +star article. As you may know from my other articles this problem is +where I am in my element. + +GIBSON: Yes; I understood so from Miss Gorodna. + + [_Giving him an inimical glance,_ NORA _closes the top of + piano, and moves to go._ GIBSON _checks her with a slight + gesture._] + +GIBSON: Would you mind staying, Miss Gorodna? Miss Gorodna knows more +about one side of this factory than I do, I'm afraid, Mr. Mifflin. We +may need her for reference, especially as she seems to be the ringleader +of the insurgents. + +MIFFLIN [_with jovial reproach_]: Now, now! Before we come to that, Mr. +Gibson, suppose we get at the origin of this interesting product. [_He +waves to the sample piano._] Let's see! I understand it was never your +own creation, Mr. Gibson; that you inherited this factory from your +father. + +GIBSON: Oh, no, I didn't. + +NORA [_challenging_]: _What!_ [_She checks herself._] I beg your pardon! + +GIBSON: The piano factory I inherited from my father was about one third +this size. + +MIFFLIN [_genially; always genial_]: Nevertheless, you inherited it. We +know that everything grows with the times, naturally. Let us simply +state that it was a capitalistic family inheritance. + +NORA [_under her breath but emphatically_]: Yes! + +MIFFLIN: Up to the time of your inheriting it, you, I suppose, had led +the usual life of pleasure of the wealthy young man? + +GIBSON: I'd been through school and college and through every department +of the factory. That wasn't hard; it was a pretty run-down factory, Mr. +Mifflin. + +MIFFLIN: And then at your father's death the lives and fortunes, souls +and bodies of all these workmen passed into your hands? + +GIBSON: Not quite that; there were only forty-one workmen, and nineteen +of them didn't stay when father died. They got other jobs before I could +stop them. + +MIFFLIN: And how many men have you now? + +GIBSON: I believe there are one hundred and seventy-five on the pay roll +now. + +MIFFLIN: One hundred and seventy-five [_with gusto_] labourers! + +GIBSON: Some of them are; some of them are orators. + +MIFFLIN [_jovially_]: Ah, I'm afraid that's hard on Miss Gorodna. + +GIBSON [_quietly_]: She's both. + +MIFFLIN: I understand you are _not_ fighting the labour unions? + +GIBSON: No. The workmen themselves declined to unionize the factory. + +MIFFLIN: Mr. Gibson, when your father began manufacturing "The Gibson +Upright"-- + +GIBSON: He didn't. He made a very fine piano--and only a few of them. It +was "The Gibson Upright" that saved the factory. You see, with this +model we began to get on a quantity-production basis. That's why the +business has grown and is growing. + +MIFFLIN: You mean that "The Gibson Upright" is the reason for the +present great prosperity of this plant? + +GIBSON: Yes. + +MIFFLIN: Now be careful, Mr. Gibson; I'm going to ask a trap question. +[_Wagging his pencil at him._] What is the reason for "The Gibson +Upright?" + +GIBSON: Do you mean who designed it? + +MIFFLIN: Oh, no, no, no! I mean who _makes_ them? If someone asked you +if you're the man that makes "The Gibson Upright" wouldn't you say +"Yes?" + +GIBSON: Certainly! + +MIFFLIN [_triumphantly_]: Ah, there you fell into the trap! + +GIBSON: What's the matter? + +NORA [_with controlled agitation_]: It's the same old matter, Mr. +Gibson. It's those men out there that make the piano. + +GIBSON [_a little sadly_]: Do they? + +NORA: With their _hands_, Mr. Gibson! + +GIBSON: Is there anything more, Mr. Mifflin? + +MIFFLIN: You couldn't possibly imagine how much you've given me, Mr. +Gibson, in these few little answers. It is precisely what I want to get +at--the point of view! The point of view is all that is separating the +classes from the masses to-day. And I think I have yours already. Now I +want to go to the masses if you will permit me. + +GIBSON: Then you might as well stay here. + +MIFFLIN: Ah, but I want to hear the workers talk! + +GIBSON: Well, this is the best place for that! Some of them are waiting +now just outside the door. I'll let you hear them. + + [_Goes to the factory door and opens it; two workingmen come + in. One is elderly, with gray moustache and beard--_CARTER. + _The other,_ FRANKEL, _is a Hebraic type, eager and nervous; + younger._] + +GIBSON: What do you and Frankel want, Carter? + +CARTER [_moving his jaw from side to side, affecting to chew to gain +confidence_]: Well, Mr. Gibson, to come down to plain words--there ain't +no two best ways o' beatin' about the bush. + +GIBSON: I know that. + +CARTER: The question is just up to where there ain't no two best ways +out of it. The men in our department is going to walk out to the last +one, and if there was any way o' stoppin' it by argument I'd tell you. +We're goin' out at twelve o'clock noon to-day, the whole forty-eight of +us. + +GIBSON: Why? + +FRANKEL: "_Why_," Mr. Gibson! Did you want to know _why_? + +GIBSON: Yes, I do. You men signed an agreement with me just eleven days +ago-- + +FRANKEL [_hotly protesting_]: But we never understood it when we signed +it. How'd we know what we was signing? + +GIBSON: Can't you read, Frankel? + +FRANKEL: What's reading got to do with it, when it reads all one way? + +GIBSON: Didn't you understand it, Carter? + +CARTER: Well--I can't say I did. + +GIBSON: _Why_ can't you say it? It was plain black and white. + +CARTER: Well, I was kind o' foggy about the overtime. + +GIBSON: The agreement was that you were to have time and a half for +overtime. What was foggy about that? + +CARTER: Well, I don't say you didn't give us what we was askin' right +_then_; but things have changed since then. + +GIBSON: What's changed in eleven days? + +FRANKEL [_hotly_]: What's changed? How about them men in the finishin' +department that do piecework? + +GIBSON: Well, what's changed about them? + +FRANKEL: Well, something _is_ goin' to change over there. + +GIBSON: We're talking about your department not understanding the +agreement. What's the finishing department got to do with that? + +FRANKEL: Well, they're kickin', too, you bet! + +GIBSON: I'm dealing with your kick now. + +CARTER: Well, o' course we got to stand with them; if they do piecework +overtime they don't get no more for it. + +GIBSON: I'll deal with them separately. + +FRANKEL: My goodness, Mr. Gibson, you got to deal with us, too! Not a +one of us understood what our last agreement with you was. It's just +agreements and agreements and agreements--you might think we was living +just on agreements! By rights we ought to have double time instead of +time and a half! + +GIBSON: Time and a half eleven days ago; now you strike for double time! +Where does this thing stop? You want double time for overtime; your +working day has been reduced; it won't be long till you want that cut +down again. + +FRANKEL: Sure! We want it cut down right now! + +CARTER: Yes, Mr. Gibson; that was another point they told us to bring up +before we walk out. + +GIBSON [_with growing exasperation_]: I suppose you want a six-hour day +so you'll have more overtime to double on me! Then you'll want a +four-hour day, won't you? + +MIFFLIN [_beaming and nodding_]: Well, why not, Mr. Gibson? + +GIBSON: What? + +NORA: Why shouldn't they? + +GIBSON: Why shouldn't they? But what's their limit? + +NORA [_oratorically_]: When the workman shall own his tools! + +MIFFLIN: Of course that means _all_ the tools, Mr. Gibson. You may not +know our phrase: "The workman shall own his tools." It means not only +the carpenter's bench, the plane and the saw, the adze and the auger, +but the shop itself. It means that the workmen shall own the factory. It +means the elimination of everything and everyone who stands between him +and the purchaser, to take toll and unearned profit from the worker, who +is really the sole producer of wealth. + +NORA: It means the elimination of capital and the capitalist! + +MIFFLIN: It means that not only should the worker own tools and factory +but should sit here in the persons of his chosen and elected fellow +workers, as arbiter of his own destiny. + +GIBSON: That is to say, it means the elimination of me. + +MIFFLIN [_jovially_]: Precisely! Precisely! + +GIBSON [_as another workingman strides into the room_]: What do you +want, Shomberg? + +SHOMBERG: Them new windows in the assembling room--they're no good. + +GIBSON: We've just spent twelve hundred dollars fixing them as you said +you wanted them. What's the matter with them? + +SHOMBERG: They don't give no light. + +MIFFLIN: None at all? + +SHOMBERG: It's right next to none at all! The men are goin' to lay off +if they got to work in that room. They're goin' out anyway at twelve +o'clock. + +FRANKEL: Now look here, Mr. Gibson, if I was running this factory-- + +GIBSON: You're not, Frankel! + +SHOMBERG: Well, why can't you listen to him? Don't we even get no +hearing? I guess if I was running this factory once, the first thing I'd +do I'd anyhow try to listen what the troubles is and make my men +contented. + +GIBSON: What would you do if you were running the factory, Carter? You +haven't said. + +CARTER: I ain't had the chance to say. Now what I'd do, first I'd settle +all the grievances so there wouldn't be no more complaints. + +GIBSON: Well, here's one coming I might leave to you on that basis. + + [_Enter_ SIMPSON, _an elderly worker in overalls and jumper; + and_ SALVATORE, _a New Yorkized Italian type, a formerly + lighted cigarette dangling from his lips._] + +SALVATORE: Our department's goin' to walk out at twelve, noon, Mr. +Gibson. We ain't satisfied. + +GIBSON: Why not? + +SALVATORE: Well, we ain't satisfied, Mr. Gibson; we ain't satisfied at +all. + +GIBSON: You got every demand answered yesterday, Salvatore. + +SALVATORE: Oh, I ain't talkin' about no demands. If all them other +departments walks out we're going to stand by 'em! We got plenty to do +with our time. Workin' all the time ain't so enjoyable. + +GIBSON: So you people are going out again, are you? + +SIMPSON: I guess it's a general strike, Mr. Gibson. I'm afraid if you +don't give the boys satisfactory answers the place will close down at +noon. + +GIBSON: Have satisfactory answers ever satisfied you? + +SALVATORE: Ain't we got no right to stand up for our rights? + +FRANKEL: Don't you get all you can from _us_? Well, you bet your life +we're goin' to keep on gettin' all we can from _you_! + +GIBSON: Then life isn't worth anything to either of us--if it's all +fight! Is that to go on forever? + +NORA: No, Mr. Gibson; it's to go on until the abolition of the wage +system! + +MIFFLIN: Good! + +NORA: The struggle with capitalism will continue till the workers take +possession of the machinery of production. It is theirs by right; the +wealth they produce is morally their own. The parasites who now consume +that wealth must be destroyed. + + [_Great approval from workmen; almost a cheer._ MIFFLIN + _chuckles and noiselessly claps his hands._] + +GIBSON: I'm the parasite! + +SHOMBERG: Well, do we get any answer? + +GIBSON: Does any one of you men here think he could answer all of these +demands satisfactorily? + +SALVATORE: Sure! [_All acquiesce: "Sure, sure!"_] + +FRANKEL: You can't put us off any longer with just no little bunch of +funny talk! + +GIBSON: I'll have an answer for you in fifteen minutes. [_Turns to his +desk._] That's all. + +SHOMBERG: Better have it before twelve o'clock. + +CARTER [_as they go_]: Do what you kin, Mr. Gibson. All the departments +is worked up pretty unusual. + +GIBSON [_wearily dropping back into his chair_]: Oh, no, Carter; pretty +usual; that's the trouble. + +MIFFLIN: A splendid manifestation of spirit, Mr. Gibson! I'll just take +advantage of the-- + + [GIBSON _waves his hand, assenting._ MIFFLIN _overtakes the + group at door, puts his hands on the shoulders of two of the + workers; and goes out with them talking eagerly._ NORA + _follows._ GIBSON _sighs heavily; the telephone bell rings. He + takes up the receiver._] + +GIBSON: Who is it?... Wait a minute! [_He takes a pad and writes_]: +"Central Associated Lumber Companies." ... Wait a minute. [_Looks at a +slip in a pigeonhole of his desk._] Oh, yes, you called me yesterday.... +This is Mr. Ragsdale?... No, no, Mr. Ragsdale, I don't think I'm going +to do any business with you. You asked me forty-eight dollars a thousand +on 200,000 feet.... No, your coming down half a dollar a thousand won't +do it.... I say seventeen cents won't do it.... Hold the wire a minute. +[_Looks for letter in pigeonhole, but finds it in his inside pockets. +Then he holds it open, looking at it beside the telephone as he +speaks._] Hello!... No; I was right; there's nothing doing, Mr. +Ragsdale, I know where I can get that 200,000 feet at forty-five +dollars.... I say I know where I can get that lumber at forty-five +dollars.... No; I can get it. There won't be any use for you to call up +again.... Good-bye! + + [_He paces the floor again thoughtfully, then abruptly goes to + the factory door; opens it and calls._] + +GIBSON: Miss Gorodna! + + [NORA _appears in the doorway. She looks at him with + disapproving inquiry; then walks in and closes the door. He + goes to his desk and touches the rose._] + +GIBSON: Why didn't you take it this morning? That poor little rosebed in +my yard at home; it's just begun to brighten up. I suppose it thought it +was going to send you a June rose every day, as it did last June. You +don't want it? + +NORA [_gently, but not abating her attitude_]: No, thank you! + +GIBSON: [_dropping the rose upon his blotting pad, not into the glass +again_]: This is the fourth that's had to wither disappointed. + +NORA [_in a low voice_]: Then hadn't you better let the others live? + +GIBSON: I'd like to live a little myself, Nora. Life doesn't seem much +worth living for me as it is, and if your theories are making you detest +me I think I'm about through. + +NORA: It's what you stand for that my theories make me detest--since you +used the word. + +GIBSON: Well, what is it that I stand for? + +NORA: Class and class hatred. + +GIBSON: Which class is the hatred coming from? + +NORA: From both! + +GIBSON: Just in this room right now it seems to be all on one side. And +lately it has seemed to me to be more and more not so much class as +personal; because really, Nora, I haven't yet been able to understand +how a girl with your mind can believe that you and I belong to different +classes. + +NORA: You don't! So long as capital exists you and I are in warring +classes, Mr. Gibson. + +GIBSON: What are they? + +NORA: Capitalist and proletariat. You can't get out of your class and I +don't want to get out of mine. + +GIBSON: Nora, the law of the United States doesn't recognize any +classes--and I don't know why you and I should. We both like Montaigne +and Debussy. You've even condescended to laugh with me at times about +something funny in the shop. Of course not lately; but you used to. In +everything worth anything aren't we really in the same class? + +NORA: We are not. We never shall be--and we never were! Even before we +were born we weren't! You came into this life with a silver spoon. I was +born in a tenement room where five other people lived. My father was a +man with a great brain. He never got out of the tenements in his life; +he was crushed and kept under; yet he was a well-read man and a +magnificent talker; he could talk Marx and Tolstoi supremely. Yet he +never even had time to learn English. + +GIBSON: I wish you could have heard what _my_ father talked for English! +Half the time I couldn't understand him myself. He was Scotch. + +NORA: Your father wasn't crushed under the capitalistic system as mine +was. My father was an intellectual. + +GIBSON: Mine was a worker. They both landed at Castle Garden, didn't +they? + +NORA: What of that? Mine remained a thinker and a revolutionist; yours +became a capitalist. + +GIBSON: No; he got a job--in a piano factory. + +NORA: Yes, and took advantage of the capitalistic system to own the +factory. + +GIBSON: Before he did own it he worked fourteen hours a day for twelve +years. That's why he owned it. + +NORA: How many hours a day do you work, Mr. Gibson? + +GIBSON: I _have_ worked twenty-four; sometimes fourteen, sometimes two; +usually six. + +NORA: In other words, when you want to work. + +GIBSON: I've learned to do things my father never learned to do, and it +commands a higher return. + +NORA: You _take_ a higher return! + +GIBSON: You mean I don't deserve it? + +NORA: Can it be possible that you think you deserve as much as any of +these _workers_? You don't so much as touch one of these pianos that +bring you your return. I do! I work on them with my hands. Do you think +you deserve as much as I? + +GIBSON: No; I don't go so far as that. + +NORA: Don't talk to me as a woman! My work is pleasant enough now; but +what work did I have to do before I got this far? I worked sixteen hours +a day, and when I was only a child at that! Twelve hours I was sewing, +and four I studied. If my father hadn't known music and taught me a +little your capitalistic system would have me sewing twelve hours a day +still! + +GIBSON: Yes, Nora; when we learn how to do something we get better pay +for it. + +NORA: We do? Do you really think that? That we get paid for what we do? + +GIBSON: Yes; that's what I think. + +NORA: Then what do you get paid for? For nothing in the world but owning +this factory. You're paid because you're a capitalist! + +GIBSON: Is that all? + +NORA: Why, look at the state the factory's in! The discontent you saw in +those men--that's the fault of the capitalistic system! There aren't +twenty workmen in the place that are contented. + +GIBSON: You're right about that; and they never will be. + +NORA: Not until the system's changed. What are you going to do about it? + +GIBSON [_with quiet desperation_]: They've driven me as far as they +can. If they walk out I'll walk out. I can stand it if they can. + +NORA: You'd close down? Your only solution is to take the bread out of +these men's mouths? + +GIBSON: If they walk out I'll walk out! + +NORA [_trembling_]: You coward! + +GIBSON: That's fair? + +NORA: You'll let us starve because you haven't the courage to come to +the right solution! Don't you mind starving us? + +GIBSON: You mean you'd starve if I quit. + +NORA [_vehemently_]: No; but because you'd close the factory. + +GIBSON: Oh, the factory could run if I quit, could it? + +NORA: That's the capitalist! They think it's capital that runs the +factories! + +GIBSON: And I'm the capital, am I? + +NORA: What in the world else? [_Touches the piano._] You think you +produce this wealth because you've got your money in it? You pass out a +pittance to those who do produce it, and when they ask for more than a +pittance you take their tools away from them! If they rebel you set the +police on them. That's capital--and that's you, Mr. Gibson! + +GIBSON: Nora, you told me not to speak to you as a woman. + +NORA: I mean it! + +GIBSON: I'm going to disregard it. Couldn't you get your theories out of +your mind for a while and make a little room there for me? + +NORA: My theories! I haven't any theories! I'm talking about the truth, +and the truth is my whole life. I can't find room for anything but the +truth. + +GIBSON: Couldn't you? + +NORA: Ah, that's a man's egoism! With the whole world seething so that +its wrongs should fill every mind--yes, and every heart--until they're +righted, you ask me-- + +GIBSON: I think you needn't make it any clearer, Nora; I understand. + +NORA [_turning away, agitated_]: I am glad you do. + + [_The factory door opens to the impetuous arrival of a + workingman of extraordinary size and vehemence_, RILEY, _a + truck driver._] + +RILEY [_as he opens the door_]: See here, Mr. Gibson, fer the love o' +heaven, don't the truck drivers fer this factory git no consideration? + +GIBSON: I don't know! What do they want? + +RILEY: Look here, Mr. Gibson, man to man, every department in this +factory is makin' demands and goin' to walk out if they don't git 'em. +Ain't we got no chance fer no demands? + +GIBSON: I said: What do you want? + +RILEY: Why, we got grievances been hangin' over I don't know how long! + +GIBSON: What are they? + +RILEY: Why, all them other departments is going to git raises. You don't +think fer a minute the truck drivers ain't going to-- + +GIBSON: How much raise do you want? + +RILEY: Sir? + +GIBSON: How much raise do you want? + +RILEY: I can't jest say right this minute. We jest heard what was goin' +on in the other departments, and we ain't had no meetin' to settle just +what raise we _are_ goin' to git. Now, Mr. Gibson, if I was runnin' this +factory-- + +GIBSON: Well, what would you do? + +RILEY: The first thing I'd do, I'd see that the truck drivers didn't +have no more discontent than nobody else. What becomes of your freight +if you can't run no trucks? You got to look out, Mr. Gibson! It's us got +the upper hand. + +GIBSON: Go call your meeting and find out what raise you're going to +strike for. + +RILEY: Yes, sir; I'll do it. [_He goes out quickly._] + +NORA: [_amazed and rather gentle_]: Are you going to give them what they +want? + +GIBSON: No; I only wanted to get rid of him a minute to think--or try +to. + +NORA [_in a low voice, offended_]: Oh, excuse me! [_She is going out._] + +GIBSON: Stay here! [_He seems to approach a decision--one of desperation +and anger. Then he speaks crisply, but more to himself than to_ NORA.] +All right--they get it! [_Looks up at_ NORA, _gives her a frowning stare +of some duration._] Tell Riley to call off his meeting, please. I want +all those spokesmen for the departments here. I'll give them their +answer now. + + [NORA _looks at him, puzzled, bites her lip, and goes out + quickly into the factory._ GIBSON'S _expression is determined; + so is his action. He goes to the wall, brings two chairs, one + in each hand, places them at the large table. Repeats this + until he has chairs placed at the table on both sides and at + the head as if for a directors' meeting. The door opens and_ + SALVATORE, MIFFLIN, CARTER, RILEY, SHOMBERG, FRANKEL, _and_ + SIMPSON _enter. They come in, speaking together; most of them + talking somewhat ominously._] + +CROWD: Well, he better!... We ain't workin' for our health.... My whole +department'll walk out!... You bet your life we're goin' to!... He +needn't kid himself about our not meaning business! + +FRANKEL: Well, Mr. Gibson, we'd like to know what conclusion you come +to. + +GIBSON: I'm going to tell you. Simpson, please ask Miss Gorodna to step +in. + + [SIMPSON _merely looks out of the door, and_ NORA _comes in + quickly._] + +Carter, take that chair at the head of the table. Frankel, Salvatore, +Shomberg, sit there, and there, and there! Riley, sit there. Simpson, +there! Miss Gorodna, will you please sit here? [_They take the seats he +indicates, but they look puzzled, somewhat perturbed; whisper and murmur +to one another._] Thank you! There! That looks like a directors' tables +doesn't it? + +SALVATORE: What's this all about? + +GIBSON: I want to ask you people if any of you ever knew me to break my +word to you? + +FRANKEL: Oh, no, Mr. Gibson, we know you never break your agreements! + +GIBSON: I want to ask you people: Haven't you found my word as good as +my bond? + +CARTER: Why, yes, Mr. Gibson. + +SIMPSON: Sure! We know you'll do what you say. + +GIBSON: Do you all agree to that? + +SALVATORE: Soit'nly! You're a gentleman. + +RILEY: Sure, we agree to it! + +SHOMBERG: Oh, well, prob'ly so. + +GIBSON: All right! I'm going to do something you don't expect, and I +want you to know I mean it. But before I do it I want to tell you +something. Probably you won't understand it, but for a long time I had a +pride in this factory. Building up The Gibson Upright was really the +pride of my life. To do that I knew I had to have a loyal staff of +workmen, and for that reason if no other I have given you shorter hours +and more pay than the men get in any other factory of this kind that I +know of. I've done everything that can be done to make the shops healthy +and light and clean. I certainly haven't been unfriendly to you +personally. Any man in the factory was free to come in that door to talk +to me any time he wanted to. I've done my best and we've been called +the model factory. I've done my best but--it isn't enough. It never has +been enough. And I've been told it never will be enough [_with a glance +at_ NORA] until the wage system has been abolished--until capital has +been abolished and the parasite destroyed! I say I took a pride in the +factory for years! Now I am no longer able to. I can't take a pride in a +squabble, and that's all this factory has come to be. And I'll tell you +frankly--you men feel you'd like to get rid of me; well, I want to get +rid of you. And I intend to! + +SHOMBERG [_fiercely_]: You goin' to close this factory down? + +GIBSON: No; I'm going to give it to you! + +SEVERAL WORKMEN: What! + +GIBSON [_emphatically_]: I'm going to give it to you! I turn it over to +you, here and now. This property is mine, but the use of it is yours. +Don't you understand? You've said yourselves my word is as good as my +bond. Well, the factory is yours. I'm going to get away from it. You +take it and run it. + + [_He gets his hat and coat._] + +SIMPSON: What in thunder does he mean? + +SALVATORE: Say, what's the game? + +GIBSON: There it is! Take it and run it yourselves, for yourselves. It +belongs to every workman in the factory on equal shares. [_Throws keys +on table._] There are the keys of the safe, and the combination's in the +top drawer of that desk. It's all yours as it stands, down to the very +correspondence on that table, without any let, hindrance, or +interference from me. + +FRANKEL [_hoarsely_]: Say! He means it! + +SALVATORE: All the money ours? + +GIBSON: The money for every piano you make and sell is yours--every cent +of it. + +MIFFLIN [_rising transfigured_]: Gentlemen, a glorious time has come! +This is an example to every employer of labour in our land. I thank that +power which destined all men to be equal both in service and reward that +I should have chanced to be present to see such a splendid band of +forward-looking fellows--of brothers, of comrades--come into their own! +Let us hope that this great moment but marks the beginning of an epoch +when every capitalist and manufacturer shall see the light as Mr. Gibson +has just done. + +As spokesman for these--these men, Mr. Gibson, I would congratulate you +for anticipating the inevitable and certain world future! You have done +well for yourself to perceive it. I am sure on that account you leave +here with their respect. And to you I should think it might be some +relief-- + +GIBSON: Relief? I should think it might! And you can translate that into +your nineteen languages and dialects--including the Scandinavian! As for +you men--you wouldn't work for me--now see if you can work for +yourselves! Good-bye, Miss Gorodna! + + [NORA, _who has been looking at him tensely, inclines her head + slightly. He opens the door that leads to the street and goes + out decisively. There are exclamations from everyone, loud but + awed. "Say, look here, look here, look here!" + + "Give it to us!" "Equal shares! Did you hear what he said?" + "Gosh! Is this the end of the world?" "My wife won't believe + it!"_] + +MIFFLIN: Gentlemen, this factory comes into the possession of every +workman in it on equal terms; each has a like share in the profits. At +last the workman owns his tools. + +FRANKEL [_suddenly, as if light had just come_]: Gibson's crazy! + +MIFFLIN: No, no! He saw the writing on the wall! + +NORA [_as if entranced, her eyes to heaven_]: Isn't it +wonderful--wonderful! + +MIFFLIN [_beaming_]: But we mustn't forget that it entails +responsibilities. + +NORA: We mustn't forget that. + + [_The telephone bell rings. They all turn their heads in + silence and look at it_, MIFFLIN _watching them, benevolently + chuckling. The bell rings again._] + +CARTER [_blankly_]: The telephone is ringin'. + +MIFFLIN: Well, answer it, answer it! + +SIMPSON: Who? + +MIFFLIN: Why, you--any of you. It's yours--it's your telephone. + +SIMPSON: You answer it, Carter. + + [CARTER _goes to the telephone and picks it up in a somewhat + gingerly way._] + +CARTER: Hello!... Yes.... Yes, it's The Gibson Upright.... No, he ain't +here.... What? Wait a minute. [_Puts his hand over the mouthpiece._] He +wants to know who it is talking. + +FRANKEL: My goodness! Can't you tell him it's you? + +CARTER: He wouldn't know who that was. + +MIFFLIN: Tell him it's one of the owners of the company. + +CARTER [_looks at_ MIFFLIN _solemnly; then in a hushed voice_]: It's one +of the owners of the company.... Wait a minute; let me get that. "The +Central Associated Lumber Companies?" I hear you. Wait a minute. [_Looks +round._] This here company says they want to lower their bid for a +couple hundred thousand feet o' lumber to forty-seven dollars a +thousand. They say that's a dollar lower than they offered yesterday and +a half a dollar lower than they offered this morning--says got to know +now. + +FRANKEL: Says they come _down_ to forty-seven, do they? + +CARTER: Yes; says so! + +SIMPSON: Well, tell 'em that's good; we'll take it. + +THE OTHERS: Sure, that's right!... That's a good offer.... Sure, we'll +take it! + +CARTER [_at the telephone_]: We'll take it. [_Pause._] You're welcome. + + [_Puts down the telephone amid general buzz from all the + others. They rise somewhat dazedly, but relaxing, beginning to + take in their surroundings in the new life._ SHOMBERG _and_ + SIMPSON _shake hands._ FRANKEL _goes over and examines the + safe._ SALVATORE _picks up a basket of correspondence from the + desk as if it were a strange bug._ SHOMBERG _opens a drawer in + the table. There is a buzz of congratulative, formless talk. + They spread over the stage, looking at everything._] + +MIFFLIN [_transfigured, his right hand lifted_]: Gentlemen, this is the +New Dawn! + + + + +ACT II + + + _The yard beside_ GIBSON'S _house. Upon our left is seen the + porch or sun-room wing of a good "colonial" house of the + present type. A hedge runs across at the back, about five feet + high, with a gateway and rustic gate. Beyond is seen a + residential suburban quarter, well wooded and with ample + shrubberies. A gravelled path leads from the gate to the porch, + or sun-room, where are broad steps. Upon the lawn are a white + garden bench, a table, and a great green-and-white-striped sun + umbrella, with several white garden chairs. + + Autumn has come, and the foliage is beginning to turn; but the + scene is warm and sunlit. + + After a moment a young housemaid brings out a tray with a + chocolate pot, wafers, and one cup and saucer and a lace-edged + napkin. She places the tray on the table, moves a chair to it, + looks at the tray thoughtfully, turns, starts toward the + house--when_ GIBSON _comes out. He wears a travelling suit and + is bareheaded._ + +ELLA: The cook thought you might like a cup of chocolate after a long +trip like that--just getting off the train and all, Mr. Gibson. + +GIBSON: Thank you, Ella, I should. + +ELLA: I'll bring your mail right out. + + [_She goes into the house and returns with a packet of + letters._] + +GIBSON: Thanks, Ella! + +ELLA: Everything is there that's come since you sent the telegram not to +forward any more. + +GIBSON: It's pleasant to find the house and everything just as I left +it. + +ELLA: My, Mr. Gibson, we pretty near thought you wasn't never coming +back. Those June roses in that bed round yonder lasted pretty near up +into August this year, Mr. Gibson. For that matter it's such mild +weather even yet some say we won't have any fall till Thanksgiving. + +GIBSON: Yes, it's extraordinary. + +ELLA: Shall I leave the tray? + +GIBSON: No; you can take it. [_She moves to do so._] Wait a minute. +Here's a letter from John Riley, up at the factory. Don't I remember his +son Tom coming here to see you quite a good deal? + +ELLA: Yes, sir; Tom's one of the factory truckmen like his father. He +still comes to see me quite a good deal, sir. There isn't anything about +that in the letter, is there, sir? [_She knows there isn't._] + +GIBSON [_absently_]: No, no! [_With faint irony._] He only wants to know +about where to get a stock of truck parts that had been ordered before I +broke connections with the factory. He thinks four months is a long time +for them to be on the way and doesn't know where to write. + +ELLA: He's a terrible active man, Mr. Riley. Always pushing. + +GIBSON: So Tom comes round more than ever, does he? + +ELLA [_coyly_]: He does, sir! + +GIBSON: I'm not going to lose you, am I, Ella? + +ELLA: Well, sir, up to the time of that change in the factory we hadn't +expected we could get married for maybe two years yet, but the way +things are now--not that I want to leave here, sir--but it does look +like going right ahead with the wedding! + +GIBSON: Tom feels that prosperous, does he? + +ELLA: I guess he _is_ prosperous, sir! + +GIBSON [_gravely digesting this_]: Well, I suppose I'm glad to hear it. + +ELLA: Yes, sir; everybody's glad these days up at the factory, sir. I +don't mean about just Tom and me, they're glad. + +GIBSON: You mean they're all in a glad condition? + +ELLA: Oh, _are_ they, sir! Even the Commiskeys got an automobile last +month! + +GIBSON: Well, I suppose that's splendid. + +ELLA: Didn't you know about it, sir? + +GIBSON: No, not a word. I've been pretty deep up in the Maine woods this +summer. Have you been over to the factory at all yourself, Ella? + +ELLA: Yes, sir; visitors can go round just as they like to. They're glad +to have you. + +GIBSON: When you've been over there, Ella--you know which one is Miss +Gorodna, don't you? + +ELLA: Oh, yes, sir! She's one of the best in managing, Miss Gorodna. + +GIBSON: You--did you--have you happened to see her? + +ELLA: Yes, sir, once or twice. + +GIBSON: Did she--ah--did she look overworked? + +ELLA: Oh, I shouldn't say so, sir. + +GIBSON: She looked well, then? + +ELLA: Yes, indeed, sir! Everybody's so happy up there; I don't suppose +none of 'em could look happier than she is, sir! + +GIBSON: They are all happy, then? + +ELLA [_laughing joyfully_]: You never see such times in your life, sir! +[_A bell rings in the house._] I'll answer the bell. + +GIBSON: I've finished this, Ella. + +ELLA: Yes, sir. [_She takes the tray and goes into the house._ GIBSON +_opens another letter, reads it._ ELLA _returns._] + +ELLA: It's Mr. Mifflin, sir. + +GIBSON: All right. + + [MIFFLIN, _beaming and bubbling, more radiant than in Act 1, + but dressed as then except for a change of tie, comes from the + house. He carries his umbrella and hat and the same old + magazines and a newspaper._] + +MIFFLIN: Ah, Mr. Gibson, you couldn't stay away any longer! + +GIBSON: How de do! Sit down! + +MIFFLIN [_effervescing, as they sit_]: It's glorious! I heard from your +household you were expected back this Sunday. Now confess! You couldn't +stay away! You had to come and watch it! + +GIBSON: Well, I've not had to come and watch it for four months. I don't +expect to watch it much, now. + +MIFFLIN: You don't mean to sit there and tell me you don't know +anything about it! + +GIBSON: No; I don't know anything about it. + +MIFFLIN: Mr. Gibson, you're an extraordinary man! + +GIBSON: No, I'm not. What I did was extraordinary, but I was only an +ordinary man pushed into a hole. + +MIFFLIN: Oh, no; surrendering the factory was merely normal. What's +remarkable is your staying away from watching the glorious work these +former hireling workmen of your factory are doing, now they've won their +industrial freedom. Myself, I've taken rooms near by: I started to do +one article; now I have a series. And oh, the glory of watching these +comrades with their economic shackles off! Haven't you heard anything of +our success? + +GIBSON: Only a word from my housemaid. + +MIFFLIN [_delightedly, pinning him_]: Aha! There! What did she say? +"Only a word"; but what was IT? + +GIBSON: It indicated--prosperity. + +MIFFLIN: Ah! Immense prosperity, didn't it? + +GIBSON: I suppose so. Success, at any rate. + +MIFFLIN: Success? It's so magnificent that now it's inevitable for +every factory of every kind all over this country. + +GIBSON: All over the country? + +MIFFLIN: Not only all over this country! The world must do it. Ah, +they've done it in a country larger than this already! And these +comrades right here are showing our country what it means. I don't +begrudge you some credit for having begun it, Mr. Gibson. But you only +anticipated what all owners everywhere are going to have to do before +the workmen simply _take_ the factories. They're going to take them +because they have the inherent right; and they're going to take them +_now_, either by direct action or by the technical owners, like +yourself, seeing the handwriting on the wall. + +GIBSON: What do you mean by direct action? + +MIFFLIN: Why, just taking them! + +GIBSON: By force? + +MIFFLIN [_deprecatingly but affably_]: Oh, we hope the theoretical +owners won't reduce them to such extremes. There might be a few cases +that law-abiding citizens would regret; but that isn't the big thing. +Our work here is so far perhaps on the small scale, but it shows--it +shows--that everything must be on a coöperative basis! + +GIBSON: Everything? My house, too? + +MIFFLIN [_beaming_]: Your house, too. + +GIBSON [_amiably_]: How about your gold eyeglasses? + +MIFFLIN [_laughing_]: Those will be given me by the state. But +seriously, aren't you coming to pay us a visit at the factory? + +GIBSON: Since you ask me--what's the best time? I suppose the whistle +doesn't blow as early as it used to. + +MIFFLIN [_laughing pityingly_]: Whistle! Oh, my dear sir! This only +confirms me in my old idea that the technical owners didn't have +practical minds. You don't suppose we abolished you, and then didn't +abolish the whistle? That whistle hurt self-respect. Really I'm sorry +it's Sunday and I can't take you over there this minute to see the great +changes. Talk about collectivism! That factory is the most interesting +place in the world to-day. When the men were working eight long hours a +day under a master it was all repression, reserve; their individualities +were stifled. Now they expand! + +GIBSON: You mean they talk a good deal? + +MIFFLIN: I never have been in a place where there was so much talk in my +life. They talk all the time; it shows they are thinking. + +GIBSON: Isn't it noisy? + +MIFFLIN [_delighted_]: It is! Every man has his own ideas and he +expresses them. It means a freshness and originality in the work that +never got into it before. + +GIBSON [_worried_]: Originality? You don't mean to say they've changed +any of the features of The Gibson Upright. + +MIFFLIN: Oh, no; it's the same piano--and yet different! I almost feel I +could tell the difference by looking at one. There's no change; yet now +it has character. And those men--those men, Mr. Gibson--it's brought out +_their_ character so! They're thinking all the time. + +GIBSON: They're working, too, of course? + +MIFFLIN: Working! You never saw men work under the old capitalistic +régime, Mr. Gibson! Don't think that this work is the driven, dogged +thing it was when they had to. This is work with dignity, with +enthusiasm, with spontaneity! + +GIBSON [_rising, very thoughtful_]: Well, I ought to hope that it is, of +course! + + [_He walks to and fro a moment, then comes and rests his hands + on the back of a chair, looking at_ MIFFLIN.] + +Mr. Mifflin, I went into this with open eyes. I was angry at the time, +but I had thought of it often. And when I went out I went out! Now I've +kept away and I don't intend to do any prying--as a matter of fact, I'm +only back here for two or three days--but I have some natural curiosity, +especially about certain particulars. + +MIFFLIN: Everything is as open as the sunlight--no capitalistic secret +machinations. Ask anything you like! + +GIBSON: Well, then, do you happen to know what are the profits for these +four months? + +MIFFLIN: Frankly, that's a detail I don't know. But I do know that +everyone is delighted and that the profits have been large. + +GIBSON: And no friction among the men? + +MIFFLIN: No--I--no, none at all; no friction; nothing that could be +called friction at all. + +GIBSON: Then it's a complete success? + +MIFFLIN: Absolutely! Why, just let me picture it to you, Mr. Gibson. +Don't you understand, these men are not hirelings now; they're comrades, +a brotherhood! You should see them as they come from the factory in the +warm afternoon sunshine. They stop in groups and continue discussions of +matters of interest that have come up during the day. You hear the most +eager discussion, such spirited repartee; and in the factory itself +these groups gather at any time. When there may be some tiny bit of +friction it is disposed of amicably, comrade to comrade. And some of the +wives of the workmen have taken the greatest interest! Imagine under the +capitalistic régime a wife coming and sitting at her husband's side and +taking up little matters of importance with him, as a wife should, while +he worked! Oh, the wives have caught the idea, too! They're +proprietresses just as much as their husbands are proprietors. And you +can see how keenly they feel the responsibility and want to share in +settling all questions that come up. Then they walk home with their +husbands, talking it all over. Mr. Gibson, I tell you, sometimes it has +moved me. More than once I have found my eyes moistening as I watched +it. + +GIBSON: And do you happen to know--well, haven't the men felt the need +for a certain kind of general management of the institution's affairs? + +MIFFLIN: Oh, that's all met--all met by meetings of the governing board, +the committee. + +GIBSON: No; I meant, hasn't any need been felt for a man with a certain +specialized knowledge? Say, for instance, to deal with the purchasing +of raw materials? + +MIFFLIN [_somewhat vague and puzzled_]: I think they did do this through +an individual for a time. I think the head bookkeeper was given charge +of such matters; at least I think so. But probably they found that the +creation of such an office was unnecessary. Purely clerical work. At +least I haven't seen him about for several weeks. + +GIBSON: Was he there on just one share of the profits? + +MIFFLIN: Why, of course! That is the _sine qua non_. + +GIBSON [_thoughtfully_]: I see. [_Paces up and down and halts again._] +So you say everybody is happy? + +MIFFLIN: Radiant! + +GIBSON: Everybody? + +MIFFLIN [_beaming_]: Come and see! + +GIBSON: Ah--Miss Gorodna seems to like it all, does she? + +MIFFLIN: _Does_ she! + +GIBSON [_a little falsely_]: None of them are happier than she is, I +suppose? + +MIFFLIN: Miss Gorodna is the radiant, joyous sunshine of the whole +place! + +GIBSON [_somewhat ruefully_]: Well, that's pleasant news. + + [ELLA _appears from the house._] + +ELLA: It's that old Ed Carter from the factory, Mr. Gibson. He heard +from Tom Riley you was expected back and he's come to call on you. + +GIBSON: Tell him to come right out. [_Sees_ CARTER _beyond_ ELLA.] Come +out here, Carter! Glad to see you! + + [_They shake hands._ CARTER _is unchanged as to head and + whiskers, but wears a square-cut black frock coat, or "Prince + Albert," with trousers and waistcoat of the same material; old + brown shoes, a derby hat, a blue satin four-in-hand tie._] + +CARTER: How do you do, Mr. Gibson! I just thought I'd pay my respects, +as Tom Riley passed the word round the factory you was coming back. + +GIBSON: Sit down, sit down! + +MIFFLIN [_exuberantly_]: How do you do, Carter, how do you do! [_They +shake hands and_ MIFFLIN _pats_ CARTER _on the shoulder._] Look at him, +Mr. Gibson! Look at him! Don't you see what the New Freedom has done for +him? It's in his eye! That pride of liberty! It's in his step, in every +gesture he makes. [CARTER _strokes his whiskers._] You're old +friends--equal now, equal at last. I won't disturb you! [_Picks up his +hat, magazines, and umbrella._] He can give you more than I can, Mr. +Gibson. Good afternoon! Good afternoon! + + [_He goes out through the gate._] + +GIBSON: Sit down, Carter. Sit down! [_They sit._] Well, is everything +fine? + +CARTER [_heartily_]: Yes, sir! It is, Mr. Gibson! Indeed it is! +[_Glances with some little pride at his clothes._] I couldn't of +expected no finer. Fact is, I never could of asked for anything like +this, even if I'd been a praying man. + +GIBSON: Well, I'm glad to hear it, Carter! + +CARTER: I knowed you would be, Mr. Gibson. It's all just wonderful the +way things are working out! + +GIBSON: Everything is working out just right, is it? + +CARTER: Oh, I don't say everything! They's bound to be some little mites +here and there. You know that yourself. + +GIBSON [_grimly_]: Yes, I do! What are _your_ little mites, Carter? + +CARTER: Well, what mostly gits my goat is this here Simpson's wife, Mrs. +Simpson. + +GIBSON: What bothers you about Simpson's wife? + +CARTER: Well, what I says, woman's place is the home, and this here Mrs. +Simpson--I--I never could stand no loud, gabby woman! + +GIBSON: You're not neighbours, are you? + +CARTER: No! She spends all her days at the factory; you might think she +was running the whole place! What's worse'n that, you know they elected +me chairman o' the governing committee, and she's all the time trying to +'lectioneer me out. What she wants is to git Simpson in for chairman; +that'd be jest same's her bein' chairman herself, the way she runs +Simpson! That's the only thing that worries me. Everything else is just +splendid, splendid! + +GIBSON: I understand you don't blow the whistle any more. What hours are +you working now? + +CARTER: Well, first we thought we ought to work about six; but we got on +such a good basis a good many of them are talkin' how they think that's +too much. It'd suit me either way. _That_ ain't the trouble over at that +factory, Mr. Gibson. + +GIBSON: What is the trouble over at that factory? + +CARTER [_with feeling_]: Mr. Gibson, it's the inequality. Look at me +now, and look at Simpson. Simpson and his wife haven't got a child, and +I got seven, every one of 'em to support, and my married daughter lost +her husband and got a shock, and I got her and her three little ones +pretty much on my hands. And Simpson draws down every cent as much as +what I do; just exactly the same. And if the truth was told he don't +work as much as what I do. Then, look at them bachelors; they ain't got +_nobody_ to support! Well, that's got to be settled! + +GIBSON: How are you going to settle it? + +CARTER [_cheerfully_]: Oh, the committee meetin' settles everything by +vote. I'd of put a motion about these matters at some o' the meetings +long ago except I'm chairman and they worked a rule on me the chairman +can't put motions. But some of us got it fixed up to git it put over at +the meeting to-morrow. That's the _big_ meeting to-morrow--the monthly +one. Don't misunderstand me, Mr. Gibson; I ain't makin' no complaint +about these here details, because everything else is so splendid and +prosperous it seems like this here New Dawn Mr. Mifflin called it in his +article. + +GIBSON: Nothing else worries you then, Carter? + +CARTER: Nothing else in the world, Mr. Gibson. Except there might be +some of 'em don't take their responsibilities the way I could wish. +Fact is, there's so much talkin' gits to goin' over there sometimes you +can't hear yourself work. Me? I'm an honest worker, if I work for you or +work for myself. But I can't claim they're all that way. Some that used +to loaf, you can't claim they don't loaf more than they did; yes, sir! + +GIBSON: They get just the same as you do, though, don't they? + +CARTER: Oh, yes! That's the _sinee que none_; it's the brotherhood +between comrades. I don't mean to complain, but they's one thing that +don't look to me just fair. It took me four years to learn my trade and +I'm a skilled workman, and now some Hunnyacks that just sends strips +along through a chute--and it's all they do know how to do--they used to +git two and a half a day to my six, but this way we both git just the +same. I says something about it didn't seem right to me, and one them +Hunnyacks called me a boor-jaw. Well, then I talked to Miss Gorodna +about it. + +GIBSON: What did Miss Gorodna say? + +CARTER: Miss Gorodna says: "But you both get enough, don't you?" + +GIBSON: Well, don't you? + +CARTER [_scratching his head_]: Yes, plenty; and it _sounds_ all right, +them and me gittin' the same; but I can't just seem to work it out in my +mind how it _is_ right. [_Cheering up._] Mr. Mifflin says himself, +though, it's just wonderful! And we certainly are makin' great money! + +GIBSON: Then all you poor are getting rich? + +CARTER: Yes; looks like we will be. + + [_During these speeches_ NORA _has appeared, or rather her head + and shoulders have, above the hedge. She has come along the + hedge and now stands halting at the gate. She wears a becoming + autumn dress and hat, in excellent taste; carries a slim + umbrella. She has a beautifully bound book in her hand._] + +NORA [_opening the gate_]: Do you mind my coming in the side gate, Mr. +Gibson? + + [GIBSON, _startled by her voice, turns abruptly from_ CARTER + _to stare at her, speaks after a pause, slowly._] + +GIBSON: No, I don't mind what gate you come in. + +NORA [_coming down to join them_]: How do you do! [_Gives him her +hand._] + +GIBSON: How do you do! + +CARTER [_on the other side of her_]: How do you do, Miss Gorodna! + +NORA [_for a brief moment confused that she has not noticed_ Carter]: +Oh--oh, how do you do, Mr. Carter! [_Turns and shakes hands with him. +She turns again, facing_ GIBSON.] I just heard you were here. I wanted +to bring you this copy of Montaigne--if you'll forgive me for keeping it +a year. + +GIBSON: I gave it to you. Don't you--remember? + +NORA: Yes, I--remember. But things were different then. Please. I think +I oughtn't to keep it now. [_He takes it, places it gently upon the +table; they sit facing each other; she speaks more cheerfully and +briskly._] I came to see you on a matter of business, too. + +CARTER: Well, then, I'll just be-- + +NORA: Oh, no! Please stay, Mr. Carter! It's a factory matter. [CARTER +_coughs and sits._ NORA _continues, not pausing for that._] It was about +that great stock of wire you had your purchasing agent buy just before +the--before you went away, Mr. Gibson. + +GIBSON: I'm glad to see you looking so well, Miss Gorodna. + +NORA: Thank you! If you remember, you must have ordered him to buy all +the wire of our grade that was in the market at that time. At any rate, +we found ourselves in possession of an enormous stock that would have +lasted us about three years. + +GIBSON: Yes. That's what I wanted. + +NORA: As it happened it turned out to be a very good investment, Mr. +Gibson, because in less than a month it had gained about nine per cent. +in value, and three weeks ago a man came to us and offered to take it +off our hands at a price giving us a twenty-two per cent. profit! + +GIBSON: Yes; I should think he would. + +NORA: So of course we sold it. + +GIBSON [_checks an exclamation, merely saying_]: Did you? + +NORA: Naturally we did! Twenty-two per cent. profit in that short time! +Now it just happens that we've got to buy some more ourselves, and we +can't get hold of any, even at the price that we sold it, because it +seems to have kept going up. I thought perhaps you might know where to +get some at the price you bought the other, and you mightn't mind +telling us. + +GIBSON: No; I wouldn't mind telling you. I'd like to tell you. + +NORA: You think there isn't any? + +GIBSON: I'm sure there isn't any. + +NORA: Then I'm afraid we'll have to get some back from the people we +sold to. Of course I'm anxious to show the great financial improvement +as well as other improvements. That's partly my province and Mr. +Carter's, our committee chairman, besides our regular work. + +GIBSON: Mr. Mifflin tells me that you had a sort of general manager for +a while at first. + +CARTER: Oh, that was Hill, the head bookkeeper. He left. He was a +traitor to the comrades. + +GIBSON: Hill? He knew quite a little about the business. Why did he +leave? + +CARTER: Why, that Coles-Hibbard factory went and offered him a big +salary to come over there; more than he thought he could get coöperatin' +with us. + +NORA: Hill was always a capitalist at heart. We certainly haven't needed +him! + +CARTER: Oh, everybody was glad to get rid of Hill! Better off without +him--better off without him! + +GIBSON: I suppose it was really an economy, his going? + +NORA [_smiling_]: It resulted in economy. + +GIBSON: Have you made many economies? + +NORA: Oh, a great many! + +CARTER: Oh, my! Yes! + +NORA: Economies! [_Her manner now is indulgent, amused, friendly, almost +pitying._] Mr. Gibson, have you any realization of what you threw away +at that place? Don't be afraid, I'll never bring you the figures. I +wouldn't do such a thing to anybody! + +GIBSON: Do you think I was too lavish? + +NORA: We couldn't believe it at first. Just what was being thrown away +on advertising, for instance. The bill you paid for the last month you +were there was five thousand dollars! + +CARTER: That was the figger! It's certainly a good one on you, Mr. +Gibson. + +NORA: We cut that five thousand dollars down to _three hundred_! That +was one item of forty-seven hundred dollars a month saved. Just one +item! + +CARTER [_hilariously_]: Quite some item! + +NORA [_seriously and gently_]: Five thousand dollars a month to +advertise a piano that sells for only a hundred and eighty-eight +dollars! + +CARTER: That's the facts! + +NORA: Mr. Gibson, did you really ever have any idea what you were +paying in commissions to agents? + +GIBSON: Yes, I did. + +NORA: Why, I can't believe it! Did you know that you paid them twenty +per cent. on each piano? Over thirty-seven dollars! + +GIBSON: Yes. + +NORA: But wasn't it thrown away? I can't understand how you kept the +factory going so long as you did, with such losses. Why, don't you know +it amounts to hundreds of thousands of dollars a year? When we found it +out we couldn't see how you made both ends meet, and we thought there +must have been some mistake, and you'd never realized what advantage +these agents were taking of you. + +GIBSON: Yes, I knew what they got. + +NORA [_triumphantly_]: We cut those commissions from thirty-seven +dollars--to _twelve_! And that's just one more item among our economies. +Now do you wonder at the success we're making? + +GIBSON: And your profits have been--satisfactory? + +NORA: The very first month our profits were _four thousand dollars_ more +than the last month you were there! + +GIBSON: That's the month you say you cut out four thousand seven +hundred dollars' worth of advertising. + +NORA: And the next month we cut down the commissions, and the profits +were _five_ thousand more! + +GIBSON: But those were returns under the old commissions. + +NORA: But last month, with new economies, we showed a larger profit than +you had! + +GIBSON: And this month? + +NORA: We shan't know that until the report's read at the meeting +to-morrow. I think it will be the largest profit of all. + +CARTER: That bookkeeper's workin' on it to-day. Talked like he was going +to cut us down two or three thousand, mebbe. [_Laughing._] That's the +way he always talks. + +NORA: He isn't a good influence. + +CARTER: No--too gloomy, too gloomy to suit me! + +GIBSON: What about the two other bookkeepers? + +CARTER: The committee voted them into the packing department; and they +ain't much good even there. It's a crime! + +NORA: They weren't needed. Our bookkeeping is so simplified since you +left! + +GIBSON: It all seems to be simplified, Miss Gorodna. + +NORA: Yes; and whatever problems come up, they're all settled at our +meetings. + + [_A sound of squabbling is heard upon the street, growing + louder as the people engaging in it approach along the + sidewalk._] + +CARTER: There's one we got to bring up and do something about at the +meetin' to-morrow. + +GIBSON: What is it? [CARTER _goes up to the gate._] + +NORA: It's that Mrs. Simpson; she's a great nuisance. + +CARTER: Yes, it's her and Simpson and Frankel. The Simpsons moved into a +flat right up in this neighbourhood. Quite some of the comrades live up +round here now. + + [FRANKEL _and_ MRS. SIMPSON _are heard disputing as they + approach: "Well, what you goin' to do about it!" "I'll show you + what we're goin' to do about it!" "You can't do nothing!" "You + wait till to-morrow and see." "I got my rights, ain't I?" and + so on._] + +SIMPSON [_heard remonstrating_]: Now, Mamie, Mamie! Frankel, you +oughtn't to talk to Mamie that way. + + [GIBSON, _interested and amused, goes part way up to the + hedge._ NORA _is somewhat mortified as the disputants reach the + gate._ GIBSON _speaks to them._] + +GIBSON: How do you do, Simpson! How do you do, Mrs. Simpson! How do you +do, Frankel! Won't you come in and argue here? + +MRS. SIMPSON: Wha'd you say, Mr. Gibson? + +GIBSON: I said come in; come in! + +SIMPSON [_uncertainly_]: Well, I don't know. + +GIBSON: Come in! Nobody here but friends of yours. Sit down. I'd like to +hear what the argument was about. + + [MRS. SIMPSON _is a large woman, domineering and noisy, dressed + somewhat expensively. She is proud of some new furs and a pair + of quite fancy shoes._ SIMPSON _has a new suit of clothes and a + gold-headed cane._ + + FRANKEL _wears a cheap cutaway suit and is smoking a cigar._] + +MRS. SIMPSON: I don't care who hears the argument! Right's right and +wrong's wrong! + +FRANKEL: You bet right's right, and so's my rights right! + +MRS. SIMPSON: You ain't got any rights. + +FRANKEL [_hotly to everybody_]: Do you hear she says I ain't got no +rights at all? + +MRS. SIMPSON: You ain't got the rights you claim you got. + +FRANKEL: She comes down there and tries to run the whole factory. Ask +any of 'em if she don't. Ask Carter! + +MRS. SIMPSON: I own that factory just as much as anybody does. + +SIMPSON: Now, Frankel, you be careful what you say to Mamie! + +FRANKEL: I got shares in that factory and by rights ought to have as +many votes at the meetin' as I got shares--let alone your talking about +trying to root me out of my profits! + +GIBSON: What's this about Frankel having shares? + +FRANKEL [_violently_]: You bet your life I got shares! And I'm going to +have my shares of the money at that meetin' to-morrow! + +MRS. SIMPSON: You bet your life you ain't! + +SIMPSON: You think we're goin' to vote all our profits away to you? + +CARTER: Wait a minute! Ain't I the chairman of that-- + +MRS. SIMPSON: You may be chairman yet--but not long! + +FRANKEL [_sharply to_ CARTER]: You just try to rule me out once! + +GIBSON: What's it all about? + +MRS. SIMPSON: I'll soon enough tell anybody what it's about! + +FRANKEL: You couldn't tell nothing straight! + +CARTER [_deprecatingly_]: Now, now, this here's just one of our little +side difficulties, you might say. What's the use to git huffy over it, +we're gittin' along so well and all? The trouble is, some o' the men and +their families ain't been used to so much prosperity and money in the +house that way, all of a sudden. Of course some of 'em got to living too +high and run into some debt and everything. + +FRANKEL: Well, what business is that of yours? The factory ain't a Home, +is it? And you ain't the Matron, are you? + +CARTER: I don't claim such! + +FRANKEL: It's my business, ain't it, if I take and live on the cheaps +and put by for a rainy day, and happen to have money when other people +need it from me? + +SIMPSON: _That_ much may be your business, but I reckon it was our +business when you come blowin' round the factory, first that you owned +seven shares besides your own; then, a week after, you says seventeen; +then-- + +GIBSON: Well, how many shares has he got? + +SIMPSON: He was claimin' twenty-four yesterday. + +MRS. SIMPSON [_violently_]: He's bought two more since last night. Now +he claims twenty-six! + +FRANKEL: Yes; and I _own_ twenty-six! + +CARTER: That ain't never goin' to do! I don't say it's a condition as +you might say we exactly see how to handle right now, but the way it is, +you certainly got us all disturbed up and hard to git at the rights of +it. You claimin' all them shares-- + +FRANKEL: Well, my goodness, you git the _work_ fer them shares, don't +you? What you yelpin' about? + +CARTER: I don't say we don't git the same amount o' work, but-- + +FRANKEL: Well, _how_ you git it, that's my lookout, ain't it, so it's +done? + +CARTER: But you claim you got a right to draw out twenty-six profits! + +FRANKEL: Sure I do when I furnish the labour for twenty-six. Am I +crazy? + +CARTER: But that way you're makin' more than any ten men put together in +the whole factory! + +FRANKEL: Ain't it just? What you goin' to do about it? + + [_During this speech_ SHOMBERG _has come along the street and + stands looking over the gate._] + +CARTER: Well, so fur, we ain't been able to see how to argue with you. +It don't look right, and yet it's hard to find jest what to say to you. + +FRANKEL: You bet it is! + +CARTER: 'Course, that's one of the points that's got to be settled at +the meeting to-morrow. + +FRANKEL: You bet it'll be settled! + +MRS. SIMPSON: If we had another kind of a chairman it'd been settled +long ago, and settled right! + +CARTER: Now look here, Mrs. Simpson-- + +FRANKEL [_passionately_]: I got twenty-six shares, and I earned 'em, +too! [_To_ GIBSON.] Look at the trouble they make me--to git my legal +rights, let alone the rest the trouble I got! [_Fiercely to_ CARTER _and +to_ SIMPSON]: Yes, I had twenty-four shares yesterday and I got +twenty-six to-day! and I might have another by to-night. Don't think +I'm the only one that's got sense enough not to go smearin' his money +all round on cheap limousines and Queen Anne dinin'-room sets at +eighty-nine dollars per! [_Dramatically pointing at_ SHOMBERG]: There's +a man worth four shares right now! He had three and he bought Mitchell's +out last night at Steinwitz's pool room. Ask him whether he thinks I got +a right to my twenty-six profits or not! + +SHOMBERG: You bet your life! + +MRS. SIMPSON: I guess that Dutchman hasn't got the say-so, has he? + +FRANKEL: No. _You_ run the factory now, Mrs. Simpson! + +CARTER: Now look here; this ain't very much like comrades, is it, all +this arguin'? Sunday, too! + +FRANKEL: Oh, I'm tryin' to be friendly! + +CARTER [_to_ GIBSON]: This buyin' of shares and all has kind of +introduced a sort of an undesirable element into the factory, you might +say. That's kind of the bothersome side of it, and it can't be denied we +would have quite a good deal of bothersomeness if it wasn't for our +meeting. + +NORA [_to everybody except_ GIBSON]: Don't you all think that these +arguments are pretty foolish when you know that nothing can be settled +except at the governing committee's meeting? + +SIMPSON: That's so, Miss Gorodna. What's more, it don't look like as +good comrades as it ought to. I don't want to have no trouble with +Frankel. He might have the rights of it for all I know. Anyways, if he +hasn't I ain't got the brains to make out the case against him, and +anyways, as you say, the meetin' settles all them things. + +NORA: Don't you think you and Frankel might shake hands now, like good +comrades? + +FRANKEL [_with hostility_]: Sure, I'll shake hands with him! + +SIMPSON: Well, I just as soon. + +MRS. SIMPSON: Don't you do it, Henry! + +SIMPSON: Well, but he's a comrade. + +MRS. SIMPSON: Well, you can't help that! You don't have to shake hands +with him. + +SIMPSON: Well, consider it done, Frankel. Consider it done! + +CARTER: That's right, that's right! We can leave it to the meeting. + +SHOMBERG: You bet you can! You goin' my way, Frankel? + + [FRANKEL, _joining him, speaks to_ MRS. SIMPSON.] + +FRANKEL: I s'pose you're going to come to the meetin', Mrs. Simpson? + +MRS. SIMPSON: Ain't my place where my husband is? + +FRANKEL: Well, you don't git no vote! + +MRS. SIMPSON: There's goin' to be a motion introduced for the wives _to_ +vote. + +FRANKEL: Watch it pass! Good-bye, Mr. Gibson! + + [GIBSON _nods._ FRANKEL _goes away with_ SHOMBERG.] + +SIMPSON: Good-bye, Mr. Gibson! All this don't amount to much. It'll all +be settled to-morrow. + +MRS. SIMPSON: Good-bye, Mr. Gibson! [_And as they go out the gate_]: You +bet your life it'll be settled! If that wall-eyed runt thinks he can +walk over _me_-- + +CARTER [_looking after them, laughing_]: Well, she's an awful +interfering woman! And she ain't the only one. If they'd all stay home +like my wife things would be smoother, I guess. Still, they're smooth +enough. [_Going_]: If you want to see that, Mr. Gibson, we'll be glad to +have you look in at the meeting. You're always welcome at the factory +and it'd be a treat to you to see how things work out. It's at eleven +o'clock if you'd like to come. + +GIBSON: Thanks, Carter. + +CARTER: Well, good afternoon, Mr. Gibson and Miss Gorodna. Good evening, +I should say, I reckon. + +GIBSON: Good evening, Carter. + + [_The light has grown to be of sunset._ CARTER _goes._] + +NORA [_going toward the gate_]: I'm glad to see you looking so well. +Good evening! + +GIBSON: Oh, just a minute more. + +NORA: Well? + +GIBSON: It looks as if that might be a lively meeting to-morrow. + +NORA: Is that the old capitalistic sneer? + +GIBSON: Indeed it's not! It only seemed to me from what we've just heard +here-- + +NORA [_bitterly_]: Oh, I suppose all business men's meetings and +arguments, when their interests happen to clash, are angelically sweet +and amiable! Because you see that my comrades are human and have their +human differences-- + +GIBSON: Nora, don't be angry. + +NORA: I'll try not. Of _course_ it isn't all a bed of roses! Of _course_ +things don't run like oiled machinery! + +GIBSON: But they do run? + +NORA: It's magnificent! + +GIBSON: Do you want me to come to that meeting to-morrow? + +NORA: Yes; I'd like you to see how reasonable people settle their +differences when they have an absolutely equal and common interest. + +GIBSON [_in a low voice_]: Aren't you ever tired? + + [_For a moment she has looked weary. She instantly braces up + and answers with spirit._] + +NORA: Tired of living out my ideals? + +GIBSON: No; I just mean tired of working. Wouldn't you rather stop and +come here and live in this quiet house? + +NORA [_incredulously_]: I? + +GIBSON: Couldn't there even be a chance of it, Nora? That you'd marry +me? + +NORA [_amazed and indignant_]: A chance that I would-- + +GIBSON: Well, then, wouldn't you even be willing to leave it to the +meeting to-morrow? + + [_Already in motion she gives him a look of terror and intense + negation._] + +NORA: Oh! [_She runs from the gateway._] + + + + +ACT III + + + _The scene is the same as the first, the factory office--with a + difference. It is now littered and disorderly. Files have been + taken from the cases and left heaped upon the large table and + upon chairs. Piles of mail are on the desk and upon the table. + The safe is open, showing papers in disorder and hanging from + the compartments. Hanging upon the walls, variously, are suits + of old overalls and men's coats and, hats. The chairs stand + irregularly about the large table; a couple of old soft hats + are on the water filter. The former posters have been replaced + by two new ones. One shows a brawny workman with whiskers, + paper cap, and large sledge hammer leaning upon an upright + piano. Rubrics: "The Freedom and Fraternity Coöperative + Upright." "The Piano You Ought to Support." The other poster + shows a workman with a banner upon which is printed: "No + Capital! The Freedom and Fraternity Coöperative Upright The + Only Piano Produced by Toilers Not Ground by Capital. Buy One + to Help the Cause!"_ + + NORA _is busily engaged at_ GIBSON'S _desk. Her hat and jacket + hang on the wall._ + + CARTER _enters, smoking a pipe; he wears overalls and jumper. + He carries a heavy roll of typewritten sheets. Tosses this upon + the table, glances at_ NORA, _who does not notice him, divests + himself of overalls and jumper, and puts on the black frock + coat which he wore in Act II. He looks at his watch and at the + clock on the wall._ + +CARTER [_straightening out his coat_]: I thought it might look better to +get on my Sunday clothes for the meeting, as you might say, Miss +Gorodna. Being as I'm chairman it might look more dignified; kind o' +help give a kind of authority, maybe. + +NORA [_absently, not looking up_]: Yes. + +CARTER [_looking at his watch and at the clock again_]: It ought to be +wound up for meetings. [_He steps upon a chair; moves the hands of +clock._] There, doggone it, the key's lost! I believe Mrs. Simpson took +that key for their own clock. [_He goes to the table; sits, unrolls the +typewritten sheets, puts on his spectacles, and studies the sheets in a +kind of misery, roughing his hair badly and making sounds of moaning._] +Miss Gorodna, can you make this figure out here for me? Does that mean +profits--or what? + +NORA: Oh, no; that's only an amount carried over. + +CARTER: They's so many little puzzlin' things in this bookkeeper's +report. I don't believe he understands it himself. I don't see how he +expects me to read that to the meeting. Some parts I can't make head or +tail of. Others it looks like he's got the words jest changed round. + +NORA: Oh, we'll work it all out at the meeting, Mr. Carter! + +CARTER: My, we got a lot to work out at this meeting. + +NORA: We'll do it, comrade! + +CARTER [_cheering up_]: Sure! Sure we will! It's wonderful what a +meeting does; I'm always forgettin' all we got to do is vote and then +the trouble's over. + + [_Instantly upon this a loud squabbling and women's voices are + heard outside, in the factory._] + +NORA [_troubled_]: I was afraid this would happen. Of course after Mrs. +Simpson came other wives were bound to. + +CARTER [_uneasily moving toward the door to the street_]: Well, I guess +I better-- + + [_The door into the factory is flung open by_ MRS. SIMPSON, + _in a state of fury. Another woman's voice is heard for a + moment, shouting: "Old Cat! Old She-Cat! Wants to be a + Tom-Cat!"_] + +MRS. SIMPSON: See here, Carter, if you still pretend to be chairman you +come out here and keep order! + +CARTER: Now, Mrs. Simpson, you better go on home! + +MRS. SIMPSON [_raging_]: _Me!_ My place is right here, but I'm not going +to stand this Commiskey woman's insults! She come down here this morning +with her husband and started right in to _run_ this factory. My heavens! +Ain't she got five children at home? As long as you still pretend to be +chairman I demand you come out and tell this woman to go about her +business. + +SHREWISH VOICE: It _is_ my business! + +MRS. SIMPSON: I'll show you! I was here first; everything was going all +right. Carter, are you going to come out here and do your duty like I +said? + +CARTER [_attempting sternness and failing_]: You shut that door! I got +to get this report in order before the meeting. I'm not comin'. + +MRS. SIMPSON: Then I won't be responsible for what happens! She ain't +the only one. Mrs. Shomberg is out here messin' things up, too. If you +won't do your duty there'll be direct action took here! [_She goes out +violently._] + +CARTER: That's got to come up in meeting. It certainly has. These here +wives! For example, my wife's an awful quiet woman, but you s'pose she's +goin' to stand it when she hears about all these others? I'd like to +keep her at home. + +NORA: I just wonder-- + +CARTER: What was you wondering, Miss Gorodna? + +NORA: Well, if that's something the meeting can settle? + +CARTER [_doggedly_]: Well, it's got to vote on it. + +NORA: We did vote on Mrs. Simpson last meeting. + +CARTER: Well, we got to vote on her and all the rest of 'em this time. + +NORA: It didn't seem to settle Mrs. Simpson, did it? + +CARTER: Well, it hadn't got so bad then. Now it's got to be settled! We +got to git everything fixed up now. + + [_A frightful dispute is heard in numerous male voices; some + speaking Italian, some Yiddish, and some broken English. This + grows louder as_ FRANKEL _rushes in, throwing the door shut + behind him and leaning against it, wiping his forehead._] + +FRANKEL: Life ain't worth livin'! Life ain't worth livin'! + +CARTER: Serves you right, Frankel! + + [_At the filter_ FRANKEL _pours water from the glass upon a + dirty handkerchief and passes the handkerchief over his + forehead._] + +FRANKEL: I got to git some peace! I got to collect myself. + +CARTER: That shows you ain't got no rights like you claimed. You can't +control your labour element. + +FRANKEL [_bitterly_]: I'll control 'em all right! I'll show 'em who's +their master! + + [_A man's head with shaggy hair and ragged whiskers is thrust + in at the factory door. This is_ POLENSKI.] + +POLENSKI [_ferociously_]: Are you goin' to come out here like a man? + +FRANKEL: You _bet_ I'm comin' out there, Polenski! I'll show you who's +the man here! You Hunnyacks try to browbeat me! + + [_As he goes out, babbling fiercely, the howls of a Roman mob + are heard greeting him._] + +CARTER: I don't feel no sympathy with him. + +NORA: No; I should think not! + + [_A more distant outbreak of the mob is heard, brief but + fierce, and just a moment before it ceases_ MIFFLIN _enters, + beaming. He is dressed as usual, with his umbrella and the same + old magazines and newspapers under his arm._] + +MIFFLIN: Everything is lovely! How do you do, Miss Gorodna! Carter, old +fellow! It's a great morning, a great morning! Mr. Gibson drove me down +in his car. It's wonderful to feel the inspiration it's going to be for +an ex-capitalist to see this place and its harmony. My phrase for it is +"harmonized industry." It will mark an epoch for him. + + [GIBSON _comes in._ MIFFLIN _greets him._] + +MIFFLIN: Ah, Mr. Gibson! You'll see a difference! You'll see a +difference! + +GIBSON: Yes, I do. Good morning, Miss Gorodna! + +NORA [_just barely looking round_]: Good morning, Mr. Gibson. + +MIFFLIN: I was just saying what an inspiration it's going to be for you +to see what we're doing down here. [_Pats_ CARTER'S _shoulder._] These +noble fellows are teaching us intellectuals a lesson. I keep going among +them; what they're doing here keeps flowing into me. You'll get it, Mr. +Gibson. You'll get it, too! + + [_Beamingly he goes out into the factory._] + +CARTER [_cordially_]: Take a chair, Mr. Gibson. Make yourself right at +home! + +GIBSON: Thanks! + + [_He makes a grave tour of inspection of the place, his + expression noncommittal; goes about casually without making a + point of it; he writes his initials in the dust on a filing + case. He turns and looks at_ NORA _thoughtfully; she has not + seemed to notice him._] + +Do you think I will, Miss Gorodna? + +NORA [_not looking up_]: Do I think you will what? + +GIBSON: That I'll get what Mifflin meant? That it will be an inspiration +to me to see this meeting? + +NORA: I don't know what will be an inspiration to you. + +GIBSON: I know one thing that is--a brave woman! + + [_The only sign she gives is that her head bends over her work + just a little more._] + +Carter, do you think this meeting is going to be an inspiration to me? + +CARTER: Well, Mr. Gibson, since the time you give up our rights to us, +as Mr. Mifflin says, we're an inspiration to the whole world. All the +time! Yes, sir; and we _would_ be, too, if we could jest git these +dog-goned inequalities straightened out. We got this Frankel trouble on +our hands, and them wives, and one thing and another, though they ain't +botherin' me so much as my own rights. But they're goin' to git brought +up in the meeting. You'll see! + +GIBSON: Is the safe usually kept open? + +CARTER [_heartily_]: Why, yes, sir; open to each and all alike. + +GIBSON: Oh, yes, of course! Seems to be some business mail left over +here. + +CARTER: Oh, yes. But you'll find every one of 'em's been opened; we +never miss opening a letter. You see they's checks in some of 'em. + +GIBSON: I see. Then everything is running right along, is it, Carter? + +CARTER: Oh, sure! Right along, right along! + + [_The uproar breaks out again._ FRANKEL _bursts in, wiping his + forehead as before. He hurries to the water filter for more + water._] + +FRANKEL: By golly! The bloodsuckers! They want my life! They don't get +it! Hello, Mr. Gibson! Well, I am pleased to see you! Say, Mr. Gibson, +lemme say something to you. Look here a minute. [_He draws_ GIBSON +_aside._] + +GIBSON: What is it, Frankel? + +FRANKEL [_hastily, in a low voice_]: Mr. Gibson, keep it under your hat, +but I got a pretty good interest in this factory right now. What date +I'm goin' to own it I won't say. But what I want to put up to you: How +much would you ask me to manage it for me? + +GIBSON: What? + +FRANKEL: I wouldn't be no piker; when it comes to your salary you could +pretty near set it yourself. + +GIBSON: I'm afraid I've already had an offer that would keep me from +accepting, Frankel. + +FRANKEL: When the time comes I'll git a manager somewhere; no place like +this can't run itself; I seen that much. + +GIBSON: Even if I didn't have an offer, Frankel, I doubt if I'd accept +yours. You know I used to have some little trouble here. + +FRANKEL: You got my sympathy now! I got troubles myself here. [_Hastily +drinks another glass of water._] Well, where's that meeting? They're +late, ain't they? + +CARTER: If they are it's your fault. Them wops of yours won't hardly let +a body git by out yonder. + + [SALVATORE _and_ SHOMBERG _come in from the factory_, SALVATORE + _pausing in the doorway to shout in the direction of an audible + disturbance in the distance._] + +SALVATORE: Oh, shut up; you'll git your pay! + +[_Following_ SALVATORE _come_ SIMPSON _and his wife and_ RILEY. _They +all speak rather casually but not uncordially to_ GIBSON. MIFFLIN _is +with them, his hand on_ SIMPSON'S _shoulder. The outbreak outside +subsides in favour of a speech of extreme violence in a foreign +language. Italian, Yiddish, or whatever it is, it seems most passionate, +and by a good orator. It continues to be heard as the members of the +committee take their seats at the big table._ MIFFLIN _beams and nods +at_ GIBSON; _and takes his seat with the committee._] + +SHOMBERG [_hotly, to_ MRS. SIMPSON]: Here, you ain't a member of this +committee! Git her chair away from her there, Salvatore! She's got no +right here! + +MRS. SIMPSON: Oh, I haven't? + +SHOMBERG: Already twice this morning I got hell from my own wife the way +this woman treats her tryin' to chase her out the factory. You think +you're on this committee? + +MRS. SIMPSON [_taking a chair triumphantly_]: My husband is. I was here +last time, and I'm goin' to keep on. + +CARTER [_referring to the speech in the factory_]: My goodness! We can't +do no work. + +RILEY: Frankel, that's your business to shut 'em up. + +FRANKEL: Talkin' ain't doin' no harm. Let 'em talk. + +RILEY: Yes, I will! [_Goes to the door, and roars_]: Cut that out! I +mean business! [_Shuts the door and returns angrily to his seat._] + +CARTER [_rapping on the table with a ruler_]: The meeting will now come +to order! Minutes of the last meeting will now be read by the secretary. + +MIFFLIN [_to_ GIBSON, _beaming_]: You see? + +NORA [_rising, minute book in hand_]: The meeting was called to order by +Chairman Carter, Monday, the-- + +SALVATORE: Aw, say! + +FRANKEL: I object! + +SIMPSON: What's the use readin' all that? It's only about what we done +at the last meeting. + +SALVATORE: We know that ourselves, don't we? + +SHOMBERG: What'd be the use? What'd be the use? + +RILEY: All we done was divide up the money. + +SALVATORE: Cut it out, cut it out! Let's get to that! + +CARTER: All right, then. I move-- + +MRS. SIMPSON [_shrilly_]: You can't move. The chairman can't move. If +you want to move you better resign! + +CARTER: Well, then, somebody ought to move-- + +MRS. SIMPSON: Cut out the moving. She don't _haf_ to read 'em, does she? + +CARTER: All right, then. Don't read 'em, Miss Gorodna. + +SALVATORE: Well, git some kind of a move on. + +CARTER: I was thinkin'-- + +NORA [_prompting_]: The next order-- + +CARTER: What? + +NORA: The next order of business-- + +CARTER: Oh, yes! The next order of business-- + +NORA: Is reports of committees. + +CARTER [_in a loud, confident voice_]: The next order of business is +reports of committees. [_Takes up some papers and goes on promptly._] +The first committee I will report on is my committee. I will state it is +very difficult reading, because consisting of figures written by the +bookkeeper, and pretty hard to make head or tail of, but-- + +MRS. SIMPSON: Oh, here, say! We got important things to come up here! +'Fore we know how much we're goin' to divide amongst us we got to settle +at once for all and for the last time how it's goin' to be divided and +how much each family gets. + +SALVATORE: _Family?_ + +CARTER AND SHOMBERG [_together_]: Yes--family! + +RILEY: You bet--family! + +CARTER: Yes, sir! + +SIMPSON: You _bet_ we'll settle how it's goin' to be divided! + +SALVATORE: Why, even, of course; just like it has been. Ain't that the +principle we struggled for all these years, comrades? + +MRS. SIMPSON: Well, it's not goin' to be divided even no longer. + +SALVATORE [_violently_]: Yes, it is! + +SIMPSON AND CARTER [_hotly_]: It is not! + +SALVATORE: You bet your life it is! + +SHOMBERG: I'd sooner wring your neck, you sporty Dago! + +SALVATORE: Now look here, comrade-- + +SHOMBERG: Comrade! Who you callin' comrade? Don't you comrade me! + +MRS. SIMPSON: You dirty little Dago! You got no wife to support! Livin' +a bachelor life of the worst kind, you think you'll draw down as much as +my man does? + +SALVATORE [_fiercely_]: Simpson, I don't want to hit no lady, but if-- + +SIMPSON [_roaring_]: Just you try it! + +MIFFLIN [_rising in his place, still beaming, and tapping on the table +with his fountain pen_]: Gentlemen, gentlemen! This is all healthy! It's +a wholesome sign, and I like to see these little arguments. It shows you +are thinking. But, of course, it has always been understood that in any +such system of ideal brotherhood as we have here we, of course, cling +to the equal distribution of all our labours. We-- + +SALVATORE [_fiercely_]: We? How do you git in this? Where do you git +this we stuff? + +FRANKEL: Yes; what you mean--we? + +SALVATORE: _You_ ain't goin' to edge in here. Your kind's done that +other places. Some soft-handed guy that never done a day's work in his +life but write and make speeches, works in and gits workingmen to elect +him at the top and then runs 'em just the same as any capitalist. + +MIFFLIN [_mildly protesting_]: Oh, but you mustn't-- + +SALVATORE [_sullenly_]: That's all right; I read the news from Russia! + +MIFFLIN [_firmly beaming_]: But I was upholding your contention for an +equal distribution. + +SALVATORE [_much surprised and mollified_]: Oh, that's all right then; I +didn't git you! + +MIFFLIN: Right comrade! I'm always for the under dog. + +SHOMBERG: Call _him_ an under dog! He's a loafer and don't know a trade! + +RILEY: He was gettin' three and a half a day, and now he draws what I +do! + +MRS. SIMPSON [_attacking_ RILEY _fiercely_]: Yes, and you're gettin' as +much as my husband is, and your wife left you seven years ago and you +livin' on the fat of the land; Steinwitz's pool parlour every night till +all hours! + +SHOMBERG [_attacking her_]: Yes, and you and your husband ain't got no +children; we got four. I'd like to know what right you got to draw down +what we do--you with your limousine! + +CARTER: What business you got to talk, Shomberg? When here's me with my +seven and the three of my married daughter--eleven in all, I got on my +shoulders. Do you think you're goin' to draw down what _I'd_ ought to? + +ALL [_shouting_]: "Here! We got rights, ain't we?" "Where's the justice +of it?" "I stand by my rights." "Nobody's goin' to git 'em away from +me." "I bet I git _my_ share." "Oh, dry up!" "You make me laugh!" And so +on. + +RILEY [_standing up and pounding the table, roaring till they are forced +to listen_]: You ain't any of you got the rights of it! The rights of it +is--Who does the most work gets the most money. Look at me on that +truck! + +CARTER [_pounding on the table with a ruler_]: You set down, Riley! The +rights of it ain't who does the most work; but I'm willin' to leave it +to who does the _hardest_ work. + +SIMPSON: No, sir! It's who does the _best_ work. + +CARTER: There ain't only three men in my department out there that ain't +soldiering on their job. I do twice as much skilled work as any man at +this table, and I do it better. [_Shouts of "Yes, you do!" "Rats!" "Shut +up!"_] I'll leave it to Mr. Gibson; he knows good work if he don't know +nothing else. + + [_Shouts of "Leave it to nothing!" "How'd he get in this?" + "You're crazy!"_] + +CARTER [_bawling_]: Get back to business! We're running a meeting here! + +FRANKEL: For goodness' sake, we ain't getting nowhere! + +SALVATORE: No, and you ain't never goin' to git nowhere long as you try +to work big business and privilege on me! We got to keep it like Mr. +Mifflin says; it's a sacred brotherhood, everything divided equal. Let's +get to business and count that money. + +FRANKEL: Well, for goodness' sake, let's get some system into this +meeting! + +RILEY: How you goin' to get any system into it before you settle what's +going to be done about Frankel's twenty-four shares? + +CARTER: Twenty-four? He's got twenty-six; he got two more yesterday! + +MRS. SIMPSON: He's got thirty-five; he got nine more this morning! + +FRANKEL [_hotly_]: You bet I got thirty-five! + +ALL: What! Thirty-five shares! + +FRANKEL: Well, ain't I got thirty-five men workin' out there? + +SIMPSON: How in thunder we goin' to settle about him holdin' all them +shares? + +SALVATORE: Are we goin' to let him take all that money? Thirty-five-- + +FRANKEL [_leaping up, electrified_]: How d'you expect I'm goin' to pay +my men if I don't get it? Are you goin' to _let_ me take them +thirty-five shares' profits? No, I guess you ain't! You ain't got no say +about it! The money's mine right now! I get it! + +SIMPSON: I object! + +RILEY [_pounding the table_]: Look at the ornery little devil! He took +advantage of the poor workingmen's trustfulness, got 'em in debt to him, +then went and begun buying over their shares, so they had to leave the +shop because he wouldn't hire 'em to do their own work, but went and +hired cheaper men. Listen to the trouble _they_ make among us! + +SIMPSON: It's an undesirable element. + +RILEY: He had no right to buy them workmen out in the first place. + +SIMPSON: And on top of that we can't git no work turned out because the +fourteen skilled men he's got in there have gone and started striking +just like the unskilled and they tie up everything. + +RILEY: I claim he hadn't no right to buy them shares. + +FRANKEL: I didn't? + +ALL [_except_ SHOMBERG]: No, you didn't! + +FRANKEL [_hotly at_ RILEY]: You look here. S'pose you needed money bad? +Ain't you got a right to sell your share? + +RILEY: Sure I have! + +FRANKEL: What you talkin' about, then? Ain't I got a right to buy +anything you got a right to sell? + +RILEY: No, you ain't, because I object to the whole system. + +FRANKEL: You do! [_Points to_ SHOMBERG.] Look there! Ask him what _he_ +says. He's got four. + +RILEY: I don't care who's got what! All I say is I object to the +system, and this factory'll git burned up if them wop workmen stay here +jest because he holds them shares! + +SIMPSON: You're right about that, Riley! + +SALVATORE: Why, you can't hear yourself think out in the shops when you +might be havin' a quiet talk with a friend. + +RILEY: When them wops gits to talkin' strike it sounds more like a +revolution to me! + +SIMPSON: Why, they're all inflamed up. They know what's what, all right. + +FRANKEL: What do they know? + +SALVATORE: They know you're drawing down on them shares about five or +six times the wages you pay 'em. What I claim is that extra money he +makes ought to be divided amongst _us_. + + [_Emphatic approval from_ CARTER, SIMPSON, _and_ RILEY. _"Yes + sir! You bet! That's what!"_] + +FRANKEL: Just try it once! + +SIMPSON: Them men ain't workin' for you, they're workin' for us. Ain't +we the original owners? + +FRANKEL: Y-a-a-a-h! + +RILEY [_pounding the table_]: That's the stuff! We're the original +owners! Any money made on them wops' wages is ours. We'll tend to +business with them! + + [_The noise outside has increased deafeningly; there is a loud + hammering on the door, which is now flung open, and_ POLENSKI + _in patched overalls, a wrench in his hand, enters fiercely, + slamming the door behind him. He begins an oration at the + door._] + +POLENSKI: Don't we git a _hearing_? We got to take direct action in this +rotten factory before we even get a word in. [_Shouts from the +committee: "Get out of here, you wop!" "You ain't got no business here!" +"This a committee meeting!"_] Committee meeting, my nose! [_Shakes his +fist at_ FRANKEL.] Do you know what you're up against? You're up against +the arm of labour! You monkey with labour a little more the way you +have, and you'll be glad if it's only a little nitroglycerin that gits +you. Hired us for two and a half, did you? + +FRANKEL: My goodness, I rose you to three this morning! + +POLENSKI: Yes; rose us to three! What do we care you rose us to four, to +five, to six. Look what the rest you loafers here at this table is +gittin'! + +SALVATORE: Here, don't you bring us in this! + +POLENSKI [_half screaming_]: I won't? Every one of you is in his class. +[_Points at_ FRANKEL.] You sit up here and call yourself a committee, +dividin' up the money and runnin' this factory that belongs just as much +to us men he hired as it does to you! It belongs to us _more_--because +we're the real workin'men! [_Beats his chest._] My God! Don't the +toilers' wrongs _never_ git avenged? Are we _always_ goin' to be wage +slaves? We demand simple justice. We been workin' here two dollars and a +half a day, now we want the wage scale abolished and double profits for +each of us for every day we worked here before we found out what was +goin' on, with you sittin' up here like kings in your robes, tellin' the +poor man he should have only two dollars and a half a day--sittin' up +here in your pomp with your feet on the neck of labour! [_To_ CARTER]: +_You_, in your fine broadcloth, ridin' up and down the avenues in +limousines with never a thought for the toiler! Don't think for a minute +we deal with this little vampire here. You're all in the same boat, and +the toiling masses will hold every single one of you just as responsible +as it does him, you--you capitalists! + + [_Instantly upon this the door is opened enough to admit the + heads of two wops very similar to_ POLENSKI.] + +FIRST WOP: Parasites! + +SECOND WOP: Bloodsuckers! + +POLENSKI: Capitalists, parasites, bloodsuckers, bourgeoisie! Do you +think we expect any justice out of _you_? Do you think I come in this +room ever dreaming you'd grant our demands? No! We knew you! And if we +do assert our rights, what do you do? You set your hellhounds of police +on us! Haven't we been agitatin' for our rights among you for days? +We've got our answer from you, but you look out for ours, because as +sure as there is a hell waitin' for all parasites, we'll send you there, +and your factory, too! [_Looks up at the clock._] My God, is that clock +right? [_He runs out at top speed._] + +SIMPSON: They don't seem to know their place! + +SHOMBERG: Them fellers think they own the earth. + +RILEY: Next, they'll be thinkin' they own our factory! + +CARTER [_solemnly_]: Well, sir, I wonder what this country is coming to! + + [_Here there is a muffled explosion in the sample piano, which + rocks with the jar, at the same time emitting a few curls of + smoke. General exclamations of horror and fright as all of the + committee break for shelter._] + +SHOMBERG [_his voice rising over the others_]: Send for the police! + +SALVATORE [_shouting_]: Wait! We ain't divided up the money! + +NORA: It's over; it hasn't done any harm! + +FRANKEL [_on his hands and knees under the table_]: It was in that +piano. [NORA _goes across to the piano._] Look out, he's probably got +another one in there. + + [MIFFLIN _helps_ NORA _to take off the front of the piano, + which is still mildly smoking; a wreckage of wires is seen._] + +MIFFLIN [_smiling_]: It must have been an accident! + +FRANKEL AND MRS. SIMPSON [_coming out from under the table_]: Accident! + +MIFFLIN: Of course it's unfortunate, because it might be misconstrued. + +RILEY: Yes, it might. + +MIFFLIN [_confidently_]: Let me go talk to these new comrades! + +RILEY: Comrades? Frankel's wops? Ha, ha! + +SALVATORE: Aw, them ain't comrades; them's just Frankel's hired +workers. + +MIFFLIN: They are comrades in the best sense of the word. I am in touch +with all the groups. A moment's reasoning from one they know to be +sympathetic-- + + [_He goes out into the factory._] + +SALVATORE: Hey, let's get that stuff divided up. I got an engagement. + +FRANKEL: Yes; let's hurry. You can't tell _what_ they got planted round +here. + +CARTER [_rapping_]: The meeting will please come to-- + +SALVATORE: Here, cut that out! We ain't got no time to-- + +SHOMBERG: No. Come to business; come to business! + +NORA: The only way, comrades, to know how much we have gained since the +last division is to read the bookkeeper's report. + +FRANKEL: Well, for heaven's sakes, go on--read it! + +CARTER: Well, I did want to a long while ago, when we first set down and +begun the meeting. I says then, I report on my committee and-- + +VARIOUS MEMBERS: Oh, for heaven's sake! Go ahead! Cut it out! + +CARTER [_picking up the sheets_]: On the first page is says Soomary. + +RILEY: What's that mean? + +MRS. SIMPSON: Oh, my goodness! + +FRANKEL: Git to the figures! + +CARTER: Well, here, on one side it says gross receipts-- + +SHOMBERG [_rubbing his hands_]: Ah! + +CARTER: What? + +SIMPSON [_shouting_]: Read it! + +CARTER: Gross receipts $2,162.43. On the other side it says: "Cash paid +out $19,461.53." + + [_All are puzzled._] + +It didn't sound right to me, even the first time I read it. Looks like +he's got the wrong words, crossed over. + +FRANKEL: Why, gross receipts last month was over twenty-four thousand +dollars! + +SHOMBERG: Yes, and that was a fall off from the month before. + +CARTER [_rubbing his head_]: Well, I don't pretend to understand it, but +he told me all them was mostly payments on old sales anyhow. + +RILEY: Read it again, read it again! + +SIMPSON: Yes, let's see if we can't get what the sense of it is. + +CARTER: It says "Gross receipts, $2,162.43"--that's over here. "Cash +paid out, $19,461.53." + + [_All seem dazed._] + +RILEY: What else you got there? + +CARTER: As near as it seems to me, just a lot of items. + +SALVATORE: Well, we must have a lot of money in the bank; what's the +matter we draw that out and divide it? + +RILEY: Wait a minute! What's there besides them items? + +CARTER: He's got a note. "Note," he says; here it is: He says: "Bank +notified us this morning we're overdrawn $59.01." + +RILEY: Overdrawn? + +SHOMBERG: Then we got to deposit some to our account. Who's got charge +of the checks that comes in? + +NORA: The bookkeeper has charge, but there aren't any checks. + +CARTER: No, they ain't been any checks comin' in for some days; a week +or so, or two weeks, you might say. We've looked everywhere for 'em-- + +FRANKEL [_aghast_]: You looked all through them letters? + +CARTER: They ain't none left in 'em that wasn't took out a good while +ago. + +SALVATORE: You ain't looked through the safe, have you? + +CARTER: They ain't a one in it; it's got me all puzzled up, I tell you. +I was jest waitin' for the meeting to settle it. + +FRANKEL: But heaven's sakes! There must be checks comin' in from new +sales! + +CARTER: It says here sales has fallen off. So fur this month they was +only three instruments sold. + +SIMPSON: But, my gosh, this is the _end_ of the month! + +CARTER: They was two sold in Council Bluffs and one in Detroit. + + [_General agitation and excitement._] + +MRS. SIMPSON [_trembling with rage and fear_]: You mean to stand there +and tell me we ain't goin' to git any money to-day, and my flat rent to +pay to-morrow? + +RILEY: Don't talk about your flat rent to me, lady! There's others of us +got a few things to pay. + +SHOMBERG: But, my golly, when _do_ we git paid? + +CARTER: I can't make out from what he's got here. + +SALVATORE [_rapping fiercely on the table_]: Hey! I got to have my +money! + +CARTER: Well, I got to have mine, don't I? + +SIMPSON: Go on. See what else it says. + +CARTER: Well, here he's got this. Here it says: "Bills payable, +$17,162.48." + +FRANKEL [_leaping up_]: Bills payable! My God, no money in bank, and +we're $17,162.48 in debt! + +MRS. SIMPSON [_shrieking_]: Who owes it? + +SIMPSON: We do! + +SHOMBERG: Who's goin' to pay it? + +RILEY: Who run us into debt that way? + +SALVATORE: That's the man we're after! + +FRANKEL: Who's the man responsible for us bein' $17,162.48 bankrupt? + +RILEY [_hammering the table_]: Who run us into debt over seventeen +thousand dollars? + +SIMPSON: Well, give him a chance to answer. + +CARTER: What do _I_ know about it? That's what the report says. That's +all _I_ know. + +SHOMBERG: Well, somebody's got us into debt. And who is it? + +NORA: It's all of us! Haven't we all done this thing together? + +FRANKEL: Well, who's got to pay it? + +NORA: We've all got to! + +SHOMBERG, SALVATORE, FRANKEL, AND MRS. SIMPSON: You expect to git blood +out of a stone? What do you take us for? You're crazy! You helped get us +into this! [SHOMBERG _and_ SALVATORE _begin shouting at each other._] + +SHOMBERG: You pay me back that twenty-five dollars you got from me +Friday! + +SALVATORE: How I'm goin' to pay you twenty-five dollars when I'm +seventeen thousand dollars in debt? + +SHOMBERG: I'll have that money! + + [_He takes a paper weight from desk._] + +SALVATORE: You throw that at me, I'll give you a little sticker where +you won't like it! + + [_Puts his hand in the breast of his coat. Murder appears + imminent. Sudden and general dispersal from the neighbourhood + of the combatants, which brings_ NORA _to_ GIBSON, + _unconsciously seeking his protection._] + +SHOMBERG: Aw, I didn't mean anything serious like that. [_Puts down the +paper weight._] But I'll get the money. + +SALVATORE: You'll _need_ it--to pay your share what we owe! + +MRS. SIMPSON: I'd like to see 'em get one cent out of me! + +CARTER: It ain't just us here of course; they's a hundred and seventy +men outside the debt belongs to as well as us. The whole factory's got +to pay it. + +SIMPSON: Great gosh! Do you think we can go out there, when they're +expectin' a month's pay, and tell 'em they're gettin' only a +seventeen-thousand-dollar _debt_? + +FRANKEL: And me, me, me! Look at _me_! Do you think I can go out and +tell them thirty-five bloodhounds I ain't got no money to even pay their +wages? + +RILEY [_vehemently_]: What's more, you owe thirty-five shares of that +debt, Frankel! + +ALL [_with vindictive satisfaction_]: That's it! Sure he does! He owes +thirty-five shares of the debt! That's right! + +FRANKEL: What? + +RILEY: You owe thirty-five shares of the seventeen-thousand debt. + +FRANKEL: My heavens! Ain't the meetin' just settled it I didn't have no +right to them shares and it was all to be divided even? + +CARTER: What we got to do, we got to go out there and tell 'em they owe +this money. + +FRANKEL: I can't tell mine! + +SALVATORE: I know one game little fellow that ain't goin' to pay nobody +nothin'. Excuse me, gents; they'll have to find me! + + [_He goes out hastily by the door that leads to the street._] + +CARTER: Well, _somebody's_ got to go out there and tell 'em. + +SIMPSON: Well, I won't! + +MRS. SIMPSON: It's the chairman's place. + +CARTER: We all got to go! + +FRANKEL: Not me! + +SIMPSON: Yes, you will! [_Takes him by the shoulders._] + +RILEY [_taking him from_ SIMPSON]: Put him first! + + [_They begin to jostle toward the factory door._] + +FRANKEL [_as they push him he waves a despairing hand at_ GIBSON]: Mr. +Gibson, that was a fine trick you played on us! + +THE COMMITTEE [_shouting_]: You go on there! Come on! We got to take our +medicine! + +FRANKEL: Lemme alone! Take your hands off me! + + [_They jostle out, leaving_ NORA _and_ GIBSON _alone together._ + NORA _has gone to the large table, sitting beside it, with her + head far down between her hands. As the noise dies away_ + MIFFLIN _comes in from the factory._] + +MIFFLIN: What wonderful spirits! Just great, rough boys! + + [_Smiles as he gets his hat, magazines, newspaper, and + umbrella._] + +Everything is working out. Some little inevitable friction here, some +little setback there. But it all works, it all works to the one great +end. I'm sorry I wasn't present for the end of the meeting to hear what +success there was this month, but that's a detail. The dream has come +true. It's here, and we're living it! [_At the door._] I'll send you a +copy of my next article, Mr. Gibson. [_Modestly laughs._] They tell me +the series is making a little sensation in its way. Good morning! + + [_He goes out jauntily._ GIBSON _has never moved from his + chair; he turns his head, still not rising, and looks fixedly + at_ NORA. _She slowly lifts her head, meets his eye; her head + sinks again. He rises and slowly walks over to her, looking + down at her. Then, bending still lower, she begins to cry._] + +GIBSON: Well, Nora, what was the matter with it? + +NORA [_not looking up_]: I don't know. What was? + +GIBSON: You needed a manager to do what I had been doing. + +NORA: Couldn't we have learned? Couldn't one of us? + +GIBSON: One of you did--Hill. + +NORA: But he left! + +GIBSON: Why did Hill leave? + +NORA: Other people offered him more money. + +GIBSON: Yes; he was the one man that all the rest of you depended on. He +was worth more. + +NORA: But were you worth all that you took? You took all that the +business made. + +GIBSON: Yes; and last year it was fifty thousand. + +NORA: Were you actually worth that much to it? + +GIBSON: Other men in the business think so. [_Shows her a letter._] +Here's an offer from the Coles-Hibbard people, out in Cleveland, of that +much salary to do for them what I did here. + +NORA: It isn't right; you pay labour only what you have to pay. + +GIBSON: The Coles-Hibbard people offer to pay me what they'd have to, +and they're pretty hard-headed men. The whole world pays only what it +has to. + +NORA: It isn't right! It isn't right! + +GIBSON: Last winter I saw you in a three-dollar seat listening to +Caruso. Have you ever given that much to the organ grinder who comes +under these windows? + +NORA: Will it always be so? + +GIBSON: I don't know. But it's so now. + +NORA: But will the plan _always_ fail? + +GIBSON: I think it will until human beings are as near alike as the ants +and bees are. Your system is in full effect with them, but we--we +strive; even in this fellowship here of yours the striving began to +show. + +NORA [_looking up at him appealingly_]: But are these inequalities +_right_? + +GIBSON [_gently, rather sadly_]: I don't know. I only know what is. + +NORA: Well--I'm whipped. + + [_Smiles ruefully, away from him; then she turns again to + him._] + +Are you going to accept that offer? + +GIBSON: What do you say? + + [_Her head droops again. Angry voices are heard, growing louder + as they approach. The door is thrown open, and the members of + the committee, noisily talking, appear in the doorway._] + +FRANKEL: It was a bum deal all through! + +SHOMBERG: Shovin' his run-down factory off onto us! + +RILEY [_fiercely_]: You never give us no deed to this plant, Mr. Gibson! + +SIMPSON: They ain't a court in the land'll hold us to it! + +CARTER: No, sir; and we've voted this is your factory, Mr. Gibson! We +ain't responsible! + +GIBSON: It is my factory and I'm going to run it! Any man of you not +back at work in ten minutes on the old scale of wages will be fired! + + [_The members whoop with joy._ FRANKEL _and_ CARTER _both try + to shake hands with_ GIBSON _at once._] + +CARTER: Well, that's a relief to _me_. Thank you, Mr. Gibson! + +FRANKEL: That takes a heap off my mind! + +RILEY: God bless you, sir! + +GIBSON: Never mind that! You go back to work. + + [_Whooping, the committee, in great spirits and with the + greatest friendliness to one another, depart rapidly. Closing + the door_, GIBSON _turns briskly to_ NORA, _and speaks in a + businesslike way._] + +GIBSON: Nora, will you marry me? + +NORA [_meekly_]: Yes--I will. + +GIBSON: Will you marry me to-day? + +NORA [_with a little more spirit_]: Yes, I will! + +GIBSON: Will you go with me and marry me right now? + +NORA [_more loudly and promptly_]: Yes, I will! + +GIBSON: Well, then-- + + [_He gets his hat and coat, then thinks of something he wants + from his desk and goes over to get it. Meantime_ NORA, _not + moving so rapidly as_ GIBSON, _but more thoughtfully, goes up + to the wall where hang her jacket and hat, takes off her apron, + puts on the jacket and hat and goes to the door that leads to + the street, where she stands waiting. There is a knock on the + factory door, which opens without waiting, and_ SIMPSON _comes + in._] + +SIMPSON: I don't want to detain you if you're goin' out, Mr. Gibson, +but there's something's got to be settled. And the men in my department +say it's got to be settled right now. That wage scale says we get time +and a half for overtime, and the men in the finishing department, they +ain't gettin' no time and a half on piecework and we never understood +that agreement you claim we signed with you anyhow. So what we says, if +we don't get double time instead of time and a half for overtime--why, +Mr. Gibson, it looks like them men couldn't hardly be held back. Now +what we demand is-- + + [_He is still talking as the final curtain descends upon these + three_: GIBSON _seated at his desk, looking fixedly at_ + SIMPSON, NORA _waiting thoughtfully by the door that leads to + the street._] + + +CURTAIN + + + + + +End of the Project Gutenberg EBook of The Gibson Upright, by Booth Tarkington + +*** END OF THE PROJECT GUTENBERG EBOOK 13275 *** diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..eb9d4eb --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #13275 (https://www.gutenberg.org/ebooks/13275) diff --git a/old/13275-8.txt b/old/13275-8.txt new file mode 100644 index 0000000..bff6b3f --- /dev/null +++ b/old/13275-8.txt @@ -0,0 +1,3533 @@ +The Project Gutenberg EBook of The Gibson Upright, by Booth Tarkington + +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 Gibson Upright + +Author: Booth Tarkington + +Release Date: August 25, 2004 [EBook #13275] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GIBSON UPRIGHT *** + + + + +Produced by Suzanne Shell, Linda Cantoni, and the Online Distributed +Proofreading Team. + + + + + +The + +Gibson Upright + + +By + +BOOTH TARKINGTON + +and + +HARRY LEON WILSON + + +1919 + + + +THE STAGE PRODUCTION OF THIS PLAY IS BY STUART WALKER + + + + +THE GIBSON UPRIGHT + + + + +CAST OF CHARACTERS + + +ANDREW GIBSON, a piano factory owner + +NORA GORODNA, a piano tester and socialist labor organizer + +MR. MIFFLIN, a socialist journalist + +CARTER, an elderly factory worker + +FRANKEL, a young Jewish factory worker + +SHOMBERG, a factory worker + +SIMPSON, an elderly factory worker + +SALVATORE, an Italian factory worker + +RILEY, a truck driver + +ELLA, Mr. Gibson's housemaid + +MRS. SIMPSON, wife of Simpson + +MRS. COMMISKEY, wife of a worker (offstage voice) + +POLENSKI, a worker + +FIRST WOP and SECOND WOP, workers + + + + +ACT I + + ANDREW GIBSON'S _office in his piano factory where he + manufactures "The Gibson Upright." A very plain interior; + pleasant to the eye, yet distinctly an office in a factory, and + without luxuries; altogether utilitarian. + + Against the wall on our right is a roll-top desk, open, very + neat, and in the centre of the writing pad a fresh rose stands + in a glass of water. Near by is a long, plain table and upon it + a very neat arrangement of correspondence and a couple of + ledgers. + + Against the walls are a dozen plain cane-seated chairs. Near + the centre of the room is a sample of the Gibson upright piano + in light wood. There is a large safe, showing the word + "Gibson," and there are filing cases. In the rear wall there is + a door with the upper half of opaque glass, which shows "Mr. + Gibson" in reverse; and near this door is a water filter upon a + stand. In the wall upon our left is a plain wooden door. The + rear door opens into the factory; the other into a hall that + leads to the street. + + Upon the walls are several posters, one showing "The Gibson + Upright"--a happy family, including children and a grandparent, + exclaiming with joy at sight of this instrument. Another shows + a concert singer singing widely beside "The Gibson Upright," + with an accompanist seated. Another shows a semi-colossal + millionaire, and a workingman of similar size in paper cap and + apron, shaking hands across "The Gibson Upright," and, printed: + "$188.00--The Price for the Millionaire, the Same for Plain + John Smith--$188.00." This poster and the others all show the + slogan: "How Cheap, BUT How Good!" + + Nothing is new in this room, but everything is clean and + accurately in order. The arrangement is symmetrical. + + As the curtain rises_ NORA GORODNA _is seen at work on the + sample "Gibson Upright." The front is not removed; but through + the top of the piano she is adjusting something with a small + wrench._ NORA _is a fine-looking young woman, not over + twenty-six; she wears a plain smock over a dark dress. As she + is a piano tester in the factory she is dressed neither so + roughly as a working woman nor perhaps so fashionably as a + stenographer. She is serious and somewhat preoccupied. From + somewhere come the sounds of several pianos being tuned. After + a moment_ NORA _goes thoughtfully to the desk and looks at the + rose in the glass; then lifts the glass as if to inhale the + odour of the rose, but abruptly alters her decision and sets + the glass down without doing so. She returns quickly and + decisively to her work at the piano, as if she had made a + determination. + + A bell at the door on our left rings._ NORA _goes to the door + and opens it._ + +NORA: Good morning, Mr. Mifflin. + +MIFFLIN [_entering_]: Good morning, Miss Gorodna. + + [MIFFLIN _is a beaming man of forty, with gold-rimmed + eyeglasses and a somewhat grizzled beard which has been, a week + or so ago, a neatly trimmed Vandyke. He wears a "cutaway suit," + not much pressed, not new; a derby hat, a standing collar, and + a "four-in-hand" dark tie; hard, round cuffs, not link cuffs. + He carries a folded umbrella, not a fashionable one; wears no + gloves; and has two or three old magazines and a newspaper + under his arm._] + +MIFFLIN: I believe I'm here just to the hour, Miss Gorodna. + +NORA: Mr. Gibson has been very nice about it. He told me he would give +you the interview for your article. He's in the factory--trying to +settle some things he _can't_ settle. I'll let him know you're here. + + [_She goes out by the door into the factory._ MIFFLIN, _smiling + with benevolent anticipation, places his umbrella and hat on a + chair, then takes his fountain pen and a pencil from his + pocket, smilingly decides to use the pencil, sharpens it + without going to a wastebasket over by the desk; then beamingly + looks about the room. He is about to strike a chord on the + piano, seems alarmed by the idea, moves away from it, dusts the + lapel of his coat, adjusts his collar, studies the posters, + shakes his head over them as if they were not to his taste, + goes to the desk, and after studying it smiles at the rose and + gives it a kittenish peck with his forefinger._ NORA _comes + back and_ MIFFLIN _turns to her with his benevolent smile._] + +NORA [_going back to her work at the piano_]: He'll be right here. + + [GIBSON _appears in the open doorway, speaking with crisp + determination to someone not seen._] + +GIBSON: That's my last word on it; that's in accordance with the +agreement you signed two weeks ago. + +A HARSH VOICE: We don't care nothin' about no agreement! + +GIBSON: That's all! + + [_He comes in. He is a man of thirty-something; well but not + clubbishly dressed; an intelligent, thoughtful face; a man of + affairs. Just now he is exercising some self-control over + irritations which have become habitual, but he is not + uncordial, merely quiet, during his greeting of_ MIFFLIN.] + +NORA: This is Mr. Mifflin, Mr. Gibson. + +GIBSON: How do you do, Mr. Mifflin. + +MIFFLIN [_heartily, as they shake hands_]: I am very glad to meet you, +Mr. Gibson! I hope you don't mind my not writing to you myself for this +interview. + +GIBSON: Not at all! + +MIFFLIN [_taking a chair_]: I heard Miss Gorodna speak at a meeting two +nights ago-- + +GIBSON: Yes? + +MIFFLIN: And learning that she was one of your employees I asked her to +speak to you about it for me. + +GIBSON: I see. + +MIFFLIN: Now, in the first place, Mr. Gibson-- + + [_There is a telephone on_ GIBSON'S _desk; its bell rings._] + +GIBSON: Excuse me a moment! + +[_At the telephone_]: Hello!... Yes--Gibson.... Oh, hello, McCombs!... +Yes. I want you to buy it.... I want you to buy all of that grade wire +you can lay your hands on. Get it now and go quick. All you can get; I +don't care if it's a three years' supply. There'll be a shortage within +a month.... No; I don't want any more of the celluloid mixture.... No, I +don't want it. They can't make a figure good enough. I've got my own +formula for keys and we're going to make our own mixture.... I'm going +to have my own plant for it right here. I can make it just under fifty +per cent, better than I can buy it.... Wait a minute! I want you to get +hold of that lot of felt over in Newark; the syndicate's after it, but I +want you to beat them to it. Don't go to Johnson. You go to +Hendricks--he's Johnson's brother-in-law. You tell him as my purchasing +agent you've come to finish the talk I had with him the other night. +You'll find that does it.... All right. Wait! Call me up to-morrow +afternoon; I'm on the track of a stock of that brass we've been using. +We may get three-eighths of a cent off on it. I'll know by that time. +All right!... All right! [_Then he hangs up the receiver and turns to_ +MIFFLIN.] Where do you propose to publish this interview, Mr. Mifflin? + +MIFFLIN [_cheerily_]: Oh, I shall select one of the popular magazines in +sympathy with my point of view in these matters. You probably know my +articles. Numbers of them have been translated. One called "Coöperation +and Brotherhood" has been printed in thirteen languages and dialects, +including the Scandinavian. But I expect this to be my star article. + +GIBSON: Why? + +MIFFLIN: Because your factory here is so often called a model factory. +"_The_ model factory!" [_He repeats the phrase with unction._] + +GIBSON [_wearily_]: Yes, model because it has the most labour trouble! + +MIFFLIN [_enthusiastically_]: That is the real reason why it will be my +star article. As you may know from my other articles this problem is +where I am in my element. + +GIBSON: Yes; I understood so from Miss Gorodna. + + [_Giving him an inimical glance,_ NORA _closes the top of + piano, and moves to go._ GIBSON _checks her with a slight + gesture._] + +GIBSON: Would you mind staying, Miss Gorodna? Miss Gorodna knows more +about one side of this factory than I do, I'm afraid, Mr. Mifflin. We +may need her for reference, especially as she seems to be the ringleader +of the insurgents. + +MIFFLIN [_with jovial reproach_]: Now, now! Before we come to that, Mr. +Gibson, suppose we get at the origin of this interesting product. [_He +waves to the sample piano._] Let's see! I understand it was never your +own creation, Mr. Gibson; that you inherited this factory from your +father. + +GIBSON: Oh, no, I didn't. + +NORA [_challenging_]: _What!_ [_She checks herself._] I beg your pardon! + +GIBSON: The piano factory I inherited from my father was about one third +this size. + +MIFFLIN [_genially; always genial_]: Nevertheless, you inherited it. We +know that everything grows with the times, naturally. Let us simply +state that it was a capitalistic family inheritance. + +NORA [_under her breath but emphatically_]: Yes! + +MIFFLIN: Up to the time of your inheriting it, you, I suppose, had led +the usual life of pleasure of the wealthy young man? + +GIBSON: I'd been through school and college and through every department +of the factory. That wasn't hard; it was a pretty run-down factory, Mr. +Mifflin. + +MIFFLIN: And then at your father's death the lives and fortunes, souls +and bodies of all these workmen passed into your hands? + +GIBSON: Not quite that; there were only forty-one workmen, and nineteen +of them didn't stay when father died. They got other jobs before I could +stop them. + +MIFFLIN: And how many men have you now? + +GIBSON: I believe there are one hundred and seventy-five on the pay roll +now. + +MIFFLIN: One hundred and seventy-five [_with gusto_] labourers! + +GIBSON: Some of them are; some of them are orators. + +MIFFLIN [_jovially_]: Ah, I'm afraid that's hard on Miss Gorodna. + +GIBSON [_quietly_]: She's both. + +MIFFLIN: I understand you are _not_ fighting the labour unions? + +GIBSON: No. The workmen themselves declined to unionize the factory. + +MIFFLIN: Mr. Gibson, when your father began manufacturing "The Gibson +Upright"-- + +GIBSON: He didn't. He made a very fine piano--and only a few of them. It +was "The Gibson Upright" that saved the factory. You see, with this +model we began to get on a quantity-production basis. That's why the +business has grown and is growing. + +MIFFLIN: You mean that "The Gibson Upright" is the reason for the +present great prosperity of this plant? + +GIBSON: Yes. + +MIFFLIN: Now be careful, Mr. Gibson; I'm going to ask a trap question. +[_Wagging his pencil at him._] What is the reason for "The Gibson +Upright?" + +GIBSON: Do you mean who designed it? + +MIFFLIN: Oh, no, no, no! I mean who _makes_ them? If someone asked you +if you're the man that makes "The Gibson Upright" wouldn't you say +"Yes?" + +GIBSON: Certainly! + +MIFFLIN [_triumphantly_]: Ah, there you fell into the trap! + +GIBSON: What's the matter? + +NORA [_with controlled agitation_]: It's the same old matter, Mr. +Gibson. It's those men out there that make the piano. + +GIBSON [_a little sadly_]: Do they? + +NORA: With their _hands_, Mr. Gibson! + +GIBSON: Is there anything more, Mr. Mifflin? + +MIFFLIN: You couldn't possibly imagine how much you've given me, Mr. +Gibson, in these few little answers. It is precisely what I want to get +at--the point of view! The point of view is all that is separating the +classes from the masses to-day. And I think I have yours already. Now I +want to go to the masses if you will permit me. + +GIBSON: Then you might as well stay here. + +MIFFLIN: Ah, but I want to hear the workers talk! + +GIBSON: Well, this is the best place for that! Some of them are waiting +now just outside the door. I'll let you hear them. + + [_Goes to the factory door and opens it; two workingmen come + in. One is elderly, with gray moustache and beard--_CARTER. + _The other,_ FRANKEL, _is a Hebraic type, eager and nervous; + younger._] + +GIBSON: What do you and Frankel want, Carter? + +CARTER [_moving his jaw from side to side, affecting to chew to gain +confidence_]: Well, Mr. Gibson, to come down to plain words--there ain't +no two best ways o' beatin' about the bush. + +GIBSON: I know that. + +CARTER: The question is just up to where there ain't no two best ways +out of it. The men in our department is going to walk out to the last +one, and if there was any way o' stoppin' it by argument I'd tell you. +We're goin' out at twelve o'clock noon to-day, the whole forty-eight of +us. + +GIBSON: Why? + +FRANKEL: "_Why_," Mr. Gibson! Did you want to know _why_? + +GIBSON: Yes, I do. You men signed an agreement with me just eleven days +ago-- + +FRANKEL [_hotly protesting_]: But we never understood it when we signed +it. How'd we know what we was signing? + +GIBSON: Can't you read, Frankel? + +FRANKEL: What's reading got to do with it, when it reads all one way? + +GIBSON: Didn't you understand it, Carter? + +CARTER: Well--I can't say I did. + +GIBSON: _Why_ can't you say it? It was plain black and white. + +CARTER: Well, I was kind o' foggy about the overtime. + +GIBSON: The agreement was that you were to have time and a half for +overtime. What was foggy about that? + +CARTER: Well, I don't say you didn't give us what we was askin' right +_then_; but things have changed since then. + +GIBSON: What's changed in eleven days? + +FRANKEL [_hotly_]: What's changed? How about them men in the finishin' +department that do piecework? + +GIBSON: Well, what's changed about them? + +FRANKEL: Well, something _is_ goin' to change over there. + +GIBSON: We're talking about your department not understanding the +agreement. What's the finishing department got to do with that? + +FRANKEL: Well, they're kickin', too, you bet! + +GIBSON: I'm dealing with your kick now. + +CARTER: Well, o' course we got to stand with them; if they do piecework +overtime they don't get no more for it. + +GIBSON: I'll deal with them separately. + +FRANKEL: My goodness, Mr. Gibson, you got to deal with us, too! Not a +one of us understood what our last agreement with you was. It's just +agreements and agreements and agreements--you might think we was living +just on agreements! By rights we ought to have double time instead of +time and a half! + +GIBSON: Time and a half eleven days ago; now you strike for double time! +Where does this thing stop? You want double time for overtime; your +working day has been reduced; it won't be long till you want that cut +down again. + +FRANKEL: Sure! We want it cut down right now! + +CARTER: Yes, Mr. Gibson; that was another point they told us to bring up +before we walk out. + +GIBSON [_with growing exasperation_]: I suppose you want a six-hour day +so you'll have more overtime to double on me! Then you'll want a +four-hour day, won't you? + +MIFFLIN [_beaming and nodding_]: Well, why not, Mr. Gibson? + +GIBSON: What? + +NORA: Why shouldn't they? + +GIBSON: Why shouldn't they? But what's their limit? + +NORA [_oratorically_]: When the workman shall own his tools! + +MIFFLIN: Of course that means _all_ the tools, Mr. Gibson. You may not +know our phrase: "The workman shall own his tools." It means not only +the carpenter's bench, the plane and the saw, the adze and the auger, +but the shop itself. It means that the workmen shall own the factory. It +means the elimination of everything and everyone who stands between him +and the purchaser, to take toll and unearned profit from the worker, who +is really the sole producer of wealth. + +NORA: It means the elimination of capital and the capitalist! + +MIFFLIN: It means that not only should the worker own tools and factory +but should sit here in the persons of his chosen and elected fellow +workers, as arbiter of his own destiny. + +GIBSON: That is to say, it means the elimination of me. + +MIFFLIN [_jovially_]: Precisely! Precisely! + +GIBSON [_as another workingman strides into the room_]: What do you +want, Shomberg? + +SHOMBERG: Them new windows in the assembling room--they're no good. + +GIBSON: We've just spent twelve hundred dollars fixing them as you said +you wanted them. What's the matter with them? + +SHOMBERG: They don't give no light. + +MIFFLIN: None at all? + +SHOMBERG: It's right next to none at all! The men are goin' to lay off +if they got to work in that room. They're goin' out anyway at twelve +o'clock. + +FRANKEL: Now look here, Mr. Gibson, if I was running this factory-- + +GIBSON: You're not, Frankel! + +SHOMBERG: Well, why can't you listen to him? Don't we even get no +hearing? I guess if I was running this factory once, the first thing I'd +do I'd anyhow try to listen what the troubles is and make my men +contented. + +GIBSON: What would you do if you were running the factory, Carter? You +haven't said. + +CARTER: I ain't had the chance to say. Now what I'd do, first I'd settle +all the grievances so there wouldn't be no more complaints. + +GIBSON: Well, here's one coming I might leave to you on that basis. + + [_Enter_ SIMPSON, _an elderly worker in overalls and jumper; + and_ SALVATORE, _a New Yorkized Italian type, a formerly + lighted cigarette dangling from his lips._] + +SALVATORE: Our department's goin' to walk out at twelve, noon, Mr. +Gibson. We ain't satisfied. + +GIBSON: Why not? + +SALVATORE: Well, we ain't satisfied, Mr. Gibson; we ain't satisfied at +all. + +GIBSON: You got every demand answered yesterday, Salvatore. + +SALVATORE: Oh, I ain't talkin' about no demands. If all them other +departments walks out we're going to stand by 'em! We got plenty to do +with our time. Workin' all the time ain't so enjoyable. + +GIBSON: So you people are going out again, are you? + +SIMPSON: I guess it's a general strike, Mr. Gibson. I'm afraid if you +don't give the boys satisfactory answers the place will close down at +noon. + +GIBSON: Have satisfactory answers ever satisfied you? + +SALVATORE: Ain't we got no right to stand up for our rights? + +FRANKEL: Don't you get all you can from _us_? Well, you bet your life +we're goin' to keep on gettin' all we can from _you_! + +GIBSON: Then life isn't worth anything to either of us--if it's all +fight! Is that to go on forever? + +NORA: No, Mr. Gibson; it's to go on until the abolition of the wage +system! + +MIFFLIN: Good! + +NORA: The struggle with capitalism will continue till the workers take +possession of the machinery of production. It is theirs by right; the +wealth they produce is morally their own. The parasites who now consume +that wealth must be destroyed. + + [_Great approval from workmen; almost a cheer._ MIFFLIN + _chuckles and noiselessly claps his hands._] + +GIBSON: I'm the parasite! + +SHOMBERG: Well, do we get any answer? + +GIBSON: Does any one of you men here think he could answer all of these +demands satisfactorily? + +SALVATORE: Sure! [_All acquiesce: "Sure, sure!"_] + +FRANKEL: You can't put us off any longer with just no little bunch of +funny talk! + +GIBSON: I'll have an answer for you in fifteen minutes. [_Turns to his +desk._] That's all. + +SHOMBERG: Better have it before twelve o'clock. + +CARTER [_as they go_]: Do what you kin, Mr. Gibson. All the departments +is worked up pretty unusual. + +GIBSON [_wearily dropping back into his chair_]: Oh, no, Carter; pretty +usual; that's the trouble. + +MIFFLIN: A splendid manifestation of spirit, Mr. Gibson! I'll just take +advantage of the-- + + [GIBSON _waves his hand, assenting._ MIFFLIN _overtakes the + group at door, puts his hands on the shoulders of two of the + workers; and goes out with them talking eagerly._ NORA + _follows._ GIBSON _sighs heavily; the telephone bell rings. He + takes up the receiver._] + +GIBSON: Who is it?... Wait a minute! [_He takes a pad and writes_]: +"Central Associated Lumber Companies." ... Wait a minute. [_Looks at a +slip in a pigeonhole of his desk._] Oh, yes, you called me yesterday.... +This is Mr. Ragsdale?... No, no, Mr. Ragsdale, I don't think I'm going +to do any business with you. You asked me forty-eight dollars a thousand +on 200,000 feet.... No, your coming down half a dollar a thousand won't +do it.... I say seventeen cents won't do it.... Hold the wire a minute. +[_Looks for letter in pigeonhole, but finds it in his inside pockets. +Then he holds it open, looking at it beside the telephone as he +speaks._] Hello!... No; I was right; there's nothing doing, Mr. +Ragsdale, I know where I can get that 200,000 feet at forty-five +dollars.... I say I know where I can get that lumber at forty-five +dollars.... No; I can get it. There won't be any use for you to call up +again.... Good-bye! + + [_He paces the floor again thoughtfully, then abruptly goes to + the factory door; opens it and calls._] + +GIBSON: Miss Gorodna! + + [NORA _appears in the doorway. She looks at him with + disapproving inquiry; then walks in and closes the door. He + goes to his desk and touches the rose._] + +GIBSON: Why didn't you take it this morning? That poor little rosebed in +my yard at home; it's just begun to brighten up. I suppose it thought it +was going to send you a June rose every day, as it did last June. You +don't want it? + +NORA [_gently, but not abating her attitude_]: No, thank you! + +GIBSON: [_dropping the rose upon his blotting pad, not into the glass +again_]: This is the fourth that's had to wither disappointed. + +NORA [_in a low voice_]: Then hadn't you better let the others live? + +GIBSON: I'd like to live a little myself, Nora. Life doesn't seem much +worth living for me as it is, and if your theories are making you detest +me I think I'm about through. + +NORA: It's what you stand for that my theories make me detest--since you +used the word. + +GIBSON: Well, what is it that I stand for? + +NORA: Class and class hatred. + +GIBSON: Which class is the hatred coming from? + +NORA: From both! + +GIBSON: Just in this room right now it seems to be all on one side. And +lately it has seemed to me to be more and more not so much class as +personal; because really, Nora, I haven't yet been able to understand +how a girl with your mind can believe that you and I belong to different +classes. + +NORA: You don't! So long as capital exists you and I are in warring +classes, Mr. Gibson. + +GIBSON: What are they? + +NORA: Capitalist and proletariat. You can't get out of your class and I +don't want to get out of mine. + +GIBSON: Nora, the law of the United States doesn't recognize any +classes--and I don't know why you and I should. We both like Montaigne +and Debussy. You've even condescended to laugh with me at times about +something funny in the shop. Of course not lately; but you used to. In +everything worth anything aren't we really in the same class? + +NORA: We are not. We never shall be--and we never were! Even before we +were born we weren't! You came into this life with a silver spoon. I was +born in a tenement room where five other people lived. My father was a +man with a great brain. He never got out of the tenements in his life; +he was crushed and kept under; yet he was a well-read man and a +magnificent talker; he could talk Marx and Tolstoi supremely. Yet he +never even had time to learn English. + +GIBSON: I wish you could have heard what _my_ father talked for English! +Half the time I couldn't understand him myself. He was Scotch. + +NORA: Your father wasn't crushed under the capitalistic system as mine +was. My father was an intellectual. + +GIBSON: Mine was a worker. They both landed at Castle Garden, didn't +they? + +NORA: What of that? Mine remained a thinker and a revolutionist; yours +became a capitalist. + +GIBSON: No; he got a job--in a piano factory. + +NORA: Yes, and took advantage of the capitalistic system to own the +factory. + +GIBSON: Before he did own it he worked fourteen hours a day for twelve +years. That's why he owned it. + +NORA: How many hours a day do you work, Mr. Gibson? + +GIBSON: I _have_ worked twenty-four; sometimes fourteen, sometimes two; +usually six. + +NORA: In other words, when you want to work. + +GIBSON: I've learned to do things my father never learned to do, and it +commands a higher return. + +NORA: You _take_ a higher return! + +GIBSON: You mean I don't deserve it? + +NORA: Can it be possible that you think you deserve as much as any of +these _workers_? You don't so much as touch one of these pianos that +bring you your return. I do! I work on them with my hands. Do you think +you deserve as much as I? + +GIBSON: No; I don't go so far as that. + +NORA: Don't talk to me as a woman! My work is pleasant enough now; but +what work did I have to do before I got this far? I worked sixteen hours +a day, and when I was only a child at that! Twelve hours I was sewing, +and four I studied. If my father hadn't known music and taught me a +little your capitalistic system would have me sewing twelve hours a day +still! + +GIBSON: Yes, Nora; when we learn how to do something we get better pay +for it. + +NORA: We do? Do you really think that? That we get paid for what we do? + +GIBSON: Yes; that's what I think. + +NORA: Then what do you get paid for? For nothing in the world but owning +this factory. You're paid because you're a capitalist! + +GIBSON: Is that all? + +NORA: Why, look at the state the factory's in! The discontent you saw in +those men--that's the fault of the capitalistic system! There aren't +twenty workmen in the place that are contented. + +GIBSON: You're right about that; and they never will be. + +NORA: Not until the system's changed. What are you going to do about it? + +GIBSON [_with quiet desperation_]: They've driven me as far as they +can. If they walk out I'll walk out. I can stand it if they can. + +NORA: You'd close down? Your only solution is to take the bread out of +these men's mouths? + +GIBSON: If they walk out I'll walk out! + +NORA [_trembling_]: You coward! + +GIBSON: That's fair? + +NORA: You'll let us starve because you haven't the courage to come to +the right solution! Don't you mind starving us? + +GIBSON: You mean you'd starve if I quit. + +NORA [_vehemently_]: No; but because you'd close the factory. + +GIBSON: Oh, the factory could run if I quit, could it? + +NORA: That's the capitalist! They think it's capital that runs the +factories! + +GIBSON: And I'm the capital, am I? + +NORA: What in the world else? [_Touches the piano._] You think you +produce this wealth because you've got your money in it? You pass out a +pittance to those who do produce it, and when they ask for more than a +pittance you take their tools away from them! If they rebel you set the +police on them. That's capital--and that's you, Mr. Gibson! + +GIBSON: Nora, you told me not to speak to you as a woman. + +NORA: I mean it! + +GIBSON: I'm going to disregard it. Couldn't you get your theories out of +your mind for a while and make a little room there for me? + +NORA: My theories! I haven't any theories! I'm talking about the truth, +and the truth is my whole life. I can't find room for anything but the +truth. + +GIBSON: Couldn't you? + +NORA: Ah, that's a man's egoism! With the whole world seething so that +its wrongs should fill every mind--yes, and every heart--until they're +righted, you ask me-- + +GIBSON: I think you needn't make it any clearer, Nora; I understand. + +NORA [_turning away, agitated_]: I am glad you do. + + [_The factory door opens to the impetuous arrival of a + workingman of extraordinary size and vehemence_, RILEY, _a + truck driver._] + +RILEY [_as he opens the door_]: See here, Mr. Gibson, fer the love o' +heaven, don't the truck drivers fer this factory git no consideration? + +GIBSON: I don't know! What do they want? + +RILEY: Look here, Mr. Gibson, man to man, every department in this +factory is makin' demands and goin' to walk out if they don't git 'em. +Ain't we got no chance fer no demands? + +GIBSON: I said: What do you want? + +RILEY: Why, we got grievances been hangin' over I don't know how long! + +GIBSON: What are they? + +RILEY: Why, all them other departments is going to git raises. You don't +think fer a minute the truck drivers ain't going to-- + +GIBSON: How much raise do you want? + +RILEY: Sir? + +GIBSON: How much raise do you want? + +RILEY: I can't jest say right this minute. We jest heard what was goin' +on in the other departments, and we ain't had no meetin' to settle just +what raise we _are_ goin' to git. Now, Mr. Gibson, if I was runnin' this +factory-- + +GIBSON: Well, what would you do? + +RILEY: The first thing I'd do, I'd see that the truck drivers didn't +have no more discontent than nobody else. What becomes of your freight +if you can't run no trucks? You got to look out, Mr. Gibson! It's us got +the upper hand. + +GIBSON: Go call your meeting and find out what raise you're going to +strike for. + +RILEY: Yes, sir; I'll do it. [_He goes out quickly._] + +NORA: [_amazed and rather gentle_]: Are you going to give them what they +want? + +GIBSON: No; I only wanted to get rid of him a minute to think--or try +to. + +NORA [_in a low voice, offended_]: Oh, excuse me! [_She is going out._] + +GIBSON: Stay here! [_He seems to approach a decision--one of desperation +and anger. Then he speaks crisply, but more to himself than to_ NORA.] +All right--they get it! [_Looks up at_ NORA, _gives her a frowning stare +of some duration._] Tell Riley to call off his meeting, please. I want +all those spokesmen for the departments here. I'll give them their +answer now. + + [NORA _looks at him, puzzled, bites her lip, and goes out + quickly into the factory._ GIBSON'S _expression is determined; + so is his action. He goes to the wall, brings two chairs, one + in each hand, places them at the large table. Repeats this + until he has chairs placed at the table on both sides and at + the head as if for a directors' meeting. The door opens and_ + SALVATORE, MIFFLIN, CARTER, RILEY, SHOMBERG, FRANKEL, _and_ + SIMPSON _enter. They come in, speaking together; most of them + talking somewhat ominously._] + +CROWD: Well, he better!... We ain't workin' for our health.... My whole +department'll walk out!... You bet your life we're goin' to!... He +needn't kid himself about our not meaning business! + +FRANKEL: Well, Mr. Gibson, we'd like to know what conclusion you come +to. + +GIBSON: I'm going to tell you. Simpson, please ask Miss Gorodna to step +in. + + [SIMPSON _merely looks out of the door, and_ NORA _comes in + quickly._] + +Carter, take that chair at the head of the table. Frankel, Salvatore, +Shomberg, sit there, and there, and there! Riley, sit there. Simpson, +there! Miss Gorodna, will you please sit here? [_They take the seats he +indicates, but they look puzzled, somewhat perturbed; whisper and murmur +to one another._] Thank you! There! That looks like a directors' tables +doesn't it? + +SALVATORE: What's this all about? + +GIBSON: I want to ask you people if any of you ever knew me to break my +word to you? + +FRANKEL: Oh, no, Mr. Gibson, we know you never break your agreements! + +GIBSON: I want to ask you people: Haven't you found my word as good as +my bond? + +CARTER: Why, yes, Mr. Gibson. + +SIMPSON: Sure! We know you'll do what you say. + +GIBSON: Do you all agree to that? + +SALVATORE: Soit'nly! You're a gentleman. + +RILEY: Sure, we agree to it! + +SHOMBERG: Oh, well, prob'ly so. + +GIBSON: All right! I'm going to do something you don't expect, and I +want you to know I mean it. But before I do it I want to tell you +something. Probably you won't understand it, but for a long time I had a +pride in this factory. Building up The Gibson Upright was really the +pride of my life. To do that I knew I had to have a loyal staff of +workmen, and for that reason if no other I have given you shorter hours +and more pay than the men get in any other factory of this kind that I +know of. I've done everything that can be done to make the shops healthy +and light and clean. I certainly haven't been unfriendly to you +personally. Any man in the factory was free to come in that door to talk +to me any time he wanted to. I've done my best and we've been called +the model factory. I've done my best but--it isn't enough. It never has +been enough. And I've been told it never will be enough [_with a glance +at_ NORA] until the wage system has been abolished--until capital has +been abolished and the parasite destroyed! I say I took a pride in the +factory for years! Now I am no longer able to. I can't take a pride in a +squabble, and that's all this factory has come to be. And I'll tell you +frankly--you men feel you'd like to get rid of me; well, I want to get +rid of you. And I intend to! + +SHOMBERG [_fiercely_]: You goin' to close this factory down? + +GIBSON: No; I'm going to give it to you! + +SEVERAL WORKMEN: What! + +GIBSON [_emphatically_]: I'm going to give it to you! I turn it over to +you, here and now. This property is mine, but the use of it is yours. +Don't you understand? You've said yourselves my word is as good as my +bond. Well, the factory is yours. I'm going to get away from it. You +take it and run it. + + [_He gets his hat and coat._] + +SIMPSON: What in thunder does he mean? + +SALVATORE: Say, what's the game? + +GIBSON: There it is! Take it and run it yourselves, for yourselves. It +belongs to every workman in the factory on equal shares. [_Throws keys +on table._] There are the keys of the safe, and the combination's in the +top drawer of that desk. It's all yours as it stands, down to the very +correspondence on that table, without any let, hindrance, or +interference from me. + +FRANKEL [_hoarsely_]: Say! He means it! + +SALVATORE: All the money ours? + +GIBSON: The money for every piano you make and sell is yours--every cent +of it. + +MIFFLIN [_rising transfigured_]: Gentlemen, a glorious time has come! +This is an example to every employer of labour in our land. I thank that +power which destined all men to be equal both in service and reward that +I should have chanced to be present to see such a splendid band of +forward-looking fellows--of brothers, of comrades--come into their own! +Let us hope that this great moment but marks the beginning of an epoch +when every capitalist and manufacturer shall see the light as Mr. Gibson +has just done. + +As spokesman for these--these men, Mr. Gibson, I would congratulate you +for anticipating the inevitable and certain world future! You have done +well for yourself to perceive it. I am sure on that account you leave +here with their respect. And to you I should think it might be some +relief-- + +GIBSON: Relief? I should think it might! And you can translate that into +your nineteen languages and dialects--including the Scandinavian! As for +you men--you wouldn't work for me--now see if you can work for +yourselves! Good-bye, Miss Gorodna! + + [NORA, _who has been looking at him tensely, inclines her head + slightly. He opens the door that leads to the street and goes + out decisively. There are exclamations from everyone, loud but + awed. "Say, look here, look here, look here!" + + "Give it to us!" "Equal shares! Did you hear what he said?" + "Gosh! Is this the end of the world?" "My wife won't believe + it!"_] + +MIFFLIN: Gentlemen, this factory comes into the possession of every +workman in it on equal terms; each has a like share in the profits. At +last the workman owns his tools. + +FRANKEL [_suddenly, as if light had just come_]: Gibson's crazy! + +MIFFLIN: No, no! He saw the writing on the wall! + +NORA [_as if entranced, her eyes to heaven_]: Isn't it +wonderful--wonderful! + +MIFFLIN [_beaming_]: But we mustn't forget that it entails +responsibilities. + +NORA: We mustn't forget that. + + [_The telephone bell rings. They all turn their heads in + silence and look at it_, MIFFLIN _watching them, benevolently + chuckling. The bell rings again._] + +CARTER [_blankly_]: The telephone is ringin'. + +MIFFLIN: Well, answer it, answer it! + +SIMPSON: Who? + +MIFFLIN: Why, you--any of you. It's yours--it's your telephone. + +SIMPSON: You answer it, Carter. + + [CARTER _goes to the telephone and picks it up in a somewhat + gingerly way._] + +CARTER: Hello!... Yes.... Yes, it's The Gibson Upright.... No, he ain't +here.... What? Wait a minute. [_Puts his hand over the mouthpiece._] He +wants to know who it is talking. + +FRANKEL: My goodness! Can't you tell him it's you? + +CARTER: He wouldn't know who that was. + +MIFFLIN: Tell him it's one of the owners of the company. + +CARTER [_looks at_ MIFFLIN _solemnly; then in a hushed voice_]: It's one +of the owners of the company.... Wait a minute; let me get that. "The +Central Associated Lumber Companies?" I hear you. Wait a minute. [_Looks +round._] This here company says they want to lower their bid for a +couple hundred thousand feet o' lumber to forty-seven dollars a +thousand. They say that's a dollar lower than they offered yesterday and +a half a dollar lower than they offered this morning--says got to know +now. + +FRANKEL: Says they come _down_ to forty-seven, do they? + +CARTER: Yes; says so! + +SIMPSON: Well, tell 'em that's good; we'll take it. + +THE OTHERS: Sure, that's right!... That's a good offer.... Sure, we'll +take it! + +CARTER [_at the telephone_]: We'll take it. [_Pause._] You're welcome. + + [_Puts down the telephone amid general buzz from all the + others. They rise somewhat dazedly, but relaxing, beginning to + take in their surroundings in the new life._ SHOMBERG _and_ + SIMPSON _shake hands._ FRANKEL _goes over and examines the + safe._ SALVATORE _picks up a basket of correspondence from the + desk as if it were a strange bug._ SHOMBERG _opens a drawer in + the table. There is a buzz of congratulative, formless talk. + They spread over the stage, looking at everything._] + +MIFFLIN [_transfigured, his right hand lifted_]: Gentlemen, this is the +New Dawn! + + + + +ACT II + + + _The yard beside_ GIBSON'S _house. Upon our left is seen the + porch or sun-room wing of a good "colonial" house of the + present type. A hedge runs across at the back, about five feet + high, with a gateway and rustic gate. Beyond is seen a + residential suburban quarter, well wooded and with ample + shrubberies. A gravelled path leads from the gate to the porch, + or sun-room, where are broad steps. Upon the lawn are a white + garden bench, a table, and a great green-and-white-striped sun + umbrella, with several white garden chairs. + + Autumn has come, and the foliage is beginning to turn; but the + scene is warm and sunlit. + + After a moment a young housemaid brings out a tray with a + chocolate pot, wafers, and one cup and saucer and a lace-edged + napkin. She places the tray on the table, moves a chair to it, + looks at the tray thoughtfully, turns, starts toward the + house--when_ GIBSON _comes out. He wears a travelling suit and + is bareheaded._ + +ELLA: The cook thought you might like a cup of chocolate after a long +trip like that--just getting off the train and all, Mr. Gibson. + +GIBSON: Thank you, Ella, I should. + +ELLA: I'll bring your mail right out. + + [_She goes into the house and returns with a packet of + letters._] + +GIBSON: Thanks, Ella! + +ELLA: Everything is there that's come since you sent the telegram not to +forward any more. + +GIBSON: It's pleasant to find the house and everything just as I left +it. + +ELLA: My, Mr. Gibson, we pretty near thought you wasn't never coming +back. Those June roses in that bed round yonder lasted pretty near up +into August this year, Mr. Gibson. For that matter it's such mild +weather even yet some say we won't have any fall till Thanksgiving. + +GIBSON: Yes, it's extraordinary. + +ELLA: Shall I leave the tray? + +GIBSON: No; you can take it. [_She moves to do so._] Wait a minute. +Here's a letter from John Riley, up at the factory. Don't I remember his +son Tom coming here to see you quite a good deal? + +ELLA: Yes, sir; Tom's one of the factory truckmen like his father. He +still comes to see me quite a good deal, sir. There isn't anything about +that in the letter, is there, sir? [_She knows there isn't._] + +GIBSON [_absently_]: No, no! [_With faint irony._] He only wants to know +about where to get a stock of truck parts that had been ordered before I +broke connections with the factory. He thinks four months is a long time +for them to be on the way and doesn't know where to write. + +ELLA: He's a terrible active man, Mr. Riley. Always pushing. + +GIBSON: So Tom comes round more than ever, does he? + +ELLA [_coyly_]: He does, sir! + +GIBSON: I'm not going to lose you, am I, Ella? + +ELLA: Well, sir, up to the time of that change in the factory we hadn't +expected we could get married for maybe two years yet, but the way +things are now--not that I want to leave here, sir--but it does look +like going right ahead with the wedding! + +GIBSON: Tom feels that prosperous, does he? + +ELLA: I guess he _is_ prosperous, sir! + +GIBSON [_gravely digesting this_]: Well, I suppose I'm glad to hear it. + +ELLA: Yes, sir; everybody's glad these days up at the factory, sir. I +don't mean about just Tom and me, they're glad. + +GIBSON: You mean they're all in a glad condition? + +ELLA: Oh, _are_ they, sir! Even the Commiskeys got an automobile last +month! + +GIBSON: Well, I suppose that's splendid. + +ELLA: Didn't you know about it, sir? + +GIBSON: No, not a word. I've been pretty deep up in the Maine woods this +summer. Have you been over to the factory at all yourself, Ella? + +ELLA: Yes, sir; visitors can go round just as they like to. They're glad +to have you. + +GIBSON: When you've been over there, Ella--you know which one is Miss +Gorodna, don't you? + +ELLA: Oh, yes, sir! She's one of the best in managing, Miss Gorodna. + +GIBSON: You--did you--have you happened to see her? + +ELLA: Yes, sir, once or twice. + +GIBSON: Did she--ah--did she look overworked? + +ELLA: Oh, I shouldn't say so, sir. + +GIBSON: She looked well, then? + +ELLA: Yes, indeed, sir! Everybody's so happy up there; I don't suppose +none of 'em could look happier than she is, sir! + +GIBSON: They are all happy, then? + +ELLA [_laughing joyfully_]: You never see such times in your life, sir! +[_A bell rings in the house._] I'll answer the bell. + +GIBSON: I've finished this, Ella. + +ELLA: Yes, sir. [_She takes the tray and goes into the house._ GIBSON +_opens another letter, reads it._ ELLA _returns._] + +ELLA: It's Mr. Mifflin, sir. + +GIBSON: All right. + + [MIFFLIN, _beaming and bubbling, more radiant than in Act 1, + but dressed as then except for a change of tie, comes from the + house. He carries his umbrella and hat and the same old + magazines and a newspaper._] + +MIFFLIN: Ah, Mr. Gibson, you couldn't stay away any longer! + +GIBSON: How de do! Sit down! + +MIFFLIN [_effervescing, as they sit_]: It's glorious! I heard from your +household you were expected back this Sunday. Now confess! You couldn't +stay away! You had to come and watch it! + +GIBSON: Well, I've not had to come and watch it for four months. I don't +expect to watch it much, now. + +MIFFLIN: You don't mean to sit there and tell me you don't know +anything about it! + +GIBSON: No; I don't know anything about it. + +MIFFLIN: Mr. Gibson, you're an extraordinary man! + +GIBSON: No, I'm not. What I did was extraordinary, but I was only an +ordinary man pushed into a hole. + +MIFFLIN: Oh, no; surrendering the factory was merely normal. What's +remarkable is your staying away from watching the glorious work these +former hireling workmen of your factory are doing, now they've won their +industrial freedom. Myself, I've taken rooms near by: I started to do +one article; now I have a series. And oh, the glory of watching these +comrades with their economic shackles off! Haven't you heard anything of +our success? + +GIBSON: Only a word from my housemaid. + +MIFFLIN [_delightedly, pinning him_]: Aha! There! What did she say? +"Only a word"; but what was IT? + +GIBSON: It indicated--prosperity. + +MIFFLIN: Ah! Immense prosperity, didn't it? + +GIBSON: I suppose so. Success, at any rate. + +MIFFLIN: Success? It's so magnificent that now it's inevitable for +every factory of every kind all over this country. + +GIBSON: All over the country? + +MIFFLIN: Not only all over this country! The world must do it. Ah, +they've done it in a country larger than this already! And these +comrades right here are showing our country what it means. I don't +begrudge you some credit for having begun it, Mr. Gibson. But you only +anticipated what all owners everywhere are going to have to do before +the workmen simply _take_ the factories. They're going to take them +because they have the inherent right; and they're going to take them +_now_, either by direct action or by the technical owners, like +yourself, seeing the handwriting on the wall. + +GIBSON: What do you mean by direct action? + +MIFFLIN: Why, just taking them! + +GIBSON: By force? + +MIFFLIN [_deprecatingly but affably_]: Oh, we hope the theoretical +owners won't reduce them to such extremes. There might be a few cases +that law-abiding citizens would regret; but that isn't the big thing. +Our work here is so far perhaps on the small scale, but it shows--it +shows--that everything must be on a coöperative basis! + +GIBSON: Everything? My house, too? + +MIFFLIN [_beaming_]: Your house, too. + +GIBSON [_amiably_]: How about your gold eyeglasses? + +MIFFLIN [_laughing_]: Those will be given me by the state. But +seriously, aren't you coming to pay us a visit at the factory? + +GIBSON: Since you ask me--what's the best time? I suppose the whistle +doesn't blow as early as it used to. + +MIFFLIN [_laughing pityingly_]: Whistle! Oh, my dear sir! This only +confirms me in my old idea that the technical owners didn't have +practical minds. You don't suppose we abolished you, and then didn't +abolish the whistle? That whistle hurt self-respect. Really I'm sorry +it's Sunday and I can't take you over there this minute to see the great +changes. Talk about collectivism! That factory is the most interesting +place in the world to-day. When the men were working eight long hours a +day under a master it was all repression, reserve; their individualities +were stifled. Now they expand! + +GIBSON: You mean they talk a good deal? + +MIFFLIN: I never have been in a place where there was so much talk in my +life. They talk all the time; it shows they are thinking. + +GIBSON: Isn't it noisy? + +MIFFLIN [_delighted_]: It is! Every man has his own ideas and he +expresses them. It means a freshness and originality in the work that +never got into it before. + +GIBSON [_worried_]: Originality? You don't mean to say they've changed +any of the features of The Gibson Upright. + +MIFFLIN: Oh, no; it's the same piano--and yet different! I almost feel I +could tell the difference by looking at one. There's no change; yet now +it has character. And those men--those men, Mr. Gibson--it's brought out +_their_ character so! They're thinking all the time. + +GIBSON: They're working, too, of course? + +MIFFLIN: Working! You never saw men work under the old capitalistic +régime, Mr. Gibson! Don't think that this work is the driven, dogged +thing it was when they had to. This is work with dignity, with +enthusiasm, with spontaneity! + +GIBSON [_rising, very thoughtful_]: Well, I ought to hope that it is, of +course! + + [_He walks to and fro a moment, then comes and rests his hands + on the back of a chair, looking at_ MIFFLIN.] + +Mr. Mifflin, I went into this with open eyes. I was angry at the time, +but I had thought of it often. And when I went out I went out! Now I've +kept away and I don't intend to do any prying--as a matter of fact, I'm +only back here for two or three days--but I have some natural curiosity, +especially about certain particulars. + +MIFFLIN: Everything is as open as the sunlight--no capitalistic secret +machinations. Ask anything you like! + +GIBSON: Well, then, do you happen to know what are the profits for these +four months? + +MIFFLIN: Frankly, that's a detail I don't know. But I do know that +everyone is delighted and that the profits have been large. + +GIBSON: And no friction among the men? + +MIFFLIN: No--I--no, none at all; no friction; nothing that could be +called friction at all. + +GIBSON: Then it's a complete success? + +MIFFLIN: Absolutely! Why, just let me picture it to you, Mr. Gibson. +Don't you understand, these men are not hirelings now; they're comrades, +a brotherhood! You should see them as they come from the factory in the +warm afternoon sunshine. They stop in groups and continue discussions of +matters of interest that have come up during the day. You hear the most +eager discussion, such spirited repartee; and in the factory itself +these groups gather at any time. When there may be some tiny bit of +friction it is disposed of amicably, comrade to comrade. And some of the +wives of the workmen have taken the greatest interest! Imagine under the +capitalistic régime a wife coming and sitting at her husband's side and +taking up little matters of importance with him, as a wife should, while +he worked! Oh, the wives have caught the idea, too! They're +proprietresses just as much as their husbands are proprietors. And you +can see how keenly they feel the responsibility and want to share in +settling all questions that come up. Then they walk home with their +husbands, talking it all over. Mr. Gibson, I tell you, sometimes it has +moved me. More than once I have found my eyes moistening as I watched +it. + +GIBSON: And do you happen to know--well, haven't the men felt the need +for a certain kind of general management of the institution's affairs? + +MIFFLIN: Oh, that's all met--all met by meetings of the governing board, +the committee. + +GIBSON: No; I meant, hasn't any need been felt for a man with a certain +specialized knowledge? Say, for instance, to deal with the purchasing +of raw materials? + +MIFFLIN [_somewhat vague and puzzled_]: I think they did do this through +an individual for a time. I think the head bookkeeper was given charge +of such matters; at least I think so. But probably they found that the +creation of such an office was unnecessary. Purely clerical work. At +least I haven't seen him about for several weeks. + +GIBSON: Was he there on just one share of the profits? + +MIFFLIN: Why, of course! That is the _sine qua non_. + +GIBSON [_thoughtfully_]: I see. [_Paces up and down and halts again._] +So you say everybody is happy? + +MIFFLIN: Radiant! + +GIBSON: Everybody? + +MIFFLIN [_beaming_]: Come and see! + +GIBSON: Ah--Miss Gorodna seems to like it all, does she? + +MIFFLIN: _Does_ she! + +GIBSON [_a little falsely_]: None of them are happier than she is, I +suppose? + +MIFFLIN: Miss Gorodna is the radiant, joyous sunshine of the whole +place! + +GIBSON [_somewhat ruefully_]: Well, that's pleasant news. + + [ELLA _appears from the house._] + +ELLA: It's that old Ed Carter from the factory, Mr. Gibson. He heard +from Tom Riley you was expected back and he's come to call on you. + +GIBSON: Tell him to come right out. [_Sees_ CARTER _beyond_ ELLA.] Come +out here, Carter! Glad to see you! + + [_They shake hands._ CARTER _is unchanged as to head and + whiskers, but wears a square-cut black frock coat, or "Prince + Albert," with trousers and waistcoat of the same material; old + brown shoes, a derby hat, a blue satin four-in-hand tie._] + +CARTER: How do you do, Mr. Gibson! I just thought I'd pay my respects, +as Tom Riley passed the word round the factory you was coming back. + +GIBSON: Sit down, sit down! + +MIFFLIN [_exuberantly_]: How do you do, Carter, how do you do! [_They +shake hands and_ MIFFLIN _pats_ CARTER _on the shoulder._] Look at him, +Mr. Gibson! Look at him! Don't you see what the New Freedom has done for +him? It's in his eye! That pride of liberty! It's in his step, in every +gesture he makes. [CARTER _strokes his whiskers._] You're old +friends--equal now, equal at last. I won't disturb you! [_Picks up his +hat, magazines, and umbrella._] He can give you more than I can, Mr. +Gibson. Good afternoon! Good afternoon! + + [_He goes out through the gate._] + +GIBSON: Sit down, Carter. Sit down! [_They sit._] Well, is everything +fine? + +CARTER [_heartily_]: Yes, sir! It is, Mr. Gibson! Indeed it is! +[_Glances with some little pride at his clothes._] I couldn't of +expected no finer. Fact is, I never could of asked for anything like +this, even if I'd been a praying man. + +GIBSON: Well, I'm glad to hear it, Carter! + +CARTER: I knowed you would be, Mr. Gibson. It's all just wonderful the +way things are working out! + +GIBSON: Everything is working out just right, is it? + +CARTER: Oh, I don't say everything! They's bound to be some little mites +here and there. You know that yourself. + +GIBSON [_grimly_]: Yes, I do! What are _your_ little mites, Carter? + +CARTER: Well, what mostly gits my goat is this here Simpson's wife, Mrs. +Simpson. + +GIBSON: What bothers you about Simpson's wife? + +CARTER: Well, what I says, woman's place is the home, and this here Mrs. +Simpson--I--I never could stand no loud, gabby woman! + +GIBSON: You're not neighbours, are you? + +CARTER: No! She spends all her days at the factory; you might think she +was running the whole place! What's worse'n that, you know they elected +me chairman o' the governing committee, and she's all the time trying to +'lectioneer me out. What she wants is to git Simpson in for chairman; +that'd be jest same's her bein' chairman herself, the way she runs +Simpson! That's the only thing that worries me. Everything else is just +splendid, splendid! + +GIBSON: I understand you don't blow the whistle any more. What hours are +you working now? + +CARTER: Well, first we thought we ought to work about six; but we got on +such a good basis a good many of them are talkin' how they think that's +too much. It'd suit me either way. _That_ ain't the trouble over at that +factory, Mr. Gibson. + +GIBSON: What is the trouble over at that factory? + +CARTER [_with feeling_]: Mr. Gibson, it's the inequality. Look at me +now, and look at Simpson. Simpson and his wife haven't got a child, and +I got seven, every one of 'em to support, and my married daughter lost +her husband and got a shock, and I got her and her three little ones +pretty much on my hands. And Simpson draws down every cent as much as +what I do; just exactly the same. And if the truth was told he don't +work as much as what I do. Then, look at them bachelors; they ain't got +_nobody_ to support! Well, that's got to be settled! + +GIBSON: How are you going to settle it? + +CARTER [_cheerfully_]: Oh, the committee meetin' settles everything by +vote. I'd of put a motion about these matters at some o' the meetings +long ago except I'm chairman and they worked a rule on me the chairman +can't put motions. But some of us got it fixed up to git it put over at +the meeting to-morrow. That's the _big_ meeting to-morrow--the monthly +one. Don't misunderstand me, Mr. Gibson; I ain't makin' no complaint +about these here details, because everything else is so splendid and +prosperous it seems like this here New Dawn Mr. Mifflin called it in his +article. + +GIBSON: Nothing else worries you then, Carter? + +CARTER: Nothing else in the world, Mr. Gibson. Except there might be +some of 'em don't take their responsibilities the way I could wish. +Fact is, there's so much talkin' gits to goin' over there sometimes you +can't hear yourself work. Me? I'm an honest worker, if I work for you or +work for myself. But I can't claim they're all that way. Some that used +to loaf, you can't claim they don't loaf more than they did; yes, sir! + +GIBSON: They get just the same as you do, though, don't they? + +CARTER: Oh, yes! That's the _sinee que none_; it's the brotherhood +between comrades. I don't mean to complain, but they's one thing that +don't look to me just fair. It took me four years to learn my trade and +I'm a skilled workman, and now some Hunnyacks that just sends strips +along through a chute--and it's all they do know how to do--they used to +git two and a half a day to my six, but this way we both git just the +same. I says something about it didn't seem right to me, and one them +Hunnyacks called me a boor-jaw. Well, then I talked to Miss Gorodna +about it. + +GIBSON: What did Miss Gorodna say? + +CARTER: Miss Gorodna says: "But you both get enough, don't you?" + +GIBSON: Well, don't you? + +CARTER [_scratching his head_]: Yes, plenty; and it _sounds_ all right, +them and me gittin' the same; but I can't just seem to work it out in my +mind how it _is_ right. [_Cheering up._] Mr. Mifflin says himself, +though, it's just wonderful! And we certainly are makin' great money! + +GIBSON: Then all you poor are getting rich? + +CARTER: Yes; looks like we will be. + + [_During these speeches_ NORA _has appeared, or rather her head + and shoulders have, above the hedge. She has come along the + hedge and now stands halting at the gate. She wears a becoming + autumn dress and hat, in excellent taste; carries a slim + umbrella. She has a beautifully bound book in her hand._] + +NORA [_opening the gate_]: Do you mind my coming in the side gate, Mr. +Gibson? + + [GIBSON, _startled by her voice, turns abruptly from_ CARTER + _to stare at her, speaks after a pause, slowly._] + +GIBSON: No, I don't mind what gate you come in. + +NORA [_coming down to join them_]: How do you do! [_Gives him her +hand._] + +GIBSON: How do you do! + +CARTER [_on the other side of her_]: How do you do, Miss Gorodna! + +NORA [_for a brief moment confused that she has not noticed_ Carter]: +Oh--oh, how do you do, Mr. Carter! [_Turns and shakes hands with him. +She turns again, facing_ GIBSON.] I just heard you were here. I wanted +to bring you this copy of Montaigne--if you'll forgive me for keeping it +a year. + +GIBSON: I gave it to you. Don't you--remember? + +NORA: Yes, I--remember. But things were different then. Please. I think +I oughtn't to keep it now. [_He takes it, places it gently upon the +table; they sit facing each other; she speaks more cheerfully and +briskly._] I came to see you on a matter of business, too. + +CARTER: Well, then, I'll just be-- + +NORA: Oh, no! Please stay, Mr. Carter! It's a factory matter. [CARTER +_coughs and sits._ NORA _continues, not pausing for that._] It was about +that great stock of wire you had your purchasing agent buy just before +the--before you went away, Mr. Gibson. + +GIBSON: I'm glad to see you looking so well, Miss Gorodna. + +NORA: Thank you! If you remember, you must have ordered him to buy all +the wire of our grade that was in the market at that time. At any rate, +we found ourselves in possession of an enormous stock that would have +lasted us about three years. + +GIBSON: Yes. That's what I wanted. + +NORA: As it happened it turned out to be a very good investment, Mr. +Gibson, because in less than a month it had gained about nine per cent. +in value, and three weeks ago a man came to us and offered to take it +off our hands at a price giving us a twenty-two per cent. profit! + +GIBSON: Yes; I should think he would. + +NORA: So of course we sold it. + +GIBSON [_checks an exclamation, merely saying_]: Did you? + +NORA: Naturally we did! Twenty-two per cent. profit in that short time! +Now it just happens that we've got to buy some more ourselves, and we +can't get hold of any, even at the price that we sold it, because it +seems to have kept going up. I thought perhaps you might know where to +get some at the price you bought the other, and you mightn't mind +telling us. + +GIBSON: No; I wouldn't mind telling you. I'd like to tell you. + +NORA: You think there isn't any? + +GIBSON: I'm sure there isn't any. + +NORA: Then I'm afraid we'll have to get some back from the people we +sold to. Of course I'm anxious to show the great financial improvement +as well as other improvements. That's partly my province and Mr. +Carter's, our committee chairman, besides our regular work. + +GIBSON: Mr. Mifflin tells me that you had a sort of general manager for +a while at first. + +CARTER: Oh, that was Hill, the head bookkeeper. He left. He was a +traitor to the comrades. + +GIBSON: Hill? He knew quite a little about the business. Why did he +leave? + +CARTER: Why, that Coles-Hibbard factory went and offered him a big +salary to come over there; more than he thought he could get coöperatin' +with us. + +NORA: Hill was always a capitalist at heart. We certainly haven't needed +him! + +CARTER: Oh, everybody was glad to get rid of Hill! Better off without +him--better off without him! + +GIBSON: I suppose it was really an economy, his going? + +NORA [_smiling_]: It resulted in economy. + +GIBSON: Have you made many economies? + +NORA: Oh, a great many! + +CARTER: Oh, my! Yes! + +NORA: Economies! [_Her manner now is indulgent, amused, friendly, almost +pitying._] Mr. Gibson, have you any realization of what you threw away +at that place? Don't be afraid, I'll never bring you the figures. I +wouldn't do such a thing to anybody! + +GIBSON: Do you think I was too lavish? + +NORA: We couldn't believe it at first. Just what was being thrown away +on advertising, for instance. The bill you paid for the last month you +were there was five thousand dollars! + +CARTER: That was the figger! It's certainly a good one on you, Mr. +Gibson. + +NORA: We cut that five thousand dollars down to _three hundred_! That +was one item of forty-seven hundred dollars a month saved. Just one +item! + +CARTER [_hilariously_]: Quite some item! + +NORA [_seriously and gently_]: Five thousand dollars a month to +advertise a piano that sells for only a hundred and eighty-eight +dollars! + +CARTER: That's the facts! + +NORA: Mr. Gibson, did you really ever have any idea what you were +paying in commissions to agents? + +GIBSON: Yes, I did. + +NORA: Why, I can't believe it! Did you know that you paid them twenty +per cent. on each piano? Over thirty-seven dollars! + +GIBSON: Yes. + +NORA: But wasn't it thrown away? I can't understand how you kept the +factory going so long as you did, with such losses. Why, don't you know +it amounts to hundreds of thousands of dollars a year? When we found it +out we couldn't see how you made both ends meet, and we thought there +must have been some mistake, and you'd never realized what advantage +these agents were taking of you. + +GIBSON: Yes, I knew what they got. + +NORA [_triumphantly_]: We cut those commissions from thirty-seven +dollars--to _twelve_! And that's just one more item among our economies. +Now do you wonder at the success we're making? + +GIBSON: And your profits have been--satisfactory? + +NORA: The very first month our profits were _four thousand dollars_ more +than the last month you were there! + +GIBSON: That's the month you say you cut out four thousand seven +hundred dollars' worth of advertising. + +NORA: And the next month we cut down the commissions, and the profits +were _five_ thousand more! + +GIBSON: But those were returns under the old commissions. + +NORA: But last month, with new economies, we showed a larger profit than +you had! + +GIBSON: And this month? + +NORA: We shan't know that until the report's read at the meeting +to-morrow. I think it will be the largest profit of all. + +CARTER: That bookkeeper's workin' on it to-day. Talked like he was going +to cut us down two or three thousand, mebbe. [_Laughing._] That's the +way he always talks. + +NORA: He isn't a good influence. + +CARTER: No--too gloomy, too gloomy to suit me! + +GIBSON: What about the two other bookkeepers? + +CARTER: The committee voted them into the packing department; and they +ain't much good even there. It's a crime! + +NORA: They weren't needed. Our bookkeeping is so simplified since you +left! + +GIBSON: It all seems to be simplified, Miss Gorodna. + +NORA: Yes; and whatever problems come up, they're all settled at our +meetings. + + [_A sound of squabbling is heard upon the street, growing + louder as the people engaging in it approach along the + sidewalk._] + +CARTER: There's one we got to bring up and do something about at the +meetin' to-morrow. + +GIBSON: What is it? [CARTER _goes up to the gate._] + +NORA: It's that Mrs. Simpson; she's a great nuisance. + +CARTER: Yes, it's her and Simpson and Frankel. The Simpsons moved into a +flat right up in this neighbourhood. Quite some of the comrades live up +round here now. + + [FRANKEL _and_ MRS. SIMPSON _are heard disputing as they + approach: "Well, what you goin' to do about it!" "I'll show you + what we're goin' to do about it!" "You can't do nothing!" "You + wait till to-morrow and see." "I got my rights, ain't I?" and + so on._] + +SIMPSON [_heard remonstrating_]: Now, Mamie, Mamie! Frankel, you +oughtn't to talk to Mamie that way. + + [GIBSON, _interested and amused, goes part way up to the + hedge._ NORA _is somewhat mortified as the disputants reach the + gate._ GIBSON _speaks to them._] + +GIBSON: How do you do, Simpson! How do you do, Mrs. Simpson! How do you +do, Frankel! Won't you come in and argue here? + +MRS. SIMPSON: Wha'd you say, Mr. Gibson? + +GIBSON: I said come in; come in! + +SIMPSON [_uncertainly_]: Well, I don't know. + +GIBSON: Come in! Nobody here but friends of yours. Sit down. I'd like to +hear what the argument was about. + + [MRS. SIMPSON _is a large woman, domineering and noisy, dressed + somewhat expensively. She is proud of some new furs and a pair + of quite fancy shoes._ SIMPSON _has a new suit of clothes and a + gold-headed cane._ + + FRANKEL _wears a cheap cutaway suit and is smoking a cigar._] + +MRS. SIMPSON: I don't care who hears the argument! Right's right and +wrong's wrong! + +FRANKEL: You bet right's right, and so's my rights right! + +MRS. SIMPSON: You ain't got any rights. + +FRANKEL [_hotly to everybody_]: Do you hear she says I ain't got no +rights at all? + +MRS. SIMPSON: You ain't got the rights you claim you got. + +FRANKEL: She comes down there and tries to run the whole factory. Ask +any of 'em if she don't. Ask Carter! + +MRS. SIMPSON: I own that factory just as much as anybody does. + +SIMPSON: Now, Frankel, you be careful what you say to Mamie! + +FRANKEL: I got shares in that factory and by rights ought to have as +many votes at the meetin' as I got shares--let alone your talking about +trying to root me out of my profits! + +GIBSON: What's this about Frankel having shares? + +FRANKEL [_violently_]: You bet your life I got shares! And I'm going to +have my shares of the money at that meetin' to-morrow! + +MRS. SIMPSON: You bet your life you ain't! + +SIMPSON: You think we're goin' to vote all our profits away to you? + +CARTER: Wait a minute! Ain't I the chairman of that-- + +MRS. SIMPSON: You may be chairman yet--but not long! + +FRANKEL [_sharply to_ CARTER]: You just try to rule me out once! + +GIBSON: What's it all about? + +MRS. SIMPSON: I'll soon enough tell anybody what it's about! + +FRANKEL: You couldn't tell nothing straight! + +CARTER [_deprecatingly_]: Now, now, this here's just one of our little +side difficulties, you might say. What's the use to git huffy over it, +we're gittin' along so well and all? The trouble is, some o' the men and +their families ain't been used to so much prosperity and money in the +house that way, all of a sudden. Of course some of 'em got to living too +high and run into some debt and everything. + +FRANKEL: Well, what business is that of yours? The factory ain't a Home, +is it? And you ain't the Matron, are you? + +CARTER: I don't claim such! + +FRANKEL: It's my business, ain't it, if I take and live on the cheaps +and put by for a rainy day, and happen to have money when other people +need it from me? + +SIMPSON: _That_ much may be your business, but I reckon it was our +business when you come blowin' round the factory, first that you owned +seven shares besides your own; then, a week after, you says seventeen; +then-- + +GIBSON: Well, how many shares has he got? + +SIMPSON: He was claimin' twenty-four yesterday. + +MRS. SIMPSON [_violently_]: He's bought two more since last night. Now +he claims twenty-six! + +FRANKEL: Yes; and I _own_ twenty-six! + +CARTER: That ain't never goin' to do! I don't say it's a condition as +you might say we exactly see how to handle right now, but the way it is, +you certainly got us all disturbed up and hard to git at the rights of +it. You claimin' all them shares-- + +FRANKEL: Well, my goodness, you git the _work_ fer them shares, don't +you? What you yelpin' about? + +CARTER: I don't say we don't git the same amount o' work, but-- + +FRANKEL: Well, _how_ you git it, that's my lookout, ain't it, so it's +done? + +CARTER: But you claim you got a right to draw out twenty-six profits! + +FRANKEL: Sure I do when I furnish the labour for twenty-six. Am I +crazy? + +CARTER: But that way you're makin' more than any ten men put together in +the whole factory! + +FRANKEL: Ain't it just? What you goin' to do about it? + + [_During this speech_ SHOMBERG _has come along the street and + stands looking over the gate._] + +CARTER: Well, so fur, we ain't been able to see how to argue with you. +It don't look right, and yet it's hard to find jest what to say to you. + +FRANKEL: You bet it is! + +CARTER: 'Course, that's one of the points that's got to be settled at +the meeting to-morrow. + +FRANKEL: You bet it'll be settled! + +MRS. SIMPSON: If we had another kind of a chairman it'd been settled +long ago, and settled right! + +CARTER: Now look here, Mrs. Simpson-- + +FRANKEL [_passionately_]: I got twenty-six shares, and I earned 'em, +too! [_To_ GIBSON.] Look at the trouble they make me--to git my legal +rights, let alone the rest the trouble I got! [_Fiercely to_ CARTER _and +to_ SIMPSON]: Yes, I had twenty-four shares yesterday and I got +twenty-six to-day! and I might have another by to-night. Don't think +I'm the only one that's got sense enough not to go smearin' his money +all round on cheap limousines and Queen Anne dinin'-room sets at +eighty-nine dollars per! [_Dramatically pointing at_ SHOMBERG]: There's +a man worth four shares right now! He had three and he bought Mitchell's +out last night at Steinwitz's pool room. Ask him whether he thinks I got +a right to my twenty-six profits or not! + +SHOMBERG: You bet your life! + +MRS. SIMPSON: I guess that Dutchman hasn't got the say-so, has he? + +FRANKEL: No. _You_ run the factory now, Mrs. Simpson! + +CARTER: Now look here; this ain't very much like comrades, is it, all +this arguin'? Sunday, too! + +FRANKEL: Oh, I'm tryin' to be friendly! + +CARTER [_to_ GIBSON]: This buyin' of shares and all has kind of +introduced a sort of an undesirable element into the factory, you might +say. That's kind of the bothersome side of it, and it can't be denied we +would have quite a good deal of bothersomeness if it wasn't for our +meeting. + +NORA [_to everybody except_ GIBSON]: Don't you all think that these +arguments are pretty foolish when you know that nothing can be settled +except at the governing committee's meeting? + +SIMPSON: That's so, Miss Gorodna. What's more, it don't look like as +good comrades as it ought to. I don't want to have no trouble with +Frankel. He might have the rights of it for all I know. Anyways, if he +hasn't I ain't got the brains to make out the case against him, and +anyways, as you say, the meetin' settles all them things. + +NORA: Don't you think you and Frankel might shake hands now, like good +comrades? + +FRANKEL [_with hostility_]: Sure, I'll shake hands with him! + +SIMPSON: Well, I just as soon. + +MRS. SIMPSON: Don't you do it, Henry! + +SIMPSON: Well, but he's a comrade. + +MRS. SIMPSON: Well, you can't help that! You don't have to shake hands +with him. + +SIMPSON: Well, consider it done, Frankel. Consider it done! + +CARTER: That's right, that's right! We can leave it to the meeting. + +SHOMBERG: You bet you can! You goin' my way, Frankel? + + [FRANKEL, _joining him, speaks to_ MRS. SIMPSON.] + +FRANKEL: I s'pose you're going to come to the meetin', Mrs. Simpson? + +MRS. SIMPSON: Ain't my place where my husband is? + +FRANKEL: Well, you don't git no vote! + +MRS. SIMPSON: There's goin' to be a motion introduced for the wives _to_ +vote. + +FRANKEL: Watch it pass! Good-bye, Mr. Gibson! + + [GIBSON _nods._ FRANKEL _goes away with_ SHOMBERG.] + +SIMPSON: Good-bye, Mr. Gibson! All this don't amount to much. It'll all +be settled to-morrow. + +MRS. SIMPSON: Good-bye, Mr. Gibson! [_And as they go out the gate_]: You +bet your life it'll be settled! If that wall-eyed runt thinks he can +walk over _me_-- + +CARTER [_looking after them, laughing_]: Well, she's an awful +interfering woman! And she ain't the only one. If they'd all stay home +like my wife things would be smoother, I guess. Still, they're smooth +enough. [_Going_]: If you want to see that, Mr. Gibson, we'll be glad to +have you look in at the meeting. You're always welcome at the factory +and it'd be a treat to you to see how things work out. It's at eleven +o'clock if you'd like to come. + +GIBSON: Thanks, Carter. + +CARTER: Well, good afternoon, Mr. Gibson and Miss Gorodna. Good evening, +I should say, I reckon. + +GIBSON: Good evening, Carter. + + [_The light has grown to be of sunset._ CARTER _goes._] + +NORA [_going toward the gate_]: I'm glad to see you looking so well. +Good evening! + +GIBSON: Oh, just a minute more. + +NORA: Well? + +GIBSON: It looks as if that might be a lively meeting to-morrow. + +NORA: Is that the old capitalistic sneer? + +GIBSON: Indeed it's not! It only seemed to me from what we've just heard +here-- + +NORA [_bitterly_]: Oh, I suppose all business men's meetings and +arguments, when their interests happen to clash, are angelically sweet +and amiable! Because you see that my comrades are human and have their +human differences-- + +GIBSON: Nora, don't be angry. + +NORA: I'll try not. Of _course_ it isn't all a bed of roses! Of _course_ +things don't run like oiled machinery! + +GIBSON: But they do run? + +NORA: It's magnificent! + +GIBSON: Do you want me to come to that meeting to-morrow? + +NORA: Yes; I'd like you to see how reasonable people settle their +differences when they have an absolutely equal and common interest. + +GIBSON [_in a low voice_]: Aren't you ever tired? + + [_For a moment she has looked weary. She instantly braces up + and answers with spirit._] + +NORA: Tired of living out my ideals? + +GIBSON: No; I just mean tired of working. Wouldn't you rather stop and +come here and live in this quiet house? + +NORA [_incredulously_]: I? + +GIBSON: Couldn't there even be a chance of it, Nora? That you'd marry +me? + +NORA [_amazed and indignant_]: A chance that I would-- + +GIBSON: Well, then, wouldn't you even be willing to leave it to the +meeting to-morrow? + + [_Already in motion she gives him a look of terror and intense + negation._] + +NORA: Oh! [_She runs from the gateway._] + + + + +ACT III + + + _The scene is the same as the first, the factory office--with a + difference. It is now littered and disorderly. Files have been + taken from the cases and left heaped upon the large table and + upon chairs. Piles of mail are on the desk and upon the table. + The safe is open, showing papers in disorder and hanging from + the compartments. Hanging upon the walls, variously, are suits + of old overalls and men's coats and, hats. The chairs stand + irregularly about the large table; a couple of old soft hats + are on the water filter. The former posters have been replaced + by two new ones. One shows a brawny workman with whiskers, + paper cap, and large sledge hammer leaning upon an upright + piano. Rubrics: "The Freedom and Fraternity Coöperative + Upright." "The Piano You Ought to Support." The other poster + shows a workman with a banner upon which is printed: "No + Capital! The Freedom and Fraternity Coöperative Upright The + Only Piano Produced by Toilers Not Ground by Capital. Buy One + to Help the Cause!"_ + + NORA _is busily engaged at_ GIBSON'S _desk. Her hat and jacket + hang on the wall._ + + CARTER _enters, smoking a pipe; he wears overalls and jumper. + He carries a heavy roll of typewritten sheets. Tosses this upon + the table, glances at_ NORA, _who does not notice him, divests + himself of overalls and jumper, and puts on the black frock + coat which he wore in Act II. He looks at his watch and at the + clock on the wall._ + +CARTER [_straightening out his coat_]: I thought it might look better to +get on my Sunday clothes for the meeting, as you might say, Miss +Gorodna. Being as I'm chairman it might look more dignified; kind o' +help give a kind of authority, maybe. + +NORA [_absently, not looking up_]: Yes. + +CARTER [_looking at his watch and at the clock again_]: It ought to be +wound up for meetings. [_He steps upon a chair; moves the hands of +clock._] There, doggone it, the key's lost! I believe Mrs. Simpson took +that key for their own clock. [_He goes to the table; sits, unrolls the +typewritten sheets, puts on his spectacles, and studies the sheets in a +kind of misery, roughing his hair badly and making sounds of moaning._] +Miss Gorodna, can you make this figure out here for me? Does that mean +profits--or what? + +NORA: Oh, no; that's only an amount carried over. + +CARTER: They's so many little puzzlin' things in this bookkeeper's +report. I don't believe he understands it himself. I don't see how he +expects me to read that to the meeting. Some parts I can't make head or +tail of. Others it looks like he's got the words jest changed round. + +NORA: Oh, we'll work it all out at the meeting, Mr. Carter! + +CARTER: My, we got a lot to work out at this meeting. + +NORA: We'll do it, comrade! + +CARTER [_cheering up_]: Sure! Sure we will! It's wonderful what a +meeting does; I'm always forgettin' all we got to do is vote and then +the trouble's over. + + [_Instantly upon this a loud squabbling and women's voices are + heard outside, in the factory._] + +NORA [_troubled_]: I was afraid this would happen. Of course after Mrs. +Simpson came other wives were bound to. + +CARTER [_uneasily moving toward the door to the street_]: Well, I guess +I better-- + + [_The door into the factory is flung open by_ MRS. SIMPSON, + _in a state of fury. Another woman's voice is heard for a + moment, shouting: "Old Cat! Old She-Cat! Wants to be a + Tom-Cat!"_] + +MRS. SIMPSON: See here, Carter, if you still pretend to be chairman you +come out here and keep order! + +CARTER: Now, Mrs. Simpson, you better go on home! + +MRS. SIMPSON [_raging_]: _Me!_ My place is right here, but I'm not going +to stand this Commiskey woman's insults! She come down here this morning +with her husband and started right in to _run_ this factory. My heavens! +Ain't she got five children at home? As long as you still pretend to be +chairman I demand you come out and tell this woman to go about her +business. + +SHREWISH VOICE: It _is_ my business! + +MRS. SIMPSON: I'll show you! I was here first; everything was going all +right. Carter, are you going to come out here and do your duty like I +said? + +CARTER [_attempting sternness and failing_]: You shut that door! I got +to get this report in order before the meeting. I'm not comin'. + +MRS. SIMPSON: Then I won't be responsible for what happens! She ain't +the only one. Mrs. Shomberg is out here messin' things up, too. If you +won't do your duty there'll be direct action took here! [_She goes out +violently._] + +CARTER: That's got to come up in meeting. It certainly has. These here +wives! For example, my wife's an awful quiet woman, but you s'pose she's +goin' to stand it when she hears about all these others? I'd like to +keep her at home. + +NORA: I just wonder-- + +CARTER: What was you wondering, Miss Gorodna? + +NORA: Well, if that's something the meeting can settle? + +CARTER [_doggedly_]: Well, it's got to vote on it. + +NORA: We did vote on Mrs. Simpson last meeting. + +CARTER: Well, we got to vote on her and all the rest of 'em this time. + +NORA: It didn't seem to settle Mrs. Simpson, did it? + +CARTER: Well, it hadn't got so bad then. Now it's got to be settled! We +got to git everything fixed up now. + + [_A frightful dispute is heard in numerous male voices; some + speaking Italian, some Yiddish, and some broken English. This + grows louder as_ FRANKEL _rushes in, throwing the door shut + behind him and leaning against it, wiping his forehead._] + +FRANKEL: Life ain't worth livin'! Life ain't worth livin'! + +CARTER: Serves you right, Frankel! + + [_At the filter_ FRANKEL _pours water from the glass upon a + dirty handkerchief and passes the handkerchief over his + forehead._] + +FRANKEL: I got to git some peace! I got to collect myself. + +CARTER: That shows you ain't got no rights like you claimed. You can't +control your labour element. + +FRANKEL [_bitterly_]: I'll control 'em all right! I'll show 'em who's +their master! + + [_A man's head with shaggy hair and ragged whiskers is thrust + in at the factory door. This is_ POLENSKI.] + +POLENSKI [_ferociously_]: Are you goin' to come out here like a man? + +FRANKEL: You _bet_ I'm comin' out there, Polenski! I'll show you who's +the man here! You Hunnyacks try to browbeat me! + + [_As he goes out, babbling fiercely, the howls of a Roman mob + are heard greeting him._] + +CARTER: I don't feel no sympathy with him. + +NORA: No; I should think not! + + [_A more distant outbreak of the mob is heard, brief but + fierce, and just a moment before it ceases_ MIFFLIN _enters, + beaming. He is dressed as usual, with his umbrella and the same + old magazines and newspapers under his arm._] + +MIFFLIN: Everything is lovely! How do you do, Miss Gorodna! Carter, old +fellow! It's a great morning, a great morning! Mr. Gibson drove me down +in his car. It's wonderful to feel the inspiration it's going to be for +an ex-capitalist to see this place and its harmony. My phrase for it is +"harmonized industry." It will mark an epoch for him. + + [GIBSON _comes in._ MIFFLIN _greets him._] + +MIFFLIN: Ah, Mr. Gibson! You'll see a difference! You'll see a +difference! + +GIBSON: Yes, I do. Good morning, Miss Gorodna! + +NORA [_just barely looking round_]: Good morning, Mr. Gibson. + +MIFFLIN: I was just saying what an inspiration it's going to be for you +to see what we're doing down here. [_Pats_ CARTER'S _shoulder._] These +noble fellows are teaching us intellectuals a lesson. I keep going among +them; what they're doing here keeps flowing into me. You'll get it, Mr. +Gibson. You'll get it, too! + + [_Beamingly he goes out into the factory._] + +CARTER [_cordially_]: Take a chair, Mr. Gibson. Make yourself right at +home! + +GIBSON: Thanks! + + [_He makes a grave tour of inspection of the place, his + expression noncommittal; goes about casually without making a + point of it; he writes his initials in the dust on a filing + case. He turns and looks at_ NORA _thoughtfully; she has not + seemed to notice him._] + +Do you think I will, Miss Gorodna? + +NORA [_not looking up_]: Do I think you will what? + +GIBSON: That I'll get what Mifflin meant? That it will be an inspiration +to me to see this meeting? + +NORA: I don't know what will be an inspiration to you. + +GIBSON: I know one thing that is--a brave woman! + + [_The only sign she gives is that her head bends over her work + just a little more._] + +Carter, do you think this meeting is going to be an inspiration to me? + +CARTER: Well, Mr. Gibson, since the time you give up our rights to us, +as Mr. Mifflin says, we're an inspiration to the whole world. All the +time! Yes, sir; and we _would_ be, too, if we could jest git these +dog-goned inequalities straightened out. We got this Frankel trouble on +our hands, and them wives, and one thing and another, though they ain't +botherin' me so much as my own rights. But they're goin' to git brought +up in the meeting. You'll see! + +GIBSON: Is the safe usually kept open? + +CARTER [_heartily_]: Why, yes, sir; open to each and all alike. + +GIBSON: Oh, yes, of course! Seems to be some business mail left over +here. + +CARTER: Oh, yes. But you'll find every one of 'em's been opened; we +never miss opening a letter. You see they's checks in some of 'em. + +GIBSON: I see. Then everything is running right along, is it, Carter? + +CARTER: Oh, sure! Right along, right along! + + [_The uproar breaks out again._ FRANKEL _bursts in, wiping his + forehead as before. He hurries to the water filter for more + water._] + +FRANKEL: By golly! The bloodsuckers! They want my life! They don't get +it! Hello, Mr. Gibson! Well, I am pleased to see you! Say, Mr. Gibson, +lemme say something to you. Look here a minute. [_He draws_ GIBSON +_aside._] + +GIBSON: What is it, Frankel? + +FRANKEL [_hastily, in a low voice_]: Mr. Gibson, keep it under your hat, +but I got a pretty good interest in this factory right now. What date +I'm goin' to own it I won't say. But what I want to put up to you: How +much would you ask me to manage it for me? + +GIBSON: What? + +FRANKEL: I wouldn't be no piker; when it comes to your salary you could +pretty near set it yourself. + +GIBSON: I'm afraid I've already had an offer that would keep me from +accepting, Frankel. + +FRANKEL: When the time comes I'll git a manager somewhere; no place like +this can't run itself; I seen that much. + +GIBSON: Even if I didn't have an offer, Frankel, I doubt if I'd accept +yours. You know I used to have some little trouble here. + +FRANKEL: You got my sympathy now! I got troubles myself here. [_Hastily +drinks another glass of water._] Well, where's that meeting? They're +late, ain't they? + +CARTER: If they are it's your fault. Them wops of yours won't hardly let +a body git by out yonder. + + [SALVATORE _and_ SHOMBERG _come in from the factory_, SALVATORE + _pausing in the doorway to shout in the direction of an audible + disturbance in the distance._] + +SALVATORE: Oh, shut up; you'll git your pay! + +[_Following_ SALVATORE _come_ SIMPSON _and his wife and_ RILEY. _They +all speak rather casually but not uncordially to_ GIBSON. MIFFLIN _is +with them, his hand on_ SIMPSON'S _shoulder. The outbreak outside +subsides in favour of a speech of extreme violence in a foreign +language. Italian, Yiddish, or whatever it is, it seems most passionate, +and by a good orator. It continues to be heard as the members of the +committee take their seats at the big table._ MIFFLIN _beams and nods +at_ GIBSON; _and takes his seat with the committee._] + +SHOMBERG [_hotly, to_ MRS. SIMPSON]: Here, you ain't a member of this +committee! Git her chair away from her there, Salvatore! She's got no +right here! + +MRS. SIMPSON: Oh, I haven't? + +SHOMBERG: Already twice this morning I got hell from my own wife the way +this woman treats her tryin' to chase her out the factory. You think +you're on this committee? + +MRS. SIMPSON [_taking a chair triumphantly_]: My husband is. I was here +last time, and I'm goin' to keep on. + +CARTER [_referring to the speech in the factory_]: My goodness! We can't +do no work. + +RILEY: Frankel, that's your business to shut 'em up. + +FRANKEL: Talkin' ain't doin' no harm. Let 'em talk. + +RILEY: Yes, I will! [_Goes to the door, and roars_]: Cut that out! I +mean business! [_Shuts the door and returns angrily to his seat._] + +CARTER [_rapping on the table with a ruler_]: The meeting will now come +to order! Minutes of the last meeting will now be read by the secretary. + +MIFFLIN [_to_ GIBSON, _beaming_]: You see? + +NORA [_rising, minute book in hand_]: The meeting was called to order by +Chairman Carter, Monday, the-- + +SALVATORE: Aw, say! + +FRANKEL: I object! + +SIMPSON: What's the use readin' all that? It's only about what we done +at the last meeting. + +SALVATORE: We know that ourselves, don't we? + +SHOMBERG: What'd be the use? What'd be the use? + +RILEY: All we done was divide up the money. + +SALVATORE: Cut it out, cut it out! Let's get to that! + +CARTER: All right, then. I move-- + +MRS. SIMPSON [_shrilly_]: You can't move. The chairman can't move. If +you want to move you better resign! + +CARTER: Well, then, somebody ought to move-- + +MRS. SIMPSON: Cut out the moving. She don't _haf_ to read 'em, does she? + +CARTER: All right, then. Don't read 'em, Miss Gorodna. + +SALVATORE: Well, git some kind of a move on. + +CARTER: I was thinkin'-- + +NORA [_prompting_]: The next order-- + +CARTER: What? + +NORA: The next order of business-- + +CARTER: Oh, yes! The next order of business-- + +NORA: Is reports of committees. + +CARTER [_in a loud, confident voice_]: The next order of business is +reports of committees. [_Takes up some papers and goes on promptly._] +The first committee I will report on is my committee. I will state it is +very difficult reading, because consisting of figures written by the +bookkeeper, and pretty hard to make head or tail of, but-- + +MRS. SIMPSON: Oh, here, say! We got important things to come up here! +'Fore we know how much we're goin' to divide amongst us we got to settle +at once for all and for the last time how it's goin' to be divided and +how much each family gets. + +SALVATORE: _Family?_ + +CARTER AND SHOMBERG [_together_]: Yes--family! + +RILEY: You bet--family! + +CARTER: Yes, sir! + +SIMPSON: You _bet_ we'll settle how it's goin' to be divided! + +SALVATORE: Why, even, of course; just like it has been. Ain't that the +principle we struggled for all these years, comrades? + +MRS. SIMPSON: Well, it's not goin' to be divided even no longer. + +SALVATORE [_violently_]: Yes, it is! + +SIMPSON AND CARTER [_hotly_]: It is not! + +SALVATORE: You bet your life it is! + +SHOMBERG: I'd sooner wring your neck, you sporty Dago! + +SALVATORE: Now look here, comrade-- + +SHOMBERG: Comrade! Who you callin' comrade? Don't you comrade me! + +MRS. SIMPSON: You dirty little Dago! You got no wife to support! Livin' +a bachelor life of the worst kind, you think you'll draw down as much as +my man does? + +SALVATORE [_fiercely_]: Simpson, I don't want to hit no lady, but if-- + +SIMPSON [_roaring_]: Just you try it! + +MIFFLIN [_rising in his place, still beaming, and tapping on the table +with his fountain pen_]: Gentlemen, gentlemen! This is all healthy! It's +a wholesome sign, and I like to see these little arguments. It shows you +are thinking. But, of course, it has always been understood that in any +such system of ideal brotherhood as we have here we, of course, cling +to the equal distribution of all our labours. We-- + +SALVATORE [_fiercely_]: We? How do you git in this? Where do you git +this we stuff? + +FRANKEL: Yes; what you mean--we? + +SALVATORE: _You_ ain't goin' to edge in here. Your kind's done that +other places. Some soft-handed guy that never done a day's work in his +life but write and make speeches, works in and gits workingmen to elect +him at the top and then runs 'em just the same as any capitalist. + +MIFFLIN [_mildly protesting_]: Oh, but you mustn't-- + +SALVATORE [_sullenly_]: That's all right; I read the news from Russia! + +MIFFLIN [_firmly beaming_]: But I was upholding your contention for an +equal distribution. + +SALVATORE [_much surprised and mollified_]: Oh, that's all right then; I +didn't git you! + +MIFFLIN: Right comrade! I'm always for the under dog. + +SHOMBERG: Call _him_ an under dog! He's a loafer and don't know a trade! + +RILEY: He was gettin' three and a half a day, and now he draws what I +do! + +MRS. SIMPSON [_attacking_ RILEY _fiercely_]: Yes, and you're gettin' as +much as my husband is, and your wife left you seven years ago and you +livin' on the fat of the land; Steinwitz's pool parlour every night till +all hours! + +SHOMBERG [_attacking her_]: Yes, and you and your husband ain't got no +children; we got four. I'd like to know what right you got to draw down +what we do--you with your limousine! + +CARTER: What business you got to talk, Shomberg? When here's me with my +seven and the three of my married daughter--eleven in all, I got on my +shoulders. Do you think you're goin' to draw down what _I'd_ ought to? + +ALL [_shouting_]: "Here! We got rights, ain't we?" "Where's the justice +of it?" "I stand by my rights." "Nobody's goin' to git 'em away from +me." "I bet I git _my_ share." "Oh, dry up!" "You make me laugh!" And so +on. + +RILEY [_standing up and pounding the table, roaring till they are forced +to listen_]: You ain't any of you got the rights of it! The rights of it +is--Who does the most work gets the most money. Look at me on that +truck! + +CARTER [_pounding on the table with a ruler_]: You set down, Riley! The +rights of it ain't who does the most work; but I'm willin' to leave it +to who does the _hardest_ work. + +SIMPSON: No, sir! It's who does the _best_ work. + +CARTER: There ain't only three men in my department out there that ain't +soldiering on their job. I do twice as much skilled work as any man at +this table, and I do it better. [_Shouts of "Yes, you do!" "Rats!" "Shut +up!"_] I'll leave it to Mr. Gibson; he knows good work if he don't know +nothing else. + + [_Shouts of "Leave it to nothing!" "How'd he get in this?" + "You're crazy!"_] + +CARTER [_bawling_]: Get back to business! We're running a meeting here! + +FRANKEL: For goodness' sake, we ain't getting nowhere! + +SALVATORE: No, and you ain't never goin' to git nowhere long as you try +to work big business and privilege on me! We got to keep it like Mr. +Mifflin says; it's a sacred brotherhood, everything divided equal. Let's +get to business and count that money. + +FRANKEL: Well, for goodness' sake, let's get some system into this +meeting! + +RILEY: How you goin' to get any system into it before you settle what's +going to be done about Frankel's twenty-four shares? + +CARTER: Twenty-four? He's got twenty-six; he got two more yesterday! + +MRS. SIMPSON: He's got thirty-five; he got nine more this morning! + +FRANKEL [_hotly_]: You bet I got thirty-five! + +ALL: What! Thirty-five shares! + +FRANKEL: Well, ain't I got thirty-five men workin' out there? + +SIMPSON: How in thunder we goin' to settle about him holdin' all them +shares? + +SALVATORE: Are we goin' to let him take all that money? Thirty-five-- + +FRANKEL [_leaping up, electrified_]: How d'you expect I'm goin' to pay +my men if I don't get it? Are you goin' to _let_ me take them +thirty-five shares' profits? No, I guess you ain't! You ain't got no say +about it! The money's mine right now! I get it! + +SIMPSON: I object! + +RILEY [_pounding the table_]: Look at the ornery little devil! He took +advantage of the poor workingmen's trustfulness, got 'em in debt to him, +then went and begun buying over their shares, so they had to leave the +shop because he wouldn't hire 'em to do their own work, but went and +hired cheaper men. Listen to the trouble _they_ make among us! + +SIMPSON: It's an undesirable element. + +RILEY: He had no right to buy them workmen out in the first place. + +SIMPSON: And on top of that we can't git no work turned out because the +fourteen skilled men he's got in there have gone and started striking +just like the unskilled and they tie up everything. + +RILEY: I claim he hadn't no right to buy them shares. + +FRANKEL: I didn't? + +ALL [_except_ SHOMBERG]: No, you didn't! + +FRANKEL [_hotly at_ RILEY]: You look here. S'pose you needed money bad? +Ain't you got a right to sell your share? + +RILEY: Sure I have! + +FRANKEL: What you talkin' about, then? Ain't I got a right to buy +anything you got a right to sell? + +RILEY: No, you ain't, because I object to the whole system. + +FRANKEL: You do! [_Points to_ SHOMBERG.] Look there! Ask him what _he_ +says. He's got four. + +RILEY: I don't care who's got what! All I say is I object to the +system, and this factory'll git burned up if them wop workmen stay here +jest because he holds them shares! + +SIMPSON: You're right about that, Riley! + +SALVATORE: Why, you can't hear yourself think out in the shops when you +might be havin' a quiet talk with a friend. + +RILEY: When them wops gits to talkin' strike it sounds more like a +revolution to me! + +SIMPSON: Why, they're all inflamed up. They know what's what, all right. + +FRANKEL: What do they know? + +SALVATORE: They know you're drawing down on them shares about five or +six times the wages you pay 'em. What I claim is that extra money he +makes ought to be divided amongst _us_. + + [_Emphatic approval from_ CARTER, SIMPSON, _and_ RILEY. _"Yes + sir! You bet! That's what!"_] + +FRANKEL: Just try it once! + +SIMPSON: Them men ain't workin' for you, they're workin' for us. Ain't +we the original owners? + +FRANKEL: Y-a-a-a-h! + +RILEY [_pounding the table_]: That's the stuff! We're the original +owners! Any money made on them wops' wages is ours. We'll tend to +business with them! + + [_The noise outside has increased deafeningly; there is a loud + hammering on the door, which is now flung open, and_ POLENSKI + _in patched overalls, a wrench in his hand, enters fiercely, + slamming the door behind him. He begins an oration at the + door._] + +POLENSKI: Don't we git a _hearing_? We got to take direct action in this +rotten factory before we even get a word in. [_Shouts from the +committee: "Get out of here, you wop!" "You ain't got no business here!" +"This a committee meeting!"_] Committee meeting, my nose! [_Shakes his +fist at_ FRANKEL.] Do you know what you're up against? You're up against +the arm of labour! You monkey with labour a little more the way you +have, and you'll be glad if it's only a little nitroglycerin that gits +you. Hired us for two and a half, did you? + +FRANKEL: My goodness, I rose you to three this morning! + +POLENSKI: Yes; rose us to three! What do we care you rose us to four, to +five, to six. Look what the rest you loafers here at this table is +gittin'! + +SALVATORE: Here, don't you bring us in this! + +POLENSKI [_half screaming_]: I won't? Every one of you is in his class. +[_Points at_ FRANKEL.] You sit up here and call yourself a committee, +dividin' up the money and runnin' this factory that belongs just as much +to us men he hired as it does to you! It belongs to us _more_--because +we're the real workin'men! [_Beats his chest._] My God! Don't the +toilers' wrongs _never_ git avenged? Are we _always_ goin' to be wage +slaves? We demand simple justice. We been workin' here two dollars and a +half a day, now we want the wage scale abolished and double profits for +each of us for every day we worked here before we found out what was +goin' on, with you sittin' up here like kings in your robes, tellin' the +poor man he should have only two dollars and a half a day--sittin' up +here in your pomp with your feet on the neck of labour! [_To_ CARTER]: +_You_, in your fine broadcloth, ridin' up and down the avenues in +limousines with never a thought for the toiler! Don't think for a minute +we deal with this little vampire here. You're all in the same boat, and +the toiling masses will hold every single one of you just as responsible +as it does him, you--you capitalists! + + [_Instantly upon this the door is opened enough to admit the + heads of two wops very similar to_ POLENSKI.] + +FIRST WOP: Parasites! + +SECOND WOP: Bloodsuckers! + +POLENSKI: Capitalists, parasites, bloodsuckers, bourgeoisie! Do you +think we expect any justice out of _you_? Do you think I come in this +room ever dreaming you'd grant our demands? No! We knew you! And if we +do assert our rights, what do you do? You set your hellhounds of police +on us! Haven't we been agitatin' for our rights among you for days? +We've got our answer from you, but you look out for ours, because as +sure as there is a hell waitin' for all parasites, we'll send you there, +and your factory, too! [_Looks up at the clock._] My God, is that clock +right? [_He runs out at top speed._] + +SIMPSON: They don't seem to know their place! + +SHOMBERG: Them fellers think they own the earth. + +RILEY: Next, they'll be thinkin' they own our factory! + +CARTER [_solemnly_]: Well, sir, I wonder what this country is coming to! + + [_Here there is a muffled explosion in the sample piano, which + rocks with the jar, at the same time emitting a few curls of + smoke. General exclamations of horror and fright as all of the + committee break for shelter._] + +SHOMBERG [_his voice rising over the others_]: Send for the police! + +SALVATORE [_shouting_]: Wait! We ain't divided up the money! + +NORA: It's over; it hasn't done any harm! + +FRANKEL [_on his hands and knees under the table_]: It was in that +piano. [NORA _goes across to the piano._] Look out, he's probably got +another one in there. + + [MIFFLIN _helps_ NORA _to take off the front of the piano, + which is still mildly smoking; a wreckage of wires is seen._] + +MIFFLIN [_smiling_]: It must have been an accident! + +FRANKEL AND MRS. SIMPSON [_coming out from under the table_]: Accident! + +MIFFLIN: Of course it's unfortunate, because it might be misconstrued. + +RILEY: Yes, it might. + +MIFFLIN [_confidently_]: Let me go talk to these new comrades! + +RILEY: Comrades? Frankel's wops? Ha, ha! + +SALVATORE: Aw, them ain't comrades; them's just Frankel's hired +workers. + +MIFFLIN: They are comrades in the best sense of the word. I am in touch +with all the groups. A moment's reasoning from one they know to be +sympathetic-- + + [_He goes out into the factory._] + +SALVATORE: Hey, let's get that stuff divided up. I got an engagement. + +FRANKEL: Yes; let's hurry. You can't tell _what_ they got planted round +here. + +CARTER [_rapping_]: The meeting will please come to-- + +SALVATORE: Here, cut that out! We ain't got no time to-- + +SHOMBERG: No. Come to business; come to business! + +NORA: The only way, comrades, to know how much we have gained since the +last division is to read the bookkeeper's report. + +FRANKEL: Well, for heaven's sakes, go on--read it! + +CARTER: Well, I did want to a long while ago, when we first set down and +begun the meeting. I says then, I report on my committee and-- + +VARIOUS MEMBERS: Oh, for heaven's sake! Go ahead! Cut it out! + +CARTER [_picking up the sheets_]: On the first page is says Soomary. + +RILEY: What's that mean? + +MRS. SIMPSON: Oh, my goodness! + +FRANKEL: Git to the figures! + +CARTER: Well, here, on one side it says gross receipts-- + +SHOMBERG [_rubbing his hands_]: Ah! + +CARTER: What? + +SIMPSON [_shouting_]: Read it! + +CARTER: Gross receipts $2,162.43. On the other side it says: "Cash paid +out $19,461.53." + + [_All are puzzled._] + +It didn't sound right to me, even the first time I read it. Looks like +he's got the wrong words, crossed over. + +FRANKEL: Why, gross receipts last month was over twenty-four thousand +dollars! + +SHOMBERG: Yes, and that was a fall off from the month before. + +CARTER [_rubbing his head_]: Well, I don't pretend to understand it, but +he told me all them was mostly payments on old sales anyhow. + +RILEY: Read it again, read it again! + +SIMPSON: Yes, let's see if we can't get what the sense of it is. + +CARTER: It says "Gross receipts, $2,162.43"--that's over here. "Cash +paid out, $19,461.53." + + [_All seem dazed._] + +RILEY: What else you got there? + +CARTER: As near as it seems to me, just a lot of items. + +SALVATORE: Well, we must have a lot of money in the bank; what's the +matter we draw that out and divide it? + +RILEY: Wait a minute! What's there besides them items? + +CARTER: He's got a note. "Note," he says; here it is: He says: "Bank +notified us this morning we're overdrawn $59.01." + +RILEY: Overdrawn? + +SHOMBERG: Then we got to deposit some to our account. Who's got charge +of the checks that comes in? + +NORA: The bookkeeper has charge, but there aren't any checks. + +CARTER: No, they ain't been any checks comin' in for some days; a week +or so, or two weeks, you might say. We've looked everywhere for 'em-- + +FRANKEL [_aghast_]: You looked all through them letters? + +CARTER: They ain't none left in 'em that wasn't took out a good while +ago. + +SALVATORE: You ain't looked through the safe, have you? + +CARTER: They ain't a one in it; it's got me all puzzled up, I tell you. +I was jest waitin' for the meeting to settle it. + +FRANKEL: But heaven's sakes! There must be checks comin' in from new +sales! + +CARTER: It says here sales has fallen off. So fur this month they was +only three instruments sold. + +SIMPSON: But, my gosh, this is the _end_ of the month! + +CARTER: They was two sold in Council Bluffs and one in Detroit. + + [_General agitation and excitement._] + +MRS. SIMPSON [_trembling with rage and fear_]: You mean to stand there +and tell me we ain't goin' to git any money to-day, and my flat rent to +pay to-morrow? + +RILEY: Don't talk about your flat rent to me, lady! There's others of us +got a few things to pay. + +SHOMBERG: But, my golly, when _do_ we git paid? + +CARTER: I can't make out from what he's got here. + +SALVATORE [_rapping fiercely on the table_]: Hey! I got to have my +money! + +CARTER: Well, I got to have mine, don't I? + +SIMPSON: Go on. See what else it says. + +CARTER: Well, here he's got this. Here it says: "Bills payable, +$17,162.48." + +FRANKEL [_leaping up_]: Bills payable! My God, no money in bank, and +we're $17,162.48 in debt! + +MRS. SIMPSON [_shrieking_]: Who owes it? + +SIMPSON: We do! + +SHOMBERG: Who's goin' to pay it? + +RILEY: Who run us into debt that way? + +SALVATORE: That's the man we're after! + +FRANKEL: Who's the man responsible for us bein' $17,162.48 bankrupt? + +RILEY [_hammering the table_]: Who run us into debt over seventeen +thousand dollars? + +SIMPSON: Well, give him a chance to answer. + +CARTER: What do _I_ know about it? That's what the report says. That's +all _I_ know. + +SHOMBERG: Well, somebody's got us into debt. And who is it? + +NORA: It's all of us! Haven't we all done this thing together? + +FRANKEL: Well, who's got to pay it? + +NORA: We've all got to! + +SHOMBERG, SALVATORE, FRANKEL, AND MRS. SIMPSON: You expect to git blood +out of a stone? What do you take us for? You're crazy! You helped get us +into this! [SHOMBERG _and_ SALVATORE _begin shouting at each other._] + +SHOMBERG: You pay me back that twenty-five dollars you got from me +Friday! + +SALVATORE: How I'm goin' to pay you twenty-five dollars when I'm +seventeen thousand dollars in debt? + +SHOMBERG: I'll have that money! + + [_He takes a paper weight from desk._] + +SALVATORE: You throw that at me, I'll give you a little sticker where +you won't like it! + + [_Puts his hand in the breast of his coat. Murder appears + imminent. Sudden and general dispersal from the neighbourhood + of the combatants, which brings_ NORA _to_ GIBSON, + _unconsciously seeking his protection._] + +SHOMBERG: Aw, I didn't mean anything serious like that. [_Puts down the +paper weight._] But I'll get the money. + +SALVATORE: You'll _need_ it--to pay your share what we owe! + +MRS. SIMPSON: I'd like to see 'em get one cent out of me! + +CARTER: It ain't just us here of course; they's a hundred and seventy +men outside the debt belongs to as well as us. The whole factory's got +to pay it. + +SIMPSON: Great gosh! Do you think we can go out there, when they're +expectin' a month's pay, and tell 'em they're gettin' only a +seventeen-thousand-dollar _debt_? + +FRANKEL: And me, me, me! Look at _me_! Do you think I can go out and +tell them thirty-five bloodhounds I ain't got no money to even pay their +wages? + +RILEY [_vehemently_]: What's more, you owe thirty-five shares of that +debt, Frankel! + +ALL [_with vindictive satisfaction_]: That's it! Sure he does! He owes +thirty-five shares of the debt! That's right! + +FRANKEL: What? + +RILEY: You owe thirty-five shares of the seventeen-thousand debt. + +FRANKEL: My heavens! Ain't the meetin' just settled it I didn't have no +right to them shares and it was all to be divided even? + +CARTER: What we got to do, we got to go out there and tell 'em they owe +this money. + +FRANKEL: I can't tell mine! + +SALVATORE: I know one game little fellow that ain't goin' to pay nobody +nothin'. Excuse me, gents; they'll have to find me! + + [_He goes out hastily by the door that leads to the street._] + +CARTER: Well, _somebody's_ got to go out there and tell 'em. + +SIMPSON: Well, I won't! + +MRS. SIMPSON: It's the chairman's place. + +CARTER: We all got to go! + +FRANKEL: Not me! + +SIMPSON: Yes, you will! [_Takes him by the shoulders._] + +RILEY [_taking him from_ SIMPSON]: Put him first! + + [_They begin to jostle toward the factory door._] + +FRANKEL [_as they push him he waves a despairing hand at_ GIBSON]: Mr. +Gibson, that was a fine trick you played on us! + +THE COMMITTEE [_shouting_]: You go on there! Come on! We got to take our +medicine! + +FRANKEL: Lemme alone! Take your hands off me! + + [_They jostle out, leaving_ NORA _and_ GIBSON _alone together._ + NORA _has gone to the large table, sitting beside it, with her + head far down between her hands. As the noise dies away_ + MIFFLIN _comes in from the factory._] + +MIFFLIN: What wonderful spirits! Just great, rough boys! + + [_Smiles as he gets his hat, magazines, newspaper, and + umbrella._] + +Everything is working out. Some little inevitable friction here, some +little setback there. But it all works, it all works to the one great +end. I'm sorry I wasn't present for the end of the meeting to hear what +success there was this month, but that's a detail. The dream has come +true. It's here, and we're living it! [_At the door._] I'll send you a +copy of my next article, Mr. Gibson. [_Modestly laughs._] They tell me +the series is making a little sensation in its way. Good morning! + + [_He goes out jauntily._ GIBSON _has never moved from his + chair; he turns his head, still not rising, and looks fixedly + at_ NORA. _She slowly lifts her head, meets his eye; her head + sinks again. He rises and slowly walks over to her, looking + down at her. Then, bending still lower, she begins to cry._] + +GIBSON: Well, Nora, what was the matter with it? + +NORA [_not looking up_]: I don't know. What was? + +GIBSON: You needed a manager to do what I had been doing. + +NORA: Couldn't we have learned? Couldn't one of us? + +GIBSON: One of you did--Hill. + +NORA: But he left! + +GIBSON: Why did Hill leave? + +NORA: Other people offered him more money. + +GIBSON: Yes; he was the one man that all the rest of you depended on. He +was worth more. + +NORA: But were you worth all that you took? You took all that the +business made. + +GIBSON: Yes; and last year it was fifty thousand. + +NORA: Were you actually worth that much to it? + +GIBSON: Other men in the business think so. [_Shows her a letter._] +Here's an offer from the Coles-Hibbard people, out in Cleveland, of that +much salary to do for them what I did here. + +NORA: It isn't right; you pay labour only what you have to pay. + +GIBSON: The Coles-Hibbard people offer to pay me what they'd have to, +and they're pretty hard-headed men. The whole world pays only what it +has to. + +NORA: It isn't right! It isn't right! + +GIBSON: Last winter I saw you in a three-dollar seat listening to +Caruso. Have you ever given that much to the organ grinder who comes +under these windows? + +NORA: Will it always be so? + +GIBSON: I don't know. But it's so now. + +NORA: But will the plan _always_ fail? + +GIBSON: I think it will until human beings are as near alike as the ants +and bees are. Your system is in full effect with them, but we--we +strive; even in this fellowship here of yours the striving began to +show. + +NORA [_looking up at him appealingly_]: But are these inequalities +_right_? + +GIBSON [_gently, rather sadly_]: I don't know. I only know what is. + +NORA: Well--I'm whipped. + + [_Smiles ruefully, away from him; then she turns again to + him._] + +Are you going to accept that offer? + +GIBSON: What do you say? + + [_Her head droops again. Angry voices are heard, growing louder + as they approach. The door is thrown open, and the members of + the committee, noisily talking, appear in the doorway._] + +FRANKEL: It was a bum deal all through! + +SHOMBERG: Shovin' his run-down factory off onto us! + +RILEY [_fiercely_]: You never give us no deed to this plant, Mr. Gibson! + +SIMPSON: They ain't a court in the land'll hold us to it! + +CARTER: No, sir; and we've voted this is your factory, Mr. Gibson! We +ain't responsible! + +GIBSON: It is my factory and I'm going to run it! Any man of you not +back at work in ten minutes on the old scale of wages will be fired! + + [_The members whoop with joy._ FRANKEL _and_ CARTER _both try + to shake hands with_ GIBSON _at once._] + +CARTER: Well, that's a relief to _me_. Thank you, Mr. Gibson! + +FRANKEL: That takes a heap off my mind! + +RILEY: God bless you, sir! + +GIBSON: Never mind that! You go back to work. + + [_Whooping, the committee, in great spirits and with the + greatest friendliness to one another, depart rapidly. Closing + the door_, GIBSON _turns briskly to_ NORA, _and speaks in a + businesslike way._] + +GIBSON: Nora, will you marry me? + +NORA [_meekly_]: Yes--I will. + +GIBSON: Will you marry me to-day? + +NORA [_with a little more spirit_]: Yes, I will! + +GIBSON: Will you go with me and marry me right now? + +NORA [_more loudly and promptly_]: Yes, I will! + +GIBSON: Well, then-- + + [_He gets his hat and coat, then thinks of something he wants + from his desk and goes over to get it. Meantime_ NORA, _not + moving so rapidly as_ GIBSON, _but more thoughtfully, goes up + to the wall where hang her jacket and hat, takes off her apron, + puts on the jacket and hat and goes to the door that leads to + the street, where she stands waiting. There is a knock on the + factory door, which opens without waiting, and_ SIMPSON _comes + in._] + +SIMPSON: I don't want to detain you if you're goin' out, Mr. Gibson, +but there's something's got to be settled. And the men in my department +say it's got to be settled right now. That wage scale says we get time +and a half for overtime, and the men in the finishing department, they +ain't gettin' no time and a half on piecework and we never understood +that agreement you claim we signed with you anyhow. So what we says, if +we don't get double time instead of time and a half for overtime--why, +Mr. Gibson, it looks like them men couldn't hardly be held back. Now +what we demand is-- + + [_He is still talking as the final curtain descends upon these + three_: GIBSON _seated at his desk, looking fixedly at_ + SIMPSON, NORA _waiting thoughtfully by the door that leads to + the street._] + + +CURTAIN + + + + + +End of the Project Gutenberg EBook of The Gibson Upright, by Booth Tarkington + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GIBSON UPRIGHT *** + +***** This file should be named 13275-8.txt or 13275-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/3/2/7/13275/ + +Produced by Suzanne Shell, Linda Cantoni, and the Online Distributed +Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/old/13275-8.zip b/old/13275-8.zip Binary files differnew file mode 100644 index 0000000..bb81008 --- /dev/null +++ b/old/13275-8.zip diff --git a/old/13275.txt b/old/13275.txt new file mode 100644 index 0000000..c0fb8dc --- /dev/null +++ b/old/13275.txt @@ -0,0 +1,3533 @@ +The Project Gutenberg EBook of The Gibson Upright, by Booth Tarkington + +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 Gibson Upright + +Author: Booth Tarkington + +Release Date: August 25, 2004 [EBook #13275] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GIBSON UPRIGHT *** + + + + +Produced by Suzanne Shell, Linda Cantoni, and the Online Distributed +Proofreading Team. + + + + + +The + +Gibson Upright + + +By + +BOOTH TARKINGTON + +and + +HARRY LEON WILSON + + +1919 + + + +THE STAGE PRODUCTION OF THIS PLAY IS BY STUART WALKER + + + + +THE GIBSON UPRIGHT + + + + +CAST OF CHARACTERS + + +ANDREW GIBSON, a piano factory owner + +NORA GORODNA, a piano tester and socialist labor organizer + +MR. MIFFLIN, a socialist journalist + +CARTER, an elderly factory worker + +FRANKEL, a young Jewish factory worker + +SHOMBERG, a factory worker + +SIMPSON, an elderly factory worker + +SALVATORE, an Italian factory worker + +RILEY, a truck driver + +ELLA, Mr. Gibson's housemaid + +MRS. SIMPSON, wife of Simpson + +MRS. COMMISKEY, wife of a worker (offstage voice) + +POLENSKI, a worker + +FIRST WOP and SECOND WOP, workers + + + + +ACT I + + ANDREW GIBSON'S _office in his piano factory where he + manufactures "The Gibson Upright." A very plain interior; + pleasant to the eye, yet distinctly an office in a factory, and + without luxuries; altogether utilitarian. + + Against the wall on our right is a roll-top desk, open, very + neat, and in the centre of the writing pad a fresh rose stands + in a glass of water. Near by is a long, plain table and upon it + a very neat arrangement of correspondence and a couple of + ledgers. + + Against the walls are a dozen plain cane-seated chairs. Near + the centre of the room is a sample of the Gibson upright piano + in light wood. There is a large safe, showing the word + "Gibson," and there are filing cases. In the rear wall there is + a door with the upper half of opaque glass, which shows "Mr. + Gibson" in reverse; and near this door is a water filter upon a + stand. In the wall upon our left is a plain wooden door. The + rear door opens into the factory; the other into a hall that + leads to the street. + + Upon the walls are several posters, one showing "The Gibson + Upright"--a happy family, including children and a grandparent, + exclaiming with joy at sight of this instrument. Another shows + a concert singer singing widely beside "The Gibson Upright," + with an accompanist seated. Another shows a semi-colossal + millionaire, and a workingman of similar size in paper cap and + apron, shaking hands across "The Gibson Upright," and, printed: + "$188.00--The Price for the Millionaire, the Same for Plain + John Smith--$188.00." This poster and the others all show the + slogan: "How Cheap, BUT How Good!" + + Nothing is new in this room, but everything is clean and + accurately in order. The arrangement is symmetrical. + + As the curtain rises_ NORA GORODNA _is seen at work on the + sample "Gibson Upright." The front is not removed; but through + the top of the piano she is adjusting something with a small + wrench._ NORA _is a fine-looking young woman, not over + twenty-six; she wears a plain smock over a dark dress. As she + is a piano tester in the factory she is dressed neither so + roughly as a working woman nor perhaps so fashionably as a + stenographer. She is serious and somewhat preoccupied. From + somewhere come the sounds of several pianos being tuned. After + a moment_ NORA _goes thoughtfully to the desk and looks at the + rose in the glass; then lifts the glass as if to inhale the + odour of the rose, but abruptly alters her decision and sets + the glass down without doing so. She returns quickly and + decisively to her work at the piano, as if she had made a + determination. + + A bell at the door on our left rings._ NORA _goes to the door + and opens it._ + +NORA: Good morning, Mr. Mifflin. + +MIFFLIN [_entering_]: Good morning, Miss Gorodna. + + [MIFFLIN _is a beaming man of forty, with gold-rimmed + eyeglasses and a somewhat grizzled beard which has been, a week + or so ago, a neatly trimmed Vandyke. He wears a "cutaway suit," + not much pressed, not new; a derby hat, a standing collar, and + a "four-in-hand" dark tie; hard, round cuffs, not link cuffs. + He carries a folded umbrella, not a fashionable one; wears no + gloves; and has two or three old magazines and a newspaper + under his arm._] + +MIFFLIN: I believe I'm here just to the hour, Miss Gorodna. + +NORA: Mr. Gibson has been very nice about it. He told me he would give +you the interview for your article. He's in the factory--trying to +settle some things he _can't_ settle. I'll let him know you're here. + + [_She goes out by the door into the factory._ MIFFLIN, _smiling + with benevolent anticipation, places his umbrella and hat on a + chair, then takes his fountain pen and a pencil from his + pocket, smilingly decides to use the pencil, sharpens it + without going to a wastebasket over by the desk; then beamingly + looks about the room. He is about to strike a chord on the + piano, seems alarmed by the idea, moves away from it, dusts the + lapel of his coat, adjusts his collar, studies the posters, + shakes his head over them as if they were not to his taste, + goes to the desk, and after studying it smiles at the rose and + gives it a kittenish peck with his forefinger._ NORA _comes + back and_ MIFFLIN _turns to her with his benevolent smile._] + +NORA [_going back to her work at the piano_]: He'll be right here. + + [GIBSON _appears in the open doorway, speaking with crisp + determination to someone not seen._] + +GIBSON: That's my last word on it; that's in accordance with the +agreement you signed two weeks ago. + +A HARSH VOICE: We don't care nothin' about no agreement! + +GIBSON: That's all! + + [_He comes in. He is a man of thirty-something; well but not + clubbishly dressed; an intelligent, thoughtful face; a man of + affairs. Just now he is exercising some self-control over + irritations which have become habitual, but he is not + uncordial, merely quiet, during his greeting of_ MIFFLIN.] + +NORA: This is Mr. Mifflin, Mr. Gibson. + +GIBSON: How do you do, Mr. Mifflin. + +MIFFLIN [_heartily, as they shake hands_]: I am very glad to meet you, +Mr. Gibson! I hope you don't mind my not writing to you myself for this +interview. + +GIBSON: Not at all! + +MIFFLIN [_taking a chair_]: I heard Miss Gorodna speak at a meeting two +nights ago-- + +GIBSON: Yes? + +MIFFLIN: And learning that she was one of your employees I asked her to +speak to you about it for me. + +GIBSON: I see. + +MIFFLIN: Now, in the first place, Mr. Gibson-- + + [_There is a telephone on_ GIBSON'S _desk; its bell rings._] + +GIBSON: Excuse me a moment! + +[_At the telephone_]: Hello!... Yes--Gibson.... Oh, hello, McCombs!... +Yes. I want you to buy it.... I want you to buy all of that grade wire +you can lay your hands on. Get it now and go quick. All you can get; I +don't care if it's a three years' supply. There'll be a shortage within +a month.... No; I don't want any more of the celluloid mixture.... No, I +don't want it. They can't make a figure good enough. I've got my own +formula for keys and we're going to make our own mixture.... I'm going +to have my own plant for it right here. I can make it just under fifty +per cent, better than I can buy it.... Wait a minute! I want you to get +hold of that lot of felt over in Newark; the syndicate's after it, but I +want you to beat them to it. Don't go to Johnson. You go to +Hendricks--he's Johnson's brother-in-law. You tell him as my purchasing +agent you've come to finish the talk I had with him the other night. +You'll find that does it.... All right. Wait! Call me up to-morrow +afternoon; I'm on the track of a stock of that brass we've been using. +We may get three-eighths of a cent off on it. I'll know by that time. +All right!... All right! [_Then he hangs up the receiver and turns to_ +MIFFLIN.] Where do you propose to publish this interview, Mr. Mifflin? + +MIFFLIN [_cheerily_]: Oh, I shall select one of the popular magazines in +sympathy with my point of view in these matters. You probably know my +articles. Numbers of them have been translated. One called "Cooeperation +and Brotherhood" has been printed in thirteen languages and dialects, +including the Scandinavian. But I expect this to be my star article. + +GIBSON: Why? + +MIFFLIN: Because your factory here is so often called a model factory. +"_The_ model factory!" [_He repeats the phrase with unction._] + +GIBSON [_wearily_]: Yes, model because it has the most labour trouble! + +MIFFLIN [_enthusiastically_]: That is the real reason why it will be my +star article. As you may know from my other articles this problem is +where I am in my element. + +GIBSON: Yes; I understood so from Miss Gorodna. + + [_Giving him an inimical glance,_ NORA _closes the top of + piano, and moves to go._ GIBSON _checks her with a slight + gesture._] + +GIBSON: Would you mind staying, Miss Gorodna? Miss Gorodna knows more +about one side of this factory than I do, I'm afraid, Mr. Mifflin. We +may need her for reference, especially as she seems to be the ringleader +of the insurgents. + +MIFFLIN [_with jovial reproach_]: Now, now! Before we come to that, Mr. +Gibson, suppose we get at the origin of this interesting product. [_He +waves to the sample piano._] Let's see! I understand it was never your +own creation, Mr. Gibson; that you inherited this factory from your +father. + +GIBSON: Oh, no, I didn't. + +NORA [_challenging_]: _What!_ [_She checks herself._] I beg your pardon! + +GIBSON: The piano factory I inherited from my father was about one third +this size. + +MIFFLIN [_genially; always genial_]: Nevertheless, you inherited it. We +know that everything grows with the times, naturally. Let us simply +state that it was a capitalistic family inheritance. + +NORA [_under her breath but emphatically_]: Yes! + +MIFFLIN: Up to the time of your inheriting it, you, I suppose, had led +the usual life of pleasure of the wealthy young man? + +GIBSON: I'd been through school and college and through every department +of the factory. That wasn't hard; it was a pretty run-down factory, Mr. +Mifflin. + +MIFFLIN: And then at your father's death the lives and fortunes, souls +and bodies of all these workmen passed into your hands? + +GIBSON: Not quite that; there were only forty-one workmen, and nineteen +of them didn't stay when father died. They got other jobs before I could +stop them. + +MIFFLIN: And how many men have you now? + +GIBSON: I believe there are one hundred and seventy-five on the pay roll +now. + +MIFFLIN: One hundred and seventy-five [_with gusto_] labourers! + +GIBSON: Some of them are; some of them are orators. + +MIFFLIN [_jovially_]: Ah, I'm afraid that's hard on Miss Gorodna. + +GIBSON [_quietly_]: She's both. + +MIFFLIN: I understand you are _not_ fighting the labour unions? + +GIBSON: No. The workmen themselves declined to unionize the factory. + +MIFFLIN: Mr. Gibson, when your father began manufacturing "The Gibson +Upright"-- + +GIBSON: He didn't. He made a very fine piano--and only a few of them. It +was "The Gibson Upright" that saved the factory. You see, with this +model we began to get on a quantity-production basis. That's why the +business has grown and is growing. + +MIFFLIN: You mean that "The Gibson Upright" is the reason for the +present great prosperity of this plant? + +GIBSON: Yes. + +MIFFLIN: Now be careful, Mr. Gibson; I'm going to ask a trap question. +[_Wagging his pencil at him._] What is the reason for "The Gibson +Upright?" + +GIBSON: Do you mean who designed it? + +MIFFLIN: Oh, no, no, no! I mean who _makes_ them? If someone asked you +if you're the man that makes "The Gibson Upright" wouldn't you say +"Yes?" + +GIBSON: Certainly! + +MIFFLIN [_triumphantly_]: Ah, there you fell into the trap! + +GIBSON: What's the matter? + +NORA [_with controlled agitation_]: It's the same old matter, Mr. +Gibson. It's those men out there that make the piano. + +GIBSON [_a little sadly_]: Do they? + +NORA: With their _hands_, Mr. Gibson! + +GIBSON: Is there anything more, Mr. Mifflin? + +MIFFLIN: You couldn't possibly imagine how much you've given me, Mr. +Gibson, in these few little answers. It is precisely what I want to get +at--the point of view! The point of view is all that is separating the +classes from the masses to-day. And I think I have yours already. Now I +want to go to the masses if you will permit me. + +GIBSON: Then you might as well stay here. + +MIFFLIN: Ah, but I want to hear the workers talk! + +GIBSON: Well, this is the best place for that! Some of them are waiting +now just outside the door. I'll let you hear them. + + [_Goes to the factory door and opens it; two workingmen come + in. One is elderly, with gray moustache and beard--_CARTER. + _The other,_ FRANKEL, _is a Hebraic type, eager and nervous; + younger._] + +GIBSON: What do you and Frankel want, Carter? + +CARTER [_moving his jaw from side to side, affecting to chew to gain +confidence_]: Well, Mr. Gibson, to come down to plain words--there ain't +no two best ways o' beatin' about the bush. + +GIBSON: I know that. + +CARTER: The question is just up to where there ain't no two best ways +out of it. The men in our department is going to walk out to the last +one, and if there was any way o' stoppin' it by argument I'd tell you. +We're goin' out at twelve o'clock noon to-day, the whole forty-eight of +us. + +GIBSON: Why? + +FRANKEL: "_Why_," Mr. Gibson! Did you want to know _why_? + +GIBSON: Yes, I do. You men signed an agreement with me just eleven days +ago-- + +FRANKEL [_hotly protesting_]: But we never understood it when we signed +it. How'd we know what we was signing? + +GIBSON: Can't you read, Frankel? + +FRANKEL: What's reading got to do with it, when it reads all one way? + +GIBSON: Didn't you understand it, Carter? + +CARTER: Well--I can't say I did. + +GIBSON: _Why_ can't you say it? It was plain black and white. + +CARTER: Well, I was kind o' foggy about the overtime. + +GIBSON: The agreement was that you were to have time and a half for +overtime. What was foggy about that? + +CARTER: Well, I don't say you didn't give us what we was askin' right +_then_; but things have changed since then. + +GIBSON: What's changed in eleven days? + +FRANKEL [_hotly_]: What's changed? How about them men in the finishin' +department that do piecework? + +GIBSON: Well, what's changed about them? + +FRANKEL: Well, something _is_ goin' to change over there. + +GIBSON: We're talking about your department not understanding the +agreement. What's the finishing department got to do with that? + +FRANKEL: Well, they're kickin', too, you bet! + +GIBSON: I'm dealing with your kick now. + +CARTER: Well, o' course we got to stand with them; if they do piecework +overtime they don't get no more for it. + +GIBSON: I'll deal with them separately. + +FRANKEL: My goodness, Mr. Gibson, you got to deal with us, too! Not a +one of us understood what our last agreement with you was. It's just +agreements and agreements and agreements--you might think we was living +just on agreements! By rights we ought to have double time instead of +time and a half! + +GIBSON: Time and a half eleven days ago; now you strike for double time! +Where does this thing stop? You want double time for overtime; your +working day has been reduced; it won't be long till you want that cut +down again. + +FRANKEL: Sure! We want it cut down right now! + +CARTER: Yes, Mr. Gibson; that was another point they told us to bring up +before we walk out. + +GIBSON [_with growing exasperation_]: I suppose you want a six-hour day +so you'll have more overtime to double on me! Then you'll want a +four-hour day, won't you? + +MIFFLIN [_beaming and nodding_]: Well, why not, Mr. Gibson? + +GIBSON: What? + +NORA: Why shouldn't they? + +GIBSON: Why shouldn't they? But what's their limit? + +NORA [_oratorically_]: When the workman shall own his tools! + +MIFFLIN: Of course that means _all_ the tools, Mr. Gibson. You may not +know our phrase: "The workman shall own his tools." It means not only +the carpenter's bench, the plane and the saw, the adze and the auger, +but the shop itself. It means that the workmen shall own the factory. It +means the elimination of everything and everyone who stands between him +and the purchaser, to take toll and unearned profit from the worker, who +is really the sole producer of wealth. + +NORA: It means the elimination of capital and the capitalist! + +MIFFLIN: It means that not only should the worker own tools and factory +but should sit here in the persons of his chosen and elected fellow +workers, as arbiter of his own destiny. + +GIBSON: That is to say, it means the elimination of me. + +MIFFLIN [_jovially_]: Precisely! Precisely! + +GIBSON [_as another workingman strides into the room_]: What do you +want, Shomberg? + +SHOMBERG: Them new windows in the assembling room--they're no good. + +GIBSON: We've just spent twelve hundred dollars fixing them as you said +you wanted them. What's the matter with them? + +SHOMBERG: They don't give no light. + +MIFFLIN: None at all? + +SHOMBERG: It's right next to none at all! The men are goin' to lay off +if they got to work in that room. They're goin' out anyway at twelve +o'clock. + +FRANKEL: Now look here, Mr. Gibson, if I was running this factory-- + +GIBSON: You're not, Frankel! + +SHOMBERG: Well, why can't you listen to him? Don't we even get no +hearing? I guess if I was running this factory once, the first thing I'd +do I'd anyhow try to listen what the troubles is and make my men +contented. + +GIBSON: What would you do if you were running the factory, Carter? You +haven't said. + +CARTER: I ain't had the chance to say. Now what I'd do, first I'd settle +all the grievances so there wouldn't be no more complaints. + +GIBSON: Well, here's one coming I might leave to you on that basis. + + [_Enter_ SIMPSON, _an elderly worker in overalls and jumper; + and_ SALVATORE, _a New Yorkized Italian type, a formerly + lighted cigarette dangling from his lips._] + +SALVATORE: Our department's goin' to walk out at twelve, noon, Mr. +Gibson. We ain't satisfied. + +GIBSON: Why not? + +SALVATORE: Well, we ain't satisfied, Mr. Gibson; we ain't satisfied at +all. + +GIBSON: You got every demand answered yesterday, Salvatore. + +SALVATORE: Oh, I ain't talkin' about no demands. If all them other +departments walks out we're going to stand by 'em! We got plenty to do +with our time. Workin' all the time ain't so enjoyable. + +GIBSON: So you people are going out again, are you? + +SIMPSON: I guess it's a general strike, Mr. Gibson. I'm afraid if you +don't give the boys satisfactory answers the place will close down at +noon. + +GIBSON: Have satisfactory answers ever satisfied you? + +SALVATORE: Ain't we got no right to stand up for our rights? + +FRANKEL: Don't you get all you can from _us_? Well, you bet your life +we're goin' to keep on gettin' all we can from _you_! + +GIBSON: Then life isn't worth anything to either of us--if it's all +fight! Is that to go on forever? + +NORA: No, Mr. Gibson; it's to go on until the abolition of the wage +system! + +MIFFLIN: Good! + +NORA: The struggle with capitalism will continue till the workers take +possession of the machinery of production. It is theirs by right; the +wealth they produce is morally their own. The parasites who now consume +that wealth must be destroyed. + + [_Great approval from workmen; almost a cheer._ MIFFLIN + _chuckles and noiselessly claps his hands._] + +GIBSON: I'm the parasite! + +SHOMBERG: Well, do we get any answer? + +GIBSON: Does any one of you men here think he could answer all of these +demands satisfactorily? + +SALVATORE: Sure! [_All acquiesce: "Sure, sure!"_] + +FRANKEL: You can't put us off any longer with just no little bunch of +funny talk! + +GIBSON: I'll have an answer for you in fifteen minutes. [_Turns to his +desk._] That's all. + +SHOMBERG: Better have it before twelve o'clock. + +CARTER [_as they go_]: Do what you kin, Mr. Gibson. All the departments +is worked up pretty unusual. + +GIBSON [_wearily dropping back into his chair_]: Oh, no, Carter; pretty +usual; that's the trouble. + +MIFFLIN: A splendid manifestation of spirit, Mr. Gibson! I'll just take +advantage of the-- + + [GIBSON _waves his hand, assenting._ MIFFLIN _overtakes the + group at door, puts his hands on the shoulders of two of the + workers; and goes out with them talking eagerly._ NORA + _follows._ GIBSON _sighs heavily; the telephone bell rings. He + takes up the receiver._] + +GIBSON: Who is it?... Wait a minute! [_He takes a pad and writes_]: +"Central Associated Lumber Companies." ... Wait a minute. [_Looks at a +slip in a pigeonhole of his desk._] Oh, yes, you called me yesterday.... +This is Mr. Ragsdale?... No, no, Mr. Ragsdale, I don't think I'm going +to do any business with you. You asked me forty-eight dollars a thousand +on 200,000 feet.... No, your coming down half a dollar a thousand won't +do it.... I say seventeen cents won't do it.... Hold the wire a minute. +[_Looks for letter in pigeonhole, but finds it in his inside pockets. +Then he holds it open, looking at it beside the telephone as he +speaks._] Hello!... No; I was right; there's nothing doing, Mr. +Ragsdale, I know where I can get that 200,000 feet at forty-five +dollars.... I say I know where I can get that lumber at forty-five +dollars.... No; I can get it. There won't be any use for you to call up +again.... Good-bye! + + [_He paces the floor again thoughtfully, then abruptly goes to + the factory door; opens it and calls._] + +GIBSON: Miss Gorodna! + + [NORA _appears in the doorway. She looks at him with + disapproving inquiry; then walks in and closes the door. He + goes to his desk and touches the rose._] + +GIBSON: Why didn't you take it this morning? That poor little rosebed in +my yard at home; it's just begun to brighten up. I suppose it thought it +was going to send you a June rose every day, as it did last June. You +don't want it? + +NORA [_gently, but not abating her attitude_]: No, thank you! + +GIBSON: [_dropping the rose upon his blotting pad, not into the glass +again_]: This is the fourth that's had to wither disappointed. + +NORA [_in a low voice_]: Then hadn't you better let the others live? + +GIBSON: I'd like to live a little myself, Nora. Life doesn't seem much +worth living for me as it is, and if your theories are making you detest +me I think I'm about through. + +NORA: It's what you stand for that my theories make me detest--since you +used the word. + +GIBSON: Well, what is it that I stand for? + +NORA: Class and class hatred. + +GIBSON: Which class is the hatred coming from? + +NORA: From both! + +GIBSON: Just in this room right now it seems to be all on one side. And +lately it has seemed to me to be more and more not so much class as +personal; because really, Nora, I haven't yet been able to understand +how a girl with your mind can believe that you and I belong to different +classes. + +NORA: You don't! So long as capital exists you and I are in warring +classes, Mr. Gibson. + +GIBSON: What are they? + +NORA: Capitalist and proletariat. You can't get out of your class and I +don't want to get out of mine. + +GIBSON: Nora, the law of the United States doesn't recognize any +classes--and I don't know why you and I should. We both like Montaigne +and Debussy. You've even condescended to laugh with me at times about +something funny in the shop. Of course not lately; but you used to. In +everything worth anything aren't we really in the same class? + +NORA: We are not. We never shall be--and we never were! Even before we +were born we weren't! You came into this life with a silver spoon. I was +born in a tenement room where five other people lived. My father was a +man with a great brain. He never got out of the tenements in his life; +he was crushed and kept under; yet he was a well-read man and a +magnificent talker; he could talk Marx and Tolstoi supremely. Yet he +never even had time to learn English. + +GIBSON: I wish you could have heard what _my_ father talked for English! +Half the time I couldn't understand him myself. He was Scotch. + +NORA: Your father wasn't crushed under the capitalistic system as mine +was. My father was an intellectual. + +GIBSON: Mine was a worker. They both landed at Castle Garden, didn't +they? + +NORA: What of that? Mine remained a thinker and a revolutionist; yours +became a capitalist. + +GIBSON: No; he got a job--in a piano factory. + +NORA: Yes, and took advantage of the capitalistic system to own the +factory. + +GIBSON: Before he did own it he worked fourteen hours a day for twelve +years. That's why he owned it. + +NORA: How many hours a day do you work, Mr. Gibson? + +GIBSON: I _have_ worked twenty-four; sometimes fourteen, sometimes two; +usually six. + +NORA: In other words, when you want to work. + +GIBSON: I've learned to do things my father never learned to do, and it +commands a higher return. + +NORA: You _take_ a higher return! + +GIBSON: You mean I don't deserve it? + +NORA: Can it be possible that you think you deserve as much as any of +these _workers_? You don't so much as touch one of these pianos that +bring you your return. I do! I work on them with my hands. Do you think +you deserve as much as I? + +GIBSON: No; I don't go so far as that. + +NORA: Don't talk to me as a woman! My work is pleasant enough now; but +what work did I have to do before I got this far? I worked sixteen hours +a day, and when I was only a child at that! Twelve hours I was sewing, +and four I studied. If my father hadn't known music and taught me a +little your capitalistic system would have me sewing twelve hours a day +still! + +GIBSON: Yes, Nora; when we learn how to do something we get better pay +for it. + +NORA: We do? Do you really think that? That we get paid for what we do? + +GIBSON: Yes; that's what I think. + +NORA: Then what do you get paid for? For nothing in the world but owning +this factory. You're paid because you're a capitalist! + +GIBSON: Is that all? + +NORA: Why, look at the state the factory's in! The discontent you saw in +those men--that's the fault of the capitalistic system! There aren't +twenty workmen in the place that are contented. + +GIBSON: You're right about that; and they never will be. + +NORA: Not until the system's changed. What are you going to do about it? + +GIBSON [_with quiet desperation_]: They've driven me as far as they +can. If they walk out I'll walk out. I can stand it if they can. + +NORA: You'd close down? Your only solution is to take the bread out of +these men's mouths? + +GIBSON: If they walk out I'll walk out! + +NORA [_trembling_]: You coward! + +GIBSON: That's fair? + +NORA: You'll let us starve because you haven't the courage to come to +the right solution! Don't you mind starving us? + +GIBSON: You mean you'd starve if I quit. + +NORA [_vehemently_]: No; but because you'd close the factory. + +GIBSON: Oh, the factory could run if I quit, could it? + +NORA: That's the capitalist! They think it's capital that runs the +factories! + +GIBSON: And I'm the capital, am I? + +NORA: What in the world else? [_Touches the piano._] You think you +produce this wealth because you've got your money in it? You pass out a +pittance to those who do produce it, and when they ask for more than a +pittance you take their tools away from them! If they rebel you set the +police on them. That's capital--and that's you, Mr. Gibson! + +GIBSON: Nora, you told me not to speak to you as a woman. + +NORA: I mean it! + +GIBSON: I'm going to disregard it. Couldn't you get your theories out of +your mind for a while and make a little room there for me? + +NORA: My theories! I haven't any theories! I'm talking about the truth, +and the truth is my whole life. I can't find room for anything but the +truth. + +GIBSON: Couldn't you? + +NORA: Ah, that's a man's egoism! With the whole world seething so that +its wrongs should fill every mind--yes, and every heart--until they're +righted, you ask me-- + +GIBSON: I think you needn't make it any clearer, Nora; I understand. + +NORA [_turning away, agitated_]: I am glad you do. + + [_The factory door opens to the impetuous arrival of a + workingman of extraordinary size and vehemence_, RILEY, _a + truck driver._] + +RILEY [_as he opens the door_]: See here, Mr. Gibson, fer the love o' +heaven, don't the truck drivers fer this factory git no consideration? + +GIBSON: I don't know! What do they want? + +RILEY: Look here, Mr. Gibson, man to man, every department in this +factory is makin' demands and goin' to walk out if they don't git 'em. +Ain't we got no chance fer no demands? + +GIBSON: I said: What do you want? + +RILEY: Why, we got grievances been hangin' over I don't know how long! + +GIBSON: What are they? + +RILEY: Why, all them other departments is going to git raises. You don't +think fer a minute the truck drivers ain't going to-- + +GIBSON: How much raise do you want? + +RILEY: Sir? + +GIBSON: How much raise do you want? + +RILEY: I can't jest say right this minute. We jest heard what was goin' +on in the other departments, and we ain't had no meetin' to settle just +what raise we _are_ goin' to git. Now, Mr. Gibson, if I was runnin' this +factory-- + +GIBSON: Well, what would you do? + +RILEY: The first thing I'd do, I'd see that the truck drivers didn't +have no more discontent than nobody else. What becomes of your freight +if you can't run no trucks? You got to look out, Mr. Gibson! It's us got +the upper hand. + +GIBSON: Go call your meeting and find out what raise you're going to +strike for. + +RILEY: Yes, sir; I'll do it. [_He goes out quickly._] + +NORA: [_amazed and rather gentle_]: Are you going to give them what they +want? + +GIBSON: No; I only wanted to get rid of him a minute to think--or try +to. + +NORA [_in a low voice, offended_]: Oh, excuse me! [_She is going out._] + +GIBSON: Stay here! [_He seems to approach a decision--one of desperation +and anger. Then he speaks crisply, but more to himself than to_ NORA.] +All right--they get it! [_Looks up at_ NORA, _gives her a frowning stare +of some duration._] Tell Riley to call off his meeting, please. I want +all those spokesmen for the departments here. I'll give them their +answer now. + + [NORA _looks at him, puzzled, bites her lip, and goes out + quickly into the factory._ GIBSON'S _expression is determined; + so is his action. He goes to the wall, brings two chairs, one + in each hand, places them at the large table. Repeats this + until he has chairs placed at the table on both sides and at + the head as if for a directors' meeting. The door opens and_ + SALVATORE, MIFFLIN, CARTER, RILEY, SHOMBERG, FRANKEL, _and_ + SIMPSON _enter. They come in, speaking together; most of them + talking somewhat ominously._] + +CROWD: Well, he better!... We ain't workin' for our health.... My whole +department'll walk out!... You bet your life we're goin' to!... He +needn't kid himself about our not meaning business! + +FRANKEL: Well, Mr. Gibson, we'd like to know what conclusion you come +to. + +GIBSON: I'm going to tell you. Simpson, please ask Miss Gorodna to step +in. + + [SIMPSON _merely looks out of the door, and_ NORA _comes in + quickly._] + +Carter, take that chair at the head of the table. Frankel, Salvatore, +Shomberg, sit there, and there, and there! Riley, sit there. Simpson, +there! Miss Gorodna, will you please sit here? [_They take the seats he +indicates, but they look puzzled, somewhat perturbed; whisper and murmur +to one another._] Thank you! There! That looks like a directors' tables +doesn't it? + +SALVATORE: What's this all about? + +GIBSON: I want to ask you people if any of you ever knew me to break my +word to you? + +FRANKEL: Oh, no, Mr. Gibson, we know you never break your agreements! + +GIBSON: I want to ask you people: Haven't you found my word as good as +my bond? + +CARTER: Why, yes, Mr. Gibson. + +SIMPSON: Sure! We know you'll do what you say. + +GIBSON: Do you all agree to that? + +SALVATORE: Soit'nly! You're a gentleman. + +RILEY: Sure, we agree to it! + +SHOMBERG: Oh, well, prob'ly so. + +GIBSON: All right! I'm going to do something you don't expect, and I +want you to know I mean it. But before I do it I want to tell you +something. Probably you won't understand it, but for a long time I had a +pride in this factory. Building up The Gibson Upright was really the +pride of my life. To do that I knew I had to have a loyal staff of +workmen, and for that reason if no other I have given you shorter hours +and more pay than the men get in any other factory of this kind that I +know of. I've done everything that can be done to make the shops healthy +and light and clean. I certainly haven't been unfriendly to you +personally. Any man in the factory was free to come in that door to talk +to me any time he wanted to. I've done my best and we've been called +the model factory. I've done my best but--it isn't enough. It never has +been enough. And I've been told it never will be enough [_with a glance +at_ NORA] until the wage system has been abolished--until capital has +been abolished and the parasite destroyed! I say I took a pride in the +factory for years! Now I am no longer able to. I can't take a pride in a +squabble, and that's all this factory has come to be. And I'll tell you +frankly--you men feel you'd like to get rid of me; well, I want to get +rid of you. And I intend to! + +SHOMBERG [_fiercely_]: You goin' to close this factory down? + +GIBSON: No; I'm going to give it to you! + +SEVERAL WORKMEN: What! + +GIBSON [_emphatically_]: I'm going to give it to you! I turn it over to +you, here and now. This property is mine, but the use of it is yours. +Don't you understand? You've said yourselves my word is as good as my +bond. Well, the factory is yours. I'm going to get away from it. You +take it and run it. + + [_He gets his hat and coat._] + +SIMPSON: What in thunder does he mean? + +SALVATORE: Say, what's the game? + +GIBSON: There it is! Take it and run it yourselves, for yourselves. It +belongs to every workman in the factory on equal shares. [_Throws keys +on table._] There are the keys of the safe, and the combination's in the +top drawer of that desk. It's all yours as it stands, down to the very +correspondence on that table, without any let, hindrance, or +interference from me. + +FRANKEL [_hoarsely_]: Say! He means it! + +SALVATORE: All the money ours? + +GIBSON: The money for every piano you make and sell is yours--every cent +of it. + +MIFFLIN [_rising transfigured_]: Gentlemen, a glorious time has come! +This is an example to every employer of labour in our land. I thank that +power which destined all men to be equal both in service and reward that +I should have chanced to be present to see such a splendid band of +forward-looking fellows--of brothers, of comrades--come into their own! +Let us hope that this great moment but marks the beginning of an epoch +when every capitalist and manufacturer shall see the light as Mr. Gibson +has just done. + +As spokesman for these--these men, Mr. Gibson, I would congratulate you +for anticipating the inevitable and certain world future! You have done +well for yourself to perceive it. I am sure on that account you leave +here with their respect. And to you I should think it might be some +relief-- + +GIBSON: Relief? I should think it might! And you can translate that into +your nineteen languages and dialects--including the Scandinavian! As for +you men--you wouldn't work for me--now see if you can work for +yourselves! Good-bye, Miss Gorodna! + + [NORA, _who has been looking at him tensely, inclines her head + slightly. He opens the door that leads to the street and goes + out decisively. There are exclamations from everyone, loud but + awed. "Say, look here, look here, look here!" + + "Give it to us!" "Equal shares! Did you hear what he said?" + "Gosh! Is this the end of the world?" "My wife won't believe + it!"_] + +MIFFLIN: Gentlemen, this factory comes into the possession of every +workman in it on equal terms; each has a like share in the profits. At +last the workman owns his tools. + +FRANKEL [_suddenly, as if light had just come_]: Gibson's crazy! + +MIFFLIN: No, no! He saw the writing on the wall! + +NORA [_as if entranced, her eyes to heaven_]: Isn't it +wonderful--wonderful! + +MIFFLIN [_beaming_]: But we mustn't forget that it entails +responsibilities. + +NORA: We mustn't forget that. + + [_The telephone bell rings. They all turn their heads in + silence and look at it_, MIFFLIN _watching them, benevolently + chuckling. The bell rings again._] + +CARTER [_blankly_]: The telephone is ringin'. + +MIFFLIN: Well, answer it, answer it! + +SIMPSON: Who? + +MIFFLIN: Why, you--any of you. It's yours--it's your telephone. + +SIMPSON: You answer it, Carter. + + [CARTER _goes to the telephone and picks it up in a somewhat + gingerly way._] + +CARTER: Hello!... Yes.... Yes, it's The Gibson Upright.... No, he ain't +here.... What? Wait a minute. [_Puts his hand over the mouthpiece._] He +wants to know who it is talking. + +FRANKEL: My goodness! Can't you tell him it's you? + +CARTER: He wouldn't know who that was. + +MIFFLIN: Tell him it's one of the owners of the company. + +CARTER [_looks at_ MIFFLIN _solemnly; then in a hushed voice_]: It's one +of the owners of the company.... Wait a minute; let me get that. "The +Central Associated Lumber Companies?" I hear you. Wait a minute. [_Looks +round._] This here company says they want to lower their bid for a +couple hundred thousand feet o' lumber to forty-seven dollars a +thousand. They say that's a dollar lower than they offered yesterday and +a half a dollar lower than they offered this morning--says got to know +now. + +FRANKEL: Says they come _down_ to forty-seven, do they? + +CARTER: Yes; says so! + +SIMPSON: Well, tell 'em that's good; we'll take it. + +THE OTHERS: Sure, that's right!... That's a good offer.... Sure, we'll +take it! + +CARTER [_at the telephone_]: We'll take it. [_Pause._] You're welcome. + + [_Puts down the telephone amid general buzz from all the + others. They rise somewhat dazedly, but relaxing, beginning to + take in their surroundings in the new life._ SHOMBERG _and_ + SIMPSON _shake hands._ FRANKEL _goes over and examines the + safe._ SALVATORE _picks up a basket of correspondence from the + desk as if it were a strange bug._ SHOMBERG _opens a drawer in + the table. There is a buzz of congratulative, formless talk. + They spread over the stage, looking at everything._] + +MIFFLIN [_transfigured, his right hand lifted_]: Gentlemen, this is the +New Dawn! + + + + +ACT II + + + _The yard beside_ GIBSON'S _house. Upon our left is seen the + porch or sun-room wing of a good "colonial" house of the + present type. A hedge runs across at the back, about five feet + high, with a gateway and rustic gate. Beyond is seen a + residential suburban quarter, well wooded and with ample + shrubberies. A gravelled path leads from the gate to the porch, + or sun-room, where are broad steps. Upon the lawn are a white + garden bench, a table, and a great green-and-white-striped sun + umbrella, with several white garden chairs. + + Autumn has come, and the foliage is beginning to turn; but the + scene is warm and sunlit. + + After a moment a young housemaid brings out a tray with a + chocolate pot, wafers, and one cup and saucer and a lace-edged + napkin. She places the tray on the table, moves a chair to it, + looks at the tray thoughtfully, turns, starts toward the + house--when_ GIBSON _comes out. He wears a travelling suit and + is bareheaded._ + +ELLA: The cook thought you might like a cup of chocolate after a long +trip like that--just getting off the train and all, Mr. Gibson. + +GIBSON: Thank you, Ella, I should. + +ELLA: I'll bring your mail right out. + + [_She goes into the house and returns with a packet of + letters._] + +GIBSON: Thanks, Ella! + +ELLA: Everything is there that's come since you sent the telegram not to +forward any more. + +GIBSON: It's pleasant to find the house and everything just as I left +it. + +ELLA: My, Mr. Gibson, we pretty near thought you wasn't never coming +back. Those June roses in that bed round yonder lasted pretty near up +into August this year, Mr. Gibson. For that matter it's such mild +weather even yet some say we won't have any fall till Thanksgiving. + +GIBSON: Yes, it's extraordinary. + +ELLA: Shall I leave the tray? + +GIBSON: No; you can take it. [_She moves to do so._] Wait a minute. +Here's a letter from John Riley, up at the factory. Don't I remember his +son Tom coming here to see you quite a good deal? + +ELLA: Yes, sir; Tom's one of the factory truckmen like his father. He +still comes to see me quite a good deal, sir. There isn't anything about +that in the letter, is there, sir? [_She knows there isn't._] + +GIBSON [_absently_]: No, no! [_With faint irony._] He only wants to know +about where to get a stock of truck parts that had been ordered before I +broke connections with the factory. He thinks four months is a long time +for them to be on the way and doesn't know where to write. + +ELLA: He's a terrible active man, Mr. Riley. Always pushing. + +GIBSON: So Tom comes round more than ever, does he? + +ELLA [_coyly_]: He does, sir! + +GIBSON: I'm not going to lose you, am I, Ella? + +ELLA: Well, sir, up to the time of that change in the factory we hadn't +expected we could get married for maybe two years yet, but the way +things are now--not that I want to leave here, sir--but it does look +like going right ahead with the wedding! + +GIBSON: Tom feels that prosperous, does he? + +ELLA: I guess he _is_ prosperous, sir! + +GIBSON [_gravely digesting this_]: Well, I suppose I'm glad to hear it. + +ELLA: Yes, sir; everybody's glad these days up at the factory, sir. I +don't mean about just Tom and me, they're glad. + +GIBSON: You mean they're all in a glad condition? + +ELLA: Oh, _are_ they, sir! Even the Commiskeys got an automobile last +month! + +GIBSON: Well, I suppose that's splendid. + +ELLA: Didn't you know about it, sir? + +GIBSON: No, not a word. I've been pretty deep up in the Maine woods this +summer. Have you been over to the factory at all yourself, Ella? + +ELLA: Yes, sir; visitors can go round just as they like to. They're glad +to have you. + +GIBSON: When you've been over there, Ella--you know which one is Miss +Gorodna, don't you? + +ELLA: Oh, yes, sir! She's one of the best in managing, Miss Gorodna. + +GIBSON: You--did you--have you happened to see her? + +ELLA: Yes, sir, once or twice. + +GIBSON: Did she--ah--did she look overworked? + +ELLA: Oh, I shouldn't say so, sir. + +GIBSON: She looked well, then? + +ELLA: Yes, indeed, sir! Everybody's so happy up there; I don't suppose +none of 'em could look happier than she is, sir! + +GIBSON: They are all happy, then? + +ELLA [_laughing joyfully_]: You never see such times in your life, sir! +[_A bell rings in the house._] I'll answer the bell. + +GIBSON: I've finished this, Ella. + +ELLA: Yes, sir. [_She takes the tray and goes into the house._ GIBSON +_opens another letter, reads it._ ELLA _returns._] + +ELLA: It's Mr. Mifflin, sir. + +GIBSON: All right. + + [MIFFLIN, _beaming and bubbling, more radiant than in Act 1, + but dressed as then except for a change of tie, comes from the + house. He carries his umbrella and hat and the same old + magazines and a newspaper._] + +MIFFLIN: Ah, Mr. Gibson, you couldn't stay away any longer! + +GIBSON: How de do! Sit down! + +MIFFLIN [_effervescing, as they sit_]: It's glorious! I heard from your +household you were expected back this Sunday. Now confess! You couldn't +stay away! You had to come and watch it! + +GIBSON: Well, I've not had to come and watch it for four months. I don't +expect to watch it much, now. + +MIFFLIN: You don't mean to sit there and tell me you don't know +anything about it! + +GIBSON: No; I don't know anything about it. + +MIFFLIN: Mr. Gibson, you're an extraordinary man! + +GIBSON: No, I'm not. What I did was extraordinary, but I was only an +ordinary man pushed into a hole. + +MIFFLIN: Oh, no; surrendering the factory was merely normal. What's +remarkable is your staying away from watching the glorious work these +former hireling workmen of your factory are doing, now they've won their +industrial freedom. Myself, I've taken rooms near by: I started to do +one article; now I have a series. And oh, the glory of watching these +comrades with their economic shackles off! Haven't you heard anything of +our success? + +GIBSON: Only a word from my housemaid. + +MIFFLIN [_delightedly, pinning him_]: Aha! There! What did she say? +"Only a word"; but what was IT? + +GIBSON: It indicated--prosperity. + +MIFFLIN: Ah! Immense prosperity, didn't it? + +GIBSON: I suppose so. Success, at any rate. + +MIFFLIN: Success? It's so magnificent that now it's inevitable for +every factory of every kind all over this country. + +GIBSON: All over the country? + +MIFFLIN: Not only all over this country! The world must do it. Ah, +they've done it in a country larger than this already! And these +comrades right here are showing our country what it means. I don't +begrudge you some credit for having begun it, Mr. Gibson. But you only +anticipated what all owners everywhere are going to have to do before +the workmen simply _take_ the factories. They're going to take them +because they have the inherent right; and they're going to take them +_now_, either by direct action or by the technical owners, like +yourself, seeing the handwriting on the wall. + +GIBSON: What do you mean by direct action? + +MIFFLIN: Why, just taking them! + +GIBSON: By force? + +MIFFLIN [_deprecatingly but affably_]: Oh, we hope the theoretical +owners won't reduce them to such extremes. There might be a few cases +that law-abiding citizens would regret; but that isn't the big thing. +Our work here is so far perhaps on the small scale, but it shows--it +shows--that everything must be on a cooeperative basis! + +GIBSON: Everything? My house, too? + +MIFFLIN [_beaming_]: Your house, too. + +GIBSON [_amiably_]: How about your gold eyeglasses? + +MIFFLIN [_laughing_]: Those will be given me by the state. But +seriously, aren't you coming to pay us a visit at the factory? + +GIBSON: Since you ask me--what's the best time? I suppose the whistle +doesn't blow as early as it used to. + +MIFFLIN [_laughing pityingly_]: Whistle! Oh, my dear sir! This only +confirms me in my old idea that the technical owners didn't have +practical minds. You don't suppose we abolished you, and then didn't +abolish the whistle? That whistle hurt self-respect. Really I'm sorry +it's Sunday and I can't take you over there this minute to see the great +changes. Talk about collectivism! That factory is the most interesting +place in the world to-day. When the men were working eight long hours a +day under a master it was all repression, reserve; their individualities +were stifled. Now they expand! + +GIBSON: You mean they talk a good deal? + +MIFFLIN: I never have been in a place where there was so much talk in my +life. They talk all the time; it shows they are thinking. + +GIBSON: Isn't it noisy? + +MIFFLIN [_delighted_]: It is! Every man has his own ideas and he +expresses them. It means a freshness and originality in the work that +never got into it before. + +GIBSON [_worried_]: Originality? You don't mean to say they've changed +any of the features of The Gibson Upright. + +MIFFLIN: Oh, no; it's the same piano--and yet different! I almost feel I +could tell the difference by looking at one. There's no change; yet now +it has character. And those men--those men, Mr. Gibson--it's brought out +_their_ character so! They're thinking all the time. + +GIBSON: They're working, too, of course? + +MIFFLIN: Working! You never saw men work under the old capitalistic +regime, Mr. Gibson! Don't think that this work is the driven, dogged +thing it was when they had to. This is work with dignity, with +enthusiasm, with spontaneity! + +GIBSON [_rising, very thoughtful_]: Well, I ought to hope that it is, of +course! + + [_He walks to and fro a moment, then comes and rests his hands + on the back of a chair, looking at_ MIFFLIN.] + +Mr. Mifflin, I went into this with open eyes. I was angry at the time, +but I had thought of it often. And when I went out I went out! Now I've +kept away and I don't intend to do any prying--as a matter of fact, I'm +only back here for two or three days--but I have some natural curiosity, +especially about certain particulars. + +MIFFLIN: Everything is as open as the sunlight--no capitalistic secret +machinations. Ask anything you like! + +GIBSON: Well, then, do you happen to know what are the profits for these +four months? + +MIFFLIN: Frankly, that's a detail I don't know. But I do know that +everyone is delighted and that the profits have been large. + +GIBSON: And no friction among the men? + +MIFFLIN: No--I--no, none at all; no friction; nothing that could be +called friction at all. + +GIBSON: Then it's a complete success? + +MIFFLIN: Absolutely! Why, just let me picture it to you, Mr. Gibson. +Don't you understand, these men are not hirelings now; they're comrades, +a brotherhood! You should see them as they come from the factory in the +warm afternoon sunshine. They stop in groups and continue discussions of +matters of interest that have come up during the day. You hear the most +eager discussion, such spirited repartee; and in the factory itself +these groups gather at any time. When there may be some tiny bit of +friction it is disposed of amicably, comrade to comrade. And some of the +wives of the workmen have taken the greatest interest! Imagine under the +capitalistic regime a wife coming and sitting at her husband's side and +taking up little matters of importance with him, as a wife should, while +he worked! Oh, the wives have caught the idea, too! They're +proprietresses just as much as their husbands are proprietors. And you +can see how keenly they feel the responsibility and want to share in +settling all questions that come up. Then they walk home with their +husbands, talking it all over. Mr. Gibson, I tell you, sometimes it has +moved me. More than once I have found my eyes moistening as I watched +it. + +GIBSON: And do you happen to know--well, haven't the men felt the need +for a certain kind of general management of the institution's affairs? + +MIFFLIN: Oh, that's all met--all met by meetings of the governing board, +the committee. + +GIBSON: No; I meant, hasn't any need been felt for a man with a certain +specialized knowledge? Say, for instance, to deal with the purchasing +of raw materials? + +MIFFLIN [_somewhat vague and puzzled_]: I think they did do this through +an individual for a time. I think the head bookkeeper was given charge +of such matters; at least I think so. But probably they found that the +creation of such an office was unnecessary. Purely clerical work. At +least I haven't seen him about for several weeks. + +GIBSON: Was he there on just one share of the profits? + +MIFFLIN: Why, of course! That is the _sine qua non_. + +GIBSON [_thoughtfully_]: I see. [_Paces up and down and halts again._] +So you say everybody is happy? + +MIFFLIN: Radiant! + +GIBSON: Everybody? + +MIFFLIN [_beaming_]: Come and see! + +GIBSON: Ah--Miss Gorodna seems to like it all, does she? + +MIFFLIN: _Does_ she! + +GIBSON [_a little falsely_]: None of them are happier than she is, I +suppose? + +MIFFLIN: Miss Gorodna is the radiant, joyous sunshine of the whole +place! + +GIBSON [_somewhat ruefully_]: Well, that's pleasant news. + + [ELLA _appears from the house._] + +ELLA: It's that old Ed Carter from the factory, Mr. Gibson. He heard +from Tom Riley you was expected back and he's come to call on you. + +GIBSON: Tell him to come right out. [_Sees_ CARTER _beyond_ ELLA.] Come +out here, Carter! Glad to see you! + + [_They shake hands._ CARTER _is unchanged as to head and + whiskers, but wears a square-cut black frock coat, or "Prince + Albert," with trousers and waistcoat of the same material; old + brown shoes, a derby hat, a blue satin four-in-hand tie._] + +CARTER: How do you do, Mr. Gibson! I just thought I'd pay my respects, +as Tom Riley passed the word round the factory you was coming back. + +GIBSON: Sit down, sit down! + +MIFFLIN [_exuberantly_]: How do you do, Carter, how do you do! [_They +shake hands and_ MIFFLIN _pats_ CARTER _on the shoulder._] Look at him, +Mr. Gibson! Look at him! Don't you see what the New Freedom has done for +him? It's in his eye! That pride of liberty! It's in his step, in every +gesture he makes. [CARTER _strokes his whiskers._] You're old +friends--equal now, equal at last. I won't disturb you! [_Picks up his +hat, magazines, and umbrella._] He can give you more than I can, Mr. +Gibson. Good afternoon! Good afternoon! + + [_He goes out through the gate._] + +GIBSON: Sit down, Carter. Sit down! [_They sit._] Well, is everything +fine? + +CARTER [_heartily_]: Yes, sir! It is, Mr. Gibson! Indeed it is! +[_Glances with some little pride at his clothes._] I couldn't of +expected no finer. Fact is, I never could of asked for anything like +this, even if I'd been a praying man. + +GIBSON: Well, I'm glad to hear it, Carter! + +CARTER: I knowed you would be, Mr. Gibson. It's all just wonderful the +way things are working out! + +GIBSON: Everything is working out just right, is it? + +CARTER: Oh, I don't say everything! They's bound to be some little mites +here and there. You know that yourself. + +GIBSON [_grimly_]: Yes, I do! What are _your_ little mites, Carter? + +CARTER: Well, what mostly gits my goat is this here Simpson's wife, Mrs. +Simpson. + +GIBSON: What bothers you about Simpson's wife? + +CARTER: Well, what I says, woman's place is the home, and this here Mrs. +Simpson--I--I never could stand no loud, gabby woman! + +GIBSON: You're not neighbours, are you? + +CARTER: No! She spends all her days at the factory; you might think she +was running the whole place! What's worse'n that, you know they elected +me chairman o' the governing committee, and she's all the time trying to +'lectioneer me out. What she wants is to git Simpson in for chairman; +that'd be jest same's her bein' chairman herself, the way she runs +Simpson! That's the only thing that worries me. Everything else is just +splendid, splendid! + +GIBSON: I understand you don't blow the whistle any more. What hours are +you working now? + +CARTER: Well, first we thought we ought to work about six; but we got on +such a good basis a good many of them are talkin' how they think that's +too much. It'd suit me either way. _That_ ain't the trouble over at that +factory, Mr. Gibson. + +GIBSON: What is the trouble over at that factory? + +CARTER [_with feeling_]: Mr. Gibson, it's the inequality. Look at me +now, and look at Simpson. Simpson and his wife haven't got a child, and +I got seven, every one of 'em to support, and my married daughter lost +her husband and got a shock, and I got her and her three little ones +pretty much on my hands. And Simpson draws down every cent as much as +what I do; just exactly the same. And if the truth was told he don't +work as much as what I do. Then, look at them bachelors; they ain't got +_nobody_ to support! Well, that's got to be settled! + +GIBSON: How are you going to settle it? + +CARTER [_cheerfully_]: Oh, the committee meetin' settles everything by +vote. I'd of put a motion about these matters at some o' the meetings +long ago except I'm chairman and they worked a rule on me the chairman +can't put motions. But some of us got it fixed up to git it put over at +the meeting to-morrow. That's the _big_ meeting to-morrow--the monthly +one. Don't misunderstand me, Mr. Gibson; I ain't makin' no complaint +about these here details, because everything else is so splendid and +prosperous it seems like this here New Dawn Mr. Mifflin called it in his +article. + +GIBSON: Nothing else worries you then, Carter? + +CARTER: Nothing else in the world, Mr. Gibson. Except there might be +some of 'em don't take their responsibilities the way I could wish. +Fact is, there's so much talkin' gits to goin' over there sometimes you +can't hear yourself work. Me? I'm an honest worker, if I work for you or +work for myself. But I can't claim they're all that way. Some that used +to loaf, you can't claim they don't loaf more than they did; yes, sir! + +GIBSON: They get just the same as you do, though, don't they? + +CARTER: Oh, yes! That's the _sinee que none_; it's the brotherhood +between comrades. I don't mean to complain, but they's one thing that +don't look to me just fair. It took me four years to learn my trade and +I'm a skilled workman, and now some Hunnyacks that just sends strips +along through a chute--and it's all they do know how to do--they used to +git two and a half a day to my six, but this way we both git just the +same. I says something about it didn't seem right to me, and one them +Hunnyacks called me a boor-jaw. Well, then I talked to Miss Gorodna +about it. + +GIBSON: What did Miss Gorodna say? + +CARTER: Miss Gorodna says: "But you both get enough, don't you?" + +GIBSON: Well, don't you? + +CARTER [_scratching his head_]: Yes, plenty; and it _sounds_ all right, +them and me gittin' the same; but I can't just seem to work it out in my +mind how it _is_ right. [_Cheering up._] Mr. Mifflin says himself, +though, it's just wonderful! And we certainly are makin' great money! + +GIBSON: Then all you poor are getting rich? + +CARTER: Yes; looks like we will be. + + [_During these speeches_ NORA _has appeared, or rather her head + and shoulders have, above the hedge. She has come along the + hedge and now stands halting at the gate. She wears a becoming + autumn dress and hat, in excellent taste; carries a slim + umbrella. She has a beautifully bound book in her hand._] + +NORA [_opening the gate_]: Do you mind my coming in the side gate, Mr. +Gibson? + + [GIBSON, _startled by her voice, turns abruptly from_ CARTER + _to stare at her, speaks after a pause, slowly._] + +GIBSON: No, I don't mind what gate you come in. + +NORA [_coming down to join them_]: How do you do! [_Gives him her +hand._] + +GIBSON: How do you do! + +CARTER [_on the other side of her_]: How do you do, Miss Gorodna! + +NORA [_for a brief moment confused that she has not noticed_ Carter]: +Oh--oh, how do you do, Mr. Carter! [_Turns and shakes hands with him. +She turns again, facing_ GIBSON.] I just heard you were here. I wanted +to bring you this copy of Montaigne--if you'll forgive me for keeping it +a year. + +GIBSON: I gave it to you. Don't you--remember? + +NORA: Yes, I--remember. But things were different then. Please. I think +I oughtn't to keep it now. [_He takes it, places it gently upon the +table; they sit facing each other; she speaks more cheerfully and +briskly._] I came to see you on a matter of business, too. + +CARTER: Well, then, I'll just be-- + +NORA: Oh, no! Please stay, Mr. Carter! It's a factory matter. [CARTER +_coughs and sits._ NORA _continues, not pausing for that._] It was about +that great stock of wire you had your purchasing agent buy just before +the--before you went away, Mr. Gibson. + +GIBSON: I'm glad to see you looking so well, Miss Gorodna. + +NORA: Thank you! If you remember, you must have ordered him to buy all +the wire of our grade that was in the market at that time. At any rate, +we found ourselves in possession of an enormous stock that would have +lasted us about three years. + +GIBSON: Yes. That's what I wanted. + +NORA: As it happened it turned out to be a very good investment, Mr. +Gibson, because in less than a month it had gained about nine per cent. +in value, and three weeks ago a man came to us and offered to take it +off our hands at a price giving us a twenty-two per cent. profit! + +GIBSON: Yes; I should think he would. + +NORA: So of course we sold it. + +GIBSON [_checks an exclamation, merely saying_]: Did you? + +NORA: Naturally we did! Twenty-two per cent. profit in that short time! +Now it just happens that we've got to buy some more ourselves, and we +can't get hold of any, even at the price that we sold it, because it +seems to have kept going up. I thought perhaps you might know where to +get some at the price you bought the other, and you mightn't mind +telling us. + +GIBSON: No; I wouldn't mind telling you. I'd like to tell you. + +NORA: You think there isn't any? + +GIBSON: I'm sure there isn't any. + +NORA: Then I'm afraid we'll have to get some back from the people we +sold to. Of course I'm anxious to show the great financial improvement +as well as other improvements. That's partly my province and Mr. +Carter's, our committee chairman, besides our regular work. + +GIBSON: Mr. Mifflin tells me that you had a sort of general manager for +a while at first. + +CARTER: Oh, that was Hill, the head bookkeeper. He left. He was a +traitor to the comrades. + +GIBSON: Hill? He knew quite a little about the business. Why did he +leave? + +CARTER: Why, that Coles-Hibbard factory went and offered him a big +salary to come over there; more than he thought he could get cooeperatin' +with us. + +NORA: Hill was always a capitalist at heart. We certainly haven't needed +him! + +CARTER: Oh, everybody was glad to get rid of Hill! Better off without +him--better off without him! + +GIBSON: I suppose it was really an economy, his going? + +NORA [_smiling_]: It resulted in economy. + +GIBSON: Have you made many economies? + +NORA: Oh, a great many! + +CARTER: Oh, my! Yes! + +NORA: Economies! [_Her manner now is indulgent, amused, friendly, almost +pitying._] Mr. Gibson, have you any realization of what you threw away +at that place? Don't be afraid, I'll never bring you the figures. I +wouldn't do such a thing to anybody! + +GIBSON: Do you think I was too lavish? + +NORA: We couldn't believe it at first. Just what was being thrown away +on advertising, for instance. The bill you paid for the last month you +were there was five thousand dollars! + +CARTER: That was the figger! It's certainly a good one on you, Mr. +Gibson. + +NORA: We cut that five thousand dollars down to _three hundred_! That +was one item of forty-seven hundred dollars a month saved. Just one +item! + +CARTER [_hilariously_]: Quite some item! + +NORA [_seriously and gently_]: Five thousand dollars a month to +advertise a piano that sells for only a hundred and eighty-eight +dollars! + +CARTER: That's the facts! + +NORA: Mr. Gibson, did you really ever have any idea what you were +paying in commissions to agents? + +GIBSON: Yes, I did. + +NORA: Why, I can't believe it! Did you know that you paid them twenty +per cent. on each piano? Over thirty-seven dollars! + +GIBSON: Yes. + +NORA: But wasn't it thrown away? I can't understand how you kept the +factory going so long as you did, with such losses. Why, don't you know +it amounts to hundreds of thousands of dollars a year? When we found it +out we couldn't see how you made both ends meet, and we thought there +must have been some mistake, and you'd never realized what advantage +these agents were taking of you. + +GIBSON: Yes, I knew what they got. + +NORA [_triumphantly_]: We cut those commissions from thirty-seven +dollars--to _twelve_! And that's just one more item among our economies. +Now do you wonder at the success we're making? + +GIBSON: And your profits have been--satisfactory? + +NORA: The very first month our profits were _four thousand dollars_ more +than the last month you were there! + +GIBSON: That's the month you say you cut out four thousand seven +hundred dollars' worth of advertising. + +NORA: And the next month we cut down the commissions, and the profits +were _five_ thousand more! + +GIBSON: But those were returns under the old commissions. + +NORA: But last month, with new economies, we showed a larger profit than +you had! + +GIBSON: And this month? + +NORA: We shan't know that until the report's read at the meeting +to-morrow. I think it will be the largest profit of all. + +CARTER: That bookkeeper's workin' on it to-day. Talked like he was going +to cut us down two or three thousand, mebbe. [_Laughing._] That's the +way he always talks. + +NORA: He isn't a good influence. + +CARTER: No--too gloomy, too gloomy to suit me! + +GIBSON: What about the two other bookkeepers? + +CARTER: The committee voted them into the packing department; and they +ain't much good even there. It's a crime! + +NORA: They weren't needed. Our bookkeeping is so simplified since you +left! + +GIBSON: It all seems to be simplified, Miss Gorodna. + +NORA: Yes; and whatever problems come up, they're all settled at our +meetings. + + [_A sound of squabbling is heard upon the street, growing + louder as the people engaging in it approach along the + sidewalk._] + +CARTER: There's one we got to bring up and do something about at the +meetin' to-morrow. + +GIBSON: What is it? [CARTER _goes up to the gate._] + +NORA: It's that Mrs. Simpson; she's a great nuisance. + +CARTER: Yes, it's her and Simpson and Frankel. The Simpsons moved into a +flat right up in this neighbourhood. Quite some of the comrades live up +round here now. + + [FRANKEL _and_ MRS. SIMPSON _are heard disputing as they + approach: "Well, what you goin' to do about it!" "I'll show you + what we're goin' to do about it!" "You can't do nothing!" "You + wait till to-morrow and see." "I got my rights, ain't I?" and + so on._] + +SIMPSON [_heard remonstrating_]: Now, Mamie, Mamie! Frankel, you +oughtn't to talk to Mamie that way. + + [GIBSON, _interested and amused, goes part way up to the + hedge._ NORA _is somewhat mortified as the disputants reach the + gate._ GIBSON _speaks to them._] + +GIBSON: How do you do, Simpson! How do you do, Mrs. Simpson! How do you +do, Frankel! Won't you come in and argue here? + +MRS. SIMPSON: Wha'd you say, Mr. Gibson? + +GIBSON: I said come in; come in! + +SIMPSON [_uncertainly_]: Well, I don't know. + +GIBSON: Come in! Nobody here but friends of yours. Sit down. I'd like to +hear what the argument was about. + + [MRS. SIMPSON _is a large woman, domineering and noisy, dressed + somewhat expensively. She is proud of some new furs and a pair + of quite fancy shoes._ SIMPSON _has a new suit of clothes and a + gold-headed cane._ + + FRANKEL _wears a cheap cutaway suit and is smoking a cigar._] + +MRS. SIMPSON: I don't care who hears the argument! Right's right and +wrong's wrong! + +FRANKEL: You bet right's right, and so's my rights right! + +MRS. SIMPSON: You ain't got any rights. + +FRANKEL [_hotly to everybody_]: Do you hear she says I ain't got no +rights at all? + +MRS. SIMPSON: You ain't got the rights you claim you got. + +FRANKEL: She comes down there and tries to run the whole factory. Ask +any of 'em if she don't. Ask Carter! + +MRS. SIMPSON: I own that factory just as much as anybody does. + +SIMPSON: Now, Frankel, you be careful what you say to Mamie! + +FRANKEL: I got shares in that factory and by rights ought to have as +many votes at the meetin' as I got shares--let alone your talking about +trying to root me out of my profits! + +GIBSON: What's this about Frankel having shares? + +FRANKEL [_violently_]: You bet your life I got shares! And I'm going to +have my shares of the money at that meetin' to-morrow! + +MRS. SIMPSON: You bet your life you ain't! + +SIMPSON: You think we're goin' to vote all our profits away to you? + +CARTER: Wait a minute! Ain't I the chairman of that-- + +MRS. SIMPSON: You may be chairman yet--but not long! + +FRANKEL [_sharply to_ CARTER]: You just try to rule me out once! + +GIBSON: What's it all about? + +MRS. SIMPSON: I'll soon enough tell anybody what it's about! + +FRANKEL: You couldn't tell nothing straight! + +CARTER [_deprecatingly_]: Now, now, this here's just one of our little +side difficulties, you might say. What's the use to git huffy over it, +we're gittin' along so well and all? The trouble is, some o' the men and +their families ain't been used to so much prosperity and money in the +house that way, all of a sudden. Of course some of 'em got to living too +high and run into some debt and everything. + +FRANKEL: Well, what business is that of yours? The factory ain't a Home, +is it? And you ain't the Matron, are you? + +CARTER: I don't claim such! + +FRANKEL: It's my business, ain't it, if I take and live on the cheaps +and put by for a rainy day, and happen to have money when other people +need it from me? + +SIMPSON: _That_ much may be your business, but I reckon it was our +business when you come blowin' round the factory, first that you owned +seven shares besides your own; then, a week after, you says seventeen; +then-- + +GIBSON: Well, how many shares has he got? + +SIMPSON: He was claimin' twenty-four yesterday. + +MRS. SIMPSON [_violently_]: He's bought two more since last night. Now +he claims twenty-six! + +FRANKEL: Yes; and I _own_ twenty-six! + +CARTER: That ain't never goin' to do! I don't say it's a condition as +you might say we exactly see how to handle right now, but the way it is, +you certainly got us all disturbed up and hard to git at the rights of +it. You claimin' all them shares-- + +FRANKEL: Well, my goodness, you git the _work_ fer them shares, don't +you? What you yelpin' about? + +CARTER: I don't say we don't git the same amount o' work, but-- + +FRANKEL: Well, _how_ you git it, that's my lookout, ain't it, so it's +done? + +CARTER: But you claim you got a right to draw out twenty-six profits! + +FRANKEL: Sure I do when I furnish the labour for twenty-six. Am I +crazy? + +CARTER: But that way you're makin' more than any ten men put together in +the whole factory! + +FRANKEL: Ain't it just? What you goin' to do about it? + + [_During this speech_ SHOMBERG _has come along the street and + stands looking over the gate._] + +CARTER: Well, so fur, we ain't been able to see how to argue with you. +It don't look right, and yet it's hard to find jest what to say to you. + +FRANKEL: You bet it is! + +CARTER: 'Course, that's one of the points that's got to be settled at +the meeting to-morrow. + +FRANKEL: You bet it'll be settled! + +MRS. SIMPSON: If we had another kind of a chairman it'd been settled +long ago, and settled right! + +CARTER: Now look here, Mrs. Simpson-- + +FRANKEL [_passionately_]: I got twenty-six shares, and I earned 'em, +too! [_To_ GIBSON.] Look at the trouble they make me--to git my legal +rights, let alone the rest the trouble I got! [_Fiercely to_ CARTER _and +to_ SIMPSON]: Yes, I had twenty-four shares yesterday and I got +twenty-six to-day! and I might have another by to-night. Don't think +I'm the only one that's got sense enough not to go smearin' his money +all round on cheap limousines and Queen Anne dinin'-room sets at +eighty-nine dollars per! [_Dramatically pointing at_ SHOMBERG]: There's +a man worth four shares right now! He had three and he bought Mitchell's +out last night at Steinwitz's pool room. Ask him whether he thinks I got +a right to my twenty-six profits or not! + +SHOMBERG: You bet your life! + +MRS. SIMPSON: I guess that Dutchman hasn't got the say-so, has he? + +FRANKEL: No. _You_ run the factory now, Mrs. Simpson! + +CARTER: Now look here; this ain't very much like comrades, is it, all +this arguin'? Sunday, too! + +FRANKEL: Oh, I'm tryin' to be friendly! + +CARTER [_to_ GIBSON]: This buyin' of shares and all has kind of +introduced a sort of an undesirable element into the factory, you might +say. That's kind of the bothersome side of it, and it can't be denied we +would have quite a good deal of bothersomeness if it wasn't for our +meeting. + +NORA [_to everybody except_ GIBSON]: Don't you all think that these +arguments are pretty foolish when you know that nothing can be settled +except at the governing committee's meeting? + +SIMPSON: That's so, Miss Gorodna. What's more, it don't look like as +good comrades as it ought to. I don't want to have no trouble with +Frankel. He might have the rights of it for all I know. Anyways, if he +hasn't I ain't got the brains to make out the case against him, and +anyways, as you say, the meetin' settles all them things. + +NORA: Don't you think you and Frankel might shake hands now, like good +comrades? + +FRANKEL [_with hostility_]: Sure, I'll shake hands with him! + +SIMPSON: Well, I just as soon. + +MRS. SIMPSON: Don't you do it, Henry! + +SIMPSON: Well, but he's a comrade. + +MRS. SIMPSON: Well, you can't help that! You don't have to shake hands +with him. + +SIMPSON: Well, consider it done, Frankel. Consider it done! + +CARTER: That's right, that's right! We can leave it to the meeting. + +SHOMBERG: You bet you can! You goin' my way, Frankel? + + [FRANKEL, _joining him, speaks to_ MRS. SIMPSON.] + +FRANKEL: I s'pose you're going to come to the meetin', Mrs. Simpson? + +MRS. SIMPSON: Ain't my place where my husband is? + +FRANKEL: Well, you don't git no vote! + +MRS. SIMPSON: There's goin' to be a motion introduced for the wives _to_ +vote. + +FRANKEL: Watch it pass! Good-bye, Mr. Gibson! + + [GIBSON _nods._ FRANKEL _goes away with_ SHOMBERG.] + +SIMPSON: Good-bye, Mr. Gibson! All this don't amount to much. It'll all +be settled to-morrow. + +MRS. SIMPSON: Good-bye, Mr. Gibson! [_And as they go out the gate_]: You +bet your life it'll be settled! If that wall-eyed runt thinks he can +walk over _me_-- + +CARTER [_looking after them, laughing_]: Well, she's an awful +interfering woman! And she ain't the only one. If they'd all stay home +like my wife things would be smoother, I guess. Still, they're smooth +enough. [_Going_]: If you want to see that, Mr. Gibson, we'll be glad to +have you look in at the meeting. You're always welcome at the factory +and it'd be a treat to you to see how things work out. It's at eleven +o'clock if you'd like to come. + +GIBSON: Thanks, Carter. + +CARTER: Well, good afternoon, Mr. Gibson and Miss Gorodna. Good evening, +I should say, I reckon. + +GIBSON: Good evening, Carter. + + [_The light has grown to be of sunset._ CARTER _goes._] + +NORA [_going toward the gate_]: I'm glad to see you looking so well. +Good evening! + +GIBSON: Oh, just a minute more. + +NORA: Well? + +GIBSON: It looks as if that might be a lively meeting to-morrow. + +NORA: Is that the old capitalistic sneer? + +GIBSON: Indeed it's not! It only seemed to me from what we've just heard +here-- + +NORA [_bitterly_]: Oh, I suppose all business men's meetings and +arguments, when their interests happen to clash, are angelically sweet +and amiable! Because you see that my comrades are human and have their +human differences-- + +GIBSON: Nora, don't be angry. + +NORA: I'll try not. Of _course_ it isn't all a bed of roses! Of _course_ +things don't run like oiled machinery! + +GIBSON: But they do run? + +NORA: It's magnificent! + +GIBSON: Do you want me to come to that meeting to-morrow? + +NORA: Yes; I'd like you to see how reasonable people settle their +differences when they have an absolutely equal and common interest. + +GIBSON [_in a low voice_]: Aren't you ever tired? + + [_For a moment she has looked weary. She instantly braces up + and answers with spirit._] + +NORA: Tired of living out my ideals? + +GIBSON: No; I just mean tired of working. Wouldn't you rather stop and +come here and live in this quiet house? + +NORA [_incredulously_]: I? + +GIBSON: Couldn't there even be a chance of it, Nora? That you'd marry +me? + +NORA [_amazed and indignant_]: A chance that I would-- + +GIBSON: Well, then, wouldn't you even be willing to leave it to the +meeting to-morrow? + + [_Already in motion she gives him a look of terror and intense + negation._] + +NORA: Oh! [_She runs from the gateway._] + + + + +ACT III + + + _The scene is the same as the first, the factory office--with a + difference. It is now littered and disorderly. Files have been + taken from the cases and left heaped upon the large table and + upon chairs. Piles of mail are on the desk and upon the table. + The safe is open, showing papers in disorder and hanging from + the compartments. Hanging upon the walls, variously, are suits + of old overalls and men's coats and, hats. The chairs stand + irregularly about the large table; a couple of old soft hats + are on the water filter. The former posters have been replaced + by two new ones. One shows a brawny workman with whiskers, + paper cap, and large sledge hammer leaning upon an upright + piano. Rubrics: "The Freedom and Fraternity Cooeperative + Upright." "The Piano You Ought to Support." The other poster + shows a workman with a banner upon which is printed: "No + Capital! The Freedom and Fraternity Cooeperative Upright The + Only Piano Produced by Toilers Not Ground by Capital. Buy One + to Help the Cause!"_ + + NORA _is busily engaged at_ GIBSON'S _desk. Her hat and jacket + hang on the wall._ + + CARTER _enters, smoking a pipe; he wears overalls and jumper. + He carries a heavy roll of typewritten sheets. Tosses this upon + the table, glances at_ NORA, _who does not notice him, divests + himself of overalls and jumper, and puts on the black frock + coat which he wore in Act II. He looks at his watch and at the + clock on the wall._ + +CARTER [_straightening out his coat_]: I thought it might look better to +get on my Sunday clothes for the meeting, as you might say, Miss +Gorodna. Being as I'm chairman it might look more dignified; kind o' +help give a kind of authority, maybe. + +NORA [_absently, not looking up_]: Yes. + +CARTER [_looking at his watch and at the clock again_]: It ought to be +wound up for meetings. [_He steps upon a chair; moves the hands of +clock._] There, doggone it, the key's lost! I believe Mrs. Simpson took +that key for their own clock. [_He goes to the table; sits, unrolls the +typewritten sheets, puts on his spectacles, and studies the sheets in a +kind of misery, roughing his hair badly and making sounds of moaning._] +Miss Gorodna, can you make this figure out here for me? Does that mean +profits--or what? + +NORA: Oh, no; that's only an amount carried over. + +CARTER: They's so many little puzzlin' things in this bookkeeper's +report. I don't believe he understands it himself. I don't see how he +expects me to read that to the meeting. Some parts I can't make head or +tail of. Others it looks like he's got the words jest changed round. + +NORA: Oh, we'll work it all out at the meeting, Mr. Carter! + +CARTER: My, we got a lot to work out at this meeting. + +NORA: We'll do it, comrade! + +CARTER [_cheering up_]: Sure! Sure we will! It's wonderful what a +meeting does; I'm always forgettin' all we got to do is vote and then +the trouble's over. + + [_Instantly upon this a loud squabbling and women's voices are + heard outside, in the factory._] + +NORA [_troubled_]: I was afraid this would happen. Of course after Mrs. +Simpson came other wives were bound to. + +CARTER [_uneasily moving toward the door to the street_]: Well, I guess +I better-- + + [_The door into the factory is flung open by_ MRS. SIMPSON, + _in a state of fury. Another woman's voice is heard for a + moment, shouting: "Old Cat! Old She-Cat! Wants to be a + Tom-Cat!"_] + +MRS. SIMPSON: See here, Carter, if you still pretend to be chairman you +come out here and keep order! + +CARTER: Now, Mrs. Simpson, you better go on home! + +MRS. SIMPSON [_raging_]: _Me!_ My place is right here, but I'm not going +to stand this Commiskey woman's insults! She come down here this morning +with her husband and started right in to _run_ this factory. My heavens! +Ain't she got five children at home? As long as you still pretend to be +chairman I demand you come out and tell this woman to go about her +business. + +SHREWISH VOICE: It _is_ my business! + +MRS. SIMPSON: I'll show you! I was here first; everything was going all +right. Carter, are you going to come out here and do your duty like I +said? + +CARTER [_attempting sternness and failing_]: You shut that door! I got +to get this report in order before the meeting. I'm not comin'. + +MRS. SIMPSON: Then I won't be responsible for what happens! She ain't +the only one. Mrs. Shomberg is out here messin' things up, too. If you +won't do your duty there'll be direct action took here! [_She goes out +violently._] + +CARTER: That's got to come up in meeting. It certainly has. These here +wives! For example, my wife's an awful quiet woman, but you s'pose she's +goin' to stand it when she hears about all these others? I'd like to +keep her at home. + +NORA: I just wonder-- + +CARTER: What was you wondering, Miss Gorodna? + +NORA: Well, if that's something the meeting can settle? + +CARTER [_doggedly_]: Well, it's got to vote on it. + +NORA: We did vote on Mrs. Simpson last meeting. + +CARTER: Well, we got to vote on her and all the rest of 'em this time. + +NORA: It didn't seem to settle Mrs. Simpson, did it? + +CARTER: Well, it hadn't got so bad then. Now it's got to be settled! We +got to git everything fixed up now. + + [_A frightful dispute is heard in numerous male voices; some + speaking Italian, some Yiddish, and some broken English. This + grows louder as_ FRANKEL _rushes in, throwing the door shut + behind him and leaning against it, wiping his forehead._] + +FRANKEL: Life ain't worth livin'! Life ain't worth livin'! + +CARTER: Serves you right, Frankel! + + [_At the filter_ FRANKEL _pours water from the glass upon a + dirty handkerchief and passes the handkerchief over his + forehead._] + +FRANKEL: I got to git some peace! I got to collect myself. + +CARTER: That shows you ain't got no rights like you claimed. You can't +control your labour element. + +FRANKEL [_bitterly_]: I'll control 'em all right! I'll show 'em who's +their master! + + [_A man's head with shaggy hair and ragged whiskers is thrust + in at the factory door. This is_ POLENSKI.] + +POLENSKI [_ferociously_]: Are you goin' to come out here like a man? + +FRANKEL: You _bet_ I'm comin' out there, Polenski! I'll show you who's +the man here! You Hunnyacks try to browbeat me! + + [_As he goes out, babbling fiercely, the howls of a Roman mob + are heard greeting him._] + +CARTER: I don't feel no sympathy with him. + +NORA: No; I should think not! + + [_A more distant outbreak of the mob is heard, brief but + fierce, and just a moment before it ceases_ MIFFLIN _enters, + beaming. He is dressed as usual, with his umbrella and the same + old magazines and newspapers under his arm._] + +MIFFLIN: Everything is lovely! How do you do, Miss Gorodna! Carter, old +fellow! It's a great morning, a great morning! Mr. Gibson drove me down +in his car. It's wonderful to feel the inspiration it's going to be for +an ex-capitalist to see this place and its harmony. My phrase for it is +"harmonized industry." It will mark an epoch for him. + + [GIBSON _comes in._ MIFFLIN _greets him._] + +MIFFLIN: Ah, Mr. Gibson! You'll see a difference! You'll see a +difference! + +GIBSON: Yes, I do. Good morning, Miss Gorodna! + +NORA [_just barely looking round_]: Good morning, Mr. Gibson. + +MIFFLIN: I was just saying what an inspiration it's going to be for you +to see what we're doing down here. [_Pats_ CARTER'S _shoulder._] These +noble fellows are teaching us intellectuals a lesson. I keep going among +them; what they're doing here keeps flowing into me. You'll get it, Mr. +Gibson. You'll get it, too! + + [_Beamingly he goes out into the factory._] + +CARTER [_cordially_]: Take a chair, Mr. Gibson. Make yourself right at +home! + +GIBSON: Thanks! + + [_He makes a grave tour of inspection of the place, his + expression noncommittal; goes about casually without making a + point of it; he writes his initials in the dust on a filing + case. He turns and looks at_ NORA _thoughtfully; she has not + seemed to notice him._] + +Do you think I will, Miss Gorodna? + +NORA [_not looking up_]: Do I think you will what? + +GIBSON: That I'll get what Mifflin meant? That it will be an inspiration +to me to see this meeting? + +NORA: I don't know what will be an inspiration to you. + +GIBSON: I know one thing that is--a brave woman! + + [_The only sign she gives is that her head bends over her work + just a little more._] + +Carter, do you think this meeting is going to be an inspiration to me? + +CARTER: Well, Mr. Gibson, since the time you give up our rights to us, +as Mr. Mifflin says, we're an inspiration to the whole world. All the +time! Yes, sir; and we _would_ be, too, if we could jest git these +dog-goned inequalities straightened out. We got this Frankel trouble on +our hands, and them wives, and one thing and another, though they ain't +botherin' me so much as my own rights. But they're goin' to git brought +up in the meeting. You'll see! + +GIBSON: Is the safe usually kept open? + +CARTER [_heartily_]: Why, yes, sir; open to each and all alike. + +GIBSON: Oh, yes, of course! Seems to be some business mail left over +here. + +CARTER: Oh, yes. But you'll find every one of 'em's been opened; we +never miss opening a letter. You see they's checks in some of 'em. + +GIBSON: I see. Then everything is running right along, is it, Carter? + +CARTER: Oh, sure! Right along, right along! + + [_The uproar breaks out again._ FRANKEL _bursts in, wiping his + forehead as before. He hurries to the water filter for more + water._] + +FRANKEL: By golly! The bloodsuckers! They want my life! They don't get +it! Hello, Mr. Gibson! Well, I am pleased to see you! Say, Mr. Gibson, +lemme say something to you. Look here a minute. [_He draws_ GIBSON +_aside._] + +GIBSON: What is it, Frankel? + +FRANKEL [_hastily, in a low voice_]: Mr. Gibson, keep it under your hat, +but I got a pretty good interest in this factory right now. What date +I'm goin' to own it I won't say. But what I want to put up to you: How +much would you ask me to manage it for me? + +GIBSON: What? + +FRANKEL: I wouldn't be no piker; when it comes to your salary you could +pretty near set it yourself. + +GIBSON: I'm afraid I've already had an offer that would keep me from +accepting, Frankel. + +FRANKEL: When the time comes I'll git a manager somewhere; no place like +this can't run itself; I seen that much. + +GIBSON: Even if I didn't have an offer, Frankel, I doubt if I'd accept +yours. You know I used to have some little trouble here. + +FRANKEL: You got my sympathy now! I got troubles myself here. [_Hastily +drinks another glass of water._] Well, where's that meeting? They're +late, ain't they? + +CARTER: If they are it's your fault. Them wops of yours won't hardly let +a body git by out yonder. + + [SALVATORE _and_ SHOMBERG _come in from the factory_, SALVATORE + _pausing in the doorway to shout in the direction of an audible + disturbance in the distance._] + +SALVATORE: Oh, shut up; you'll git your pay! + +[_Following_ SALVATORE _come_ SIMPSON _and his wife and_ RILEY. _They +all speak rather casually but not uncordially to_ GIBSON. MIFFLIN _is +with them, his hand on_ SIMPSON'S _shoulder. The outbreak outside +subsides in favour of a speech of extreme violence in a foreign +language. Italian, Yiddish, or whatever it is, it seems most passionate, +and by a good orator. It continues to be heard as the members of the +committee take their seats at the big table._ MIFFLIN _beams and nods +at_ GIBSON; _and takes his seat with the committee._] + +SHOMBERG [_hotly, to_ MRS. SIMPSON]: Here, you ain't a member of this +committee! Git her chair away from her there, Salvatore! She's got no +right here! + +MRS. SIMPSON: Oh, I haven't? + +SHOMBERG: Already twice this morning I got hell from my own wife the way +this woman treats her tryin' to chase her out the factory. You think +you're on this committee? + +MRS. SIMPSON [_taking a chair triumphantly_]: My husband is. I was here +last time, and I'm goin' to keep on. + +CARTER [_referring to the speech in the factory_]: My goodness! We can't +do no work. + +RILEY: Frankel, that's your business to shut 'em up. + +FRANKEL: Talkin' ain't doin' no harm. Let 'em talk. + +RILEY: Yes, I will! [_Goes to the door, and roars_]: Cut that out! I +mean business! [_Shuts the door and returns angrily to his seat._] + +CARTER [_rapping on the table with a ruler_]: The meeting will now come +to order! Minutes of the last meeting will now be read by the secretary. + +MIFFLIN [_to_ GIBSON, _beaming_]: You see? + +NORA [_rising, minute book in hand_]: The meeting was called to order by +Chairman Carter, Monday, the-- + +SALVATORE: Aw, say! + +FRANKEL: I object! + +SIMPSON: What's the use readin' all that? It's only about what we done +at the last meeting. + +SALVATORE: We know that ourselves, don't we? + +SHOMBERG: What'd be the use? What'd be the use? + +RILEY: All we done was divide up the money. + +SALVATORE: Cut it out, cut it out! Let's get to that! + +CARTER: All right, then. I move-- + +MRS. SIMPSON [_shrilly_]: You can't move. The chairman can't move. If +you want to move you better resign! + +CARTER: Well, then, somebody ought to move-- + +MRS. SIMPSON: Cut out the moving. She don't _haf_ to read 'em, does she? + +CARTER: All right, then. Don't read 'em, Miss Gorodna. + +SALVATORE: Well, git some kind of a move on. + +CARTER: I was thinkin'-- + +NORA [_prompting_]: The next order-- + +CARTER: What? + +NORA: The next order of business-- + +CARTER: Oh, yes! The next order of business-- + +NORA: Is reports of committees. + +CARTER [_in a loud, confident voice_]: The next order of business is +reports of committees. [_Takes up some papers and goes on promptly._] +The first committee I will report on is my committee. I will state it is +very difficult reading, because consisting of figures written by the +bookkeeper, and pretty hard to make head or tail of, but-- + +MRS. SIMPSON: Oh, here, say! We got important things to come up here! +'Fore we know how much we're goin' to divide amongst us we got to settle +at once for all and for the last time how it's goin' to be divided and +how much each family gets. + +SALVATORE: _Family?_ + +CARTER AND SHOMBERG [_together_]: Yes--family! + +RILEY: You bet--family! + +CARTER: Yes, sir! + +SIMPSON: You _bet_ we'll settle how it's goin' to be divided! + +SALVATORE: Why, even, of course; just like it has been. Ain't that the +principle we struggled for all these years, comrades? + +MRS. SIMPSON: Well, it's not goin' to be divided even no longer. + +SALVATORE [_violently_]: Yes, it is! + +SIMPSON AND CARTER [_hotly_]: It is not! + +SALVATORE: You bet your life it is! + +SHOMBERG: I'd sooner wring your neck, you sporty Dago! + +SALVATORE: Now look here, comrade-- + +SHOMBERG: Comrade! Who you callin' comrade? Don't you comrade me! + +MRS. SIMPSON: You dirty little Dago! You got no wife to support! Livin' +a bachelor life of the worst kind, you think you'll draw down as much as +my man does? + +SALVATORE [_fiercely_]: Simpson, I don't want to hit no lady, but if-- + +SIMPSON [_roaring_]: Just you try it! + +MIFFLIN [_rising in his place, still beaming, and tapping on the table +with his fountain pen_]: Gentlemen, gentlemen! This is all healthy! It's +a wholesome sign, and I like to see these little arguments. It shows you +are thinking. But, of course, it has always been understood that in any +such system of ideal brotherhood as we have here we, of course, cling +to the equal distribution of all our labours. We-- + +SALVATORE [_fiercely_]: We? How do you git in this? Where do you git +this we stuff? + +FRANKEL: Yes; what you mean--we? + +SALVATORE: _You_ ain't goin' to edge in here. Your kind's done that +other places. Some soft-handed guy that never done a day's work in his +life but write and make speeches, works in and gits workingmen to elect +him at the top and then runs 'em just the same as any capitalist. + +MIFFLIN [_mildly protesting_]: Oh, but you mustn't-- + +SALVATORE [_sullenly_]: That's all right; I read the news from Russia! + +MIFFLIN [_firmly beaming_]: But I was upholding your contention for an +equal distribution. + +SALVATORE [_much surprised and mollified_]: Oh, that's all right then; I +didn't git you! + +MIFFLIN: Right comrade! I'm always for the under dog. + +SHOMBERG: Call _him_ an under dog! He's a loafer and don't know a trade! + +RILEY: He was gettin' three and a half a day, and now he draws what I +do! + +MRS. SIMPSON [_attacking_ RILEY _fiercely_]: Yes, and you're gettin' as +much as my husband is, and your wife left you seven years ago and you +livin' on the fat of the land; Steinwitz's pool parlour every night till +all hours! + +SHOMBERG [_attacking her_]: Yes, and you and your husband ain't got no +children; we got four. I'd like to know what right you got to draw down +what we do--you with your limousine! + +CARTER: What business you got to talk, Shomberg? When here's me with my +seven and the three of my married daughter--eleven in all, I got on my +shoulders. Do you think you're goin' to draw down what _I'd_ ought to? + +ALL [_shouting_]: "Here! We got rights, ain't we?" "Where's the justice +of it?" "I stand by my rights." "Nobody's goin' to git 'em away from +me." "I bet I git _my_ share." "Oh, dry up!" "You make me laugh!" And so +on. + +RILEY [_standing up and pounding the table, roaring till they are forced +to listen_]: You ain't any of you got the rights of it! The rights of it +is--Who does the most work gets the most money. Look at me on that +truck! + +CARTER [_pounding on the table with a ruler_]: You set down, Riley! The +rights of it ain't who does the most work; but I'm willin' to leave it +to who does the _hardest_ work. + +SIMPSON: No, sir! It's who does the _best_ work. + +CARTER: There ain't only three men in my department out there that ain't +soldiering on their job. I do twice as much skilled work as any man at +this table, and I do it better. [_Shouts of "Yes, you do!" "Rats!" "Shut +up!"_] I'll leave it to Mr. Gibson; he knows good work if he don't know +nothing else. + + [_Shouts of "Leave it to nothing!" "How'd he get in this?" + "You're crazy!"_] + +CARTER [_bawling_]: Get back to business! We're running a meeting here! + +FRANKEL: For goodness' sake, we ain't getting nowhere! + +SALVATORE: No, and you ain't never goin' to git nowhere long as you try +to work big business and privilege on me! We got to keep it like Mr. +Mifflin says; it's a sacred brotherhood, everything divided equal. Let's +get to business and count that money. + +FRANKEL: Well, for goodness' sake, let's get some system into this +meeting! + +RILEY: How you goin' to get any system into it before you settle what's +going to be done about Frankel's twenty-four shares? + +CARTER: Twenty-four? He's got twenty-six; he got two more yesterday! + +MRS. SIMPSON: He's got thirty-five; he got nine more this morning! + +FRANKEL [_hotly_]: You bet I got thirty-five! + +ALL: What! Thirty-five shares! + +FRANKEL: Well, ain't I got thirty-five men workin' out there? + +SIMPSON: How in thunder we goin' to settle about him holdin' all them +shares? + +SALVATORE: Are we goin' to let him take all that money? Thirty-five-- + +FRANKEL [_leaping up, electrified_]: How d'you expect I'm goin' to pay +my men if I don't get it? Are you goin' to _let_ me take them +thirty-five shares' profits? No, I guess you ain't! You ain't got no say +about it! The money's mine right now! I get it! + +SIMPSON: I object! + +RILEY [_pounding the table_]: Look at the ornery little devil! He took +advantage of the poor workingmen's trustfulness, got 'em in debt to him, +then went and begun buying over their shares, so they had to leave the +shop because he wouldn't hire 'em to do their own work, but went and +hired cheaper men. Listen to the trouble _they_ make among us! + +SIMPSON: It's an undesirable element. + +RILEY: He had no right to buy them workmen out in the first place. + +SIMPSON: And on top of that we can't git no work turned out because the +fourteen skilled men he's got in there have gone and started striking +just like the unskilled and they tie up everything. + +RILEY: I claim he hadn't no right to buy them shares. + +FRANKEL: I didn't? + +ALL [_except_ SHOMBERG]: No, you didn't! + +FRANKEL [_hotly at_ RILEY]: You look here. S'pose you needed money bad? +Ain't you got a right to sell your share? + +RILEY: Sure I have! + +FRANKEL: What you talkin' about, then? Ain't I got a right to buy +anything you got a right to sell? + +RILEY: No, you ain't, because I object to the whole system. + +FRANKEL: You do! [_Points to_ SHOMBERG.] Look there! Ask him what _he_ +says. He's got four. + +RILEY: I don't care who's got what! All I say is I object to the +system, and this factory'll git burned up if them wop workmen stay here +jest because he holds them shares! + +SIMPSON: You're right about that, Riley! + +SALVATORE: Why, you can't hear yourself think out in the shops when you +might be havin' a quiet talk with a friend. + +RILEY: When them wops gits to talkin' strike it sounds more like a +revolution to me! + +SIMPSON: Why, they're all inflamed up. They know what's what, all right. + +FRANKEL: What do they know? + +SALVATORE: They know you're drawing down on them shares about five or +six times the wages you pay 'em. What I claim is that extra money he +makes ought to be divided amongst _us_. + + [_Emphatic approval from_ CARTER, SIMPSON, _and_ RILEY. _"Yes + sir! You bet! That's what!"_] + +FRANKEL: Just try it once! + +SIMPSON: Them men ain't workin' for you, they're workin' for us. Ain't +we the original owners? + +FRANKEL: Y-a-a-a-h! + +RILEY [_pounding the table_]: That's the stuff! We're the original +owners! Any money made on them wops' wages is ours. We'll tend to +business with them! + + [_The noise outside has increased deafeningly; there is a loud + hammering on the door, which is now flung open, and_ POLENSKI + _in patched overalls, a wrench in his hand, enters fiercely, + slamming the door behind him. He begins an oration at the + door._] + +POLENSKI: Don't we git a _hearing_? We got to take direct action in this +rotten factory before we even get a word in. [_Shouts from the +committee: "Get out of here, you wop!" "You ain't got no business here!" +"This a committee meeting!"_] Committee meeting, my nose! [_Shakes his +fist at_ FRANKEL.] Do you know what you're up against? You're up against +the arm of labour! You monkey with labour a little more the way you +have, and you'll be glad if it's only a little nitroglycerin that gits +you. Hired us for two and a half, did you? + +FRANKEL: My goodness, I rose you to three this morning! + +POLENSKI: Yes; rose us to three! What do we care you rose us to four, to +five, to six. Look what the rest you loafers here at this table is +gittin'! + +SALVATORE: Here, don't you bring us in this! + +POLENSKI [_half screaming_]: I won't? Every one of you is in his class. +[_Points at_ FRANKEL.] You sit up here and call yourself a committee, +dividin' up the money and runnin' this factory that belongs just as much +to us men he hired as it does to you! It belongs to us _more_--because +we're the real workin'men! [_Beats his chest._] My God! Don't the +toilers' wrongs _never_ git avenged? Are we _always_ goin' to be wage +slaves? We demand simple justice. We been workin' here two dollars and a +half a day, now we want the wage scale abolished and double profits for +each of us for every day we worked here before we found out what was +goin' on, with you sittin' up here like kings in your robes, tellin' the +poor man he should have only two dollars and a half a day--sittin' up +here in your pomp with your feet on the neck of labour! [_To_ CARTER]: +_You_, in your fine broadcloth, ridin' up and down the avenues in +limousines with never a thought for the toiler! Don't think for a minute +we deal with this little vampire here. You're all in the same boat, and +the toiling masses will hold every single one of you just as responsible +as it does him, you--you capitalists! + + [_Instantly upon this the door is opened enough to admit the + heads of two wops very similar to_ POLENSKI.] + +FIRST WOP: Parasites! + +SECOND WOP: Bloodsuckers! + +POLENSKI: Capitalists, parasites, bloodsuckers, bourgeoisie! Do you +think we expect any justice out of _you_? Do you think I come in this +room ever dreaming you'd grant our demands? No! We knew you! And if we +do assert our rights, what do you do? You set your hellhounds of police +on us! Haven't we been agitatin' for our rights among you for days? +We've got our answer from you, but you look out for ours, because as +sure as there is a hell waitin' for all parasites, we'll send you there, +and your factory, too! [_Looks up at the clock._] My God, is that clock +right? [_He runs out at top speed._] + +SIMPSON: They don't seem to know their place! + +SHOMBERG: Them fellers think they own the earth. + +RILEY: Next, they'll be thinkin' they own our factory! + +CARTER [_solemnly_]: Well, sir, I wonder what this country is coming to! + + [_Here there is a muffled explosion in the sample piano, which + rocks with the jar, at the same time emitting a few curls of + smoke. General exclamations of horror and fright as all of the + committee break for shelter._] + +SHOMBERG [_his voice rising over the others_]: Send for the police! + +SALVATORE [_shouting_]: Wait! We ain't divided up the money! + +NORA: It's over; it hasn't done any harm! + +FRANKEL [_on his hands and knees under the table_]: It was in that +piano. [NORA _goes across to the piano._] Look out, he's probably got +another one in there. + + [MIFFLIN _helps_ NORA _to take off the front of the piano, + which is still mildly smoking; a wreckage of wires is seen._] + +MIFFLIN [_smiling_]: It must have been an accident! + +FRANKEL AND MRS. SIMPSON [_coming out from under the table_]: Accident! + +MIFFLIN: Of course it's unfortunate, because it might be misconstrued. + +RILEY: Yes, it might. + +MIFFLIN [_confidently_]: Let me go talk to these new comrades! + +RILEY: Comrades? Frankel's wops? Ha, ha! + +SALVATORE: Aw, them ain't comrades; them's just Frankel's hired +workers. + +MIFFLIN: They are comrades in the best sense of the word. I am in touch +with all the groups. A moment's reasoning from one they know to be +sympathetic-- + + [_He goes out into the factory._] + +SALVATORE: Hey, let's get that stuff divided up. I got an engagement. + +FRANKEL: Yes; let's hurry. You can't tell _what_ they got planted round +here. + +CARTER [_rapping_]: The meeting will please come to-- + +SALVATORE: Here, cut that out! We ain't got no time to-- + +SHOMBERG: No. Come to business; come to business! + +NORA: The only way, comrades, to know how much we have gained since the +last division is to read the bookkeeper's report. + +FRANKEL: Well, for heaven's sakes, go on--read it! + +CARTER: Well, I did want to a long while ago, when we first set down and +begun the meeting. I says then, I report on my committee and-- + +VARIOUS MEMBERS: Oh, for heaven's sake! Go ahead! Cut it out! + +CARTER [_picking up the sheets_]: On the first page is says Soomary. + +RILEY: What's that mean? + +MRS. SIMPSON: Oh, my goodness! + +FRANKEL: Git to the figures! + +CARTER: Well, here, on one side it says gross receipts-- + +SHOMBERG [_rubbing his hands_]: Ah! + +CARTER: What? + +SIMPSON [_shouting_]: Read it! + +CARTER: Gross receipts $2,162.43. On the other side it says: "Cash paid +out $19,461.53." + + [_All are puzzled._] + +It didn't sound right to me, even the first time I read it. Looks like +he's got the wrong words, crossed over. + +FRANKEL: Why, gross receipts last month was over twenty-four thousand +dollars! + +SHOMBERG: Yes, and that was a fall off from the month before. + +CARTER [_rubbing his head_]: Well, I don't pretend to understand it, but +he told me all them was mostly payments on old sales anyhow. + +RILEY: Read it again, read it again! + +SIMPSON: Yes, let's see if we can't get what the sense of it is. + +CARTER: It says "Gross receipts, $2,162.43"--that's over here. "Cash +paid out, $19,461.53." + + [_All seem dazed._] + +RILEY: What else you got there? + +CARTER: As near as it seems to me, just a lot of items. + +SALVATORE: Well, we must have a lot of money in the bank; what's the +matter we draw that out and divide it? + +RILEY: Wait a minute! What's there besides them items? + +CARTER: He's got a note. "Note," he says; here it is: He says: "Bank +notified us this morning we're overdrawn $59.01." + +RILEY: Overdrawn? + +SHOMBERG: Then we got to deposit some to our account. Who's got charge +of the checks that comes in? + +NORA: The bookkeeper has charge, but there aren't any checks. + +CARTER: No, they ain't been any checks comin' in for some days; a week +or so, or two weeks, you might say. We've looked everywhere for 'em-- + +FRANKEL [_aghast_]: You looked all through them letters? + +CARTER: They ain't none left in 'em that wasn't took out a good while +ago. + +SALVATORE: You ain't looked through the safe, have you? + +CARTER: They ain't a one in it; it's got me all puzzled up, I tell you. +I was jest waitin' for the meeting to settle it. + +FRANKEL: But heaven's sakes! There must be checks comin' in from new +sales! + +CARTER: It says here sales has fallen off. So fur this month they was +only three instruments sold. + +SIMPSON: But, my gosh, this is the _end_ of the month! + +CARTER: They was two sold in Council Bluffs and one in Detroit. + + [_General agitation and excitement._] + +MRS. SIMPSON [_trembling with rage and fear_]: You mean to stand there +and tell me we ain't goin' to git any money to-day, and my flat rent to +pay to-morrow? + +RILEY: Don't talk about your flat rent to me, lady! There's others of us +got a few things to pay. + +SHOMBERG: But, my golly, when _do_ we git paid? + +CARTER: I can't make out from what he's got here. + +SALVATORE [_rapping fiercely on the table_]: Hey! I got to have my +money! + +CARTER: Well, I got to have mine, don't I? + +SIMPSON: Go on. See what else it says. + +CARTER: Well, here he's got this. Here it says: "Bills payable, +$17,162.48." + +FRANKEL [_leaping up_]: Bills payable! My God, no money in bank, and +we're $17,162.48 in debt! + +MRS. SIMPSON [_shrieking_]: Who owes it? + +SIMPSON: We do! + +SHOMBERG: Who's goin' to pay it? + +RILEY: Who run us into debt that way? + +SALVATORE: That's the man we're after! + +FRANKEL: Who's the man responsible for us bein' $17,162.48 bankrupt? + +RILEY [_hammering the table_]: Who run us into debt over seventeen +thousand dollars? + +SIMPSON: Well, give him a chance to answer. + +CARTER: What do _I_ know about it? That's what the report says. That's +all _I_ know. + +SHOMBERG: Well, somebody's got us into debt. And who is it? + +NORA: It's all of us! Haven't we all done this thing together? + +FRANKEL: Well, who's got to pay it? + +NORA: We've all got to! + +SHOMBERG, SALVATORE, FRANKEL, AND MRS. SIMPSON: You expect to git blood +out of a stone? What do you take us for? You're crazy! You helped get us +into this! [SHOMBERG _and_ SALVATORE _begin shouting at each other._] + +SHOMBERG: You pay me back that twenty-five dollars you got from me +Friday! + +SALVATORE: How I'm goin' to pay you twenty-five dollars when I'm +seventeen thousand dollars in debt? + +SHOMBERG: I'll have that money! + + [_He takes a paper weight from desk._] + +SALVATORE: You throw that at me, I'll give you a little sticker where +you won't like it! + + [_Puts his hand in the breast of his coat. Murder appears + imminent. Sudden and general dispersal from the neighbourhood + of the combatants, which brings_ NORA _to_ GIBSON, + _unconsciously seeking his protection._] + +SHOMBERG: Aw, I didn't mean anything serious like that. [_Puts down the +paper weight._] But I'll get the money. + +SALVATORE: You'll _need_ it--to pay your share what we owe! + +MRS. SIMPSON: I'd like to see 'em get one cent out of me! + +CARTER: It ain't just us here of course; they's a hundred and seventy +men outside the debt belongs to as well as us. The whole factory's got +to pay it. + +SIMPSON: Great gosh! Do you think we can go out there, when they're +expectin' a month's pay, and tell 'em they're gettin' only a +seventeen-thousand-dollar _debt_? + +FRANKEL: And me, me, me! Look at _me_! Do you think I can go out and +tell them thirty-five bloodhounds I ain't got no money to even pay their +wages? + +RILEY [_vehemently_]: What's more, you owe thirty-five shares of that +debt, Frankel! + +ALL [_with vindictive satisfaction_]: That's it! Sure he does! He owes +thirty-five shares of the debt! That's right! + +FRANKEL: What? + +RILEY: You owe thirty-five shares of the seventeen-thousand debt. + +FRANKEL: My heavens! Ain't the meetin' just settled it I didn't have no +right to them shares and it was all to be divided even? + +CARTER: What we got to do, we got to go out there and tell 'em they owe +this money. + +FRANKEL: I can't tell mine! + +SALVATORE: I know one game little fellow that ain't goin' to pay nobody +nothin'. Excuse me, gents; they'll have to find me! + + [_He goes out hastily by the door that leads to the street._] + +CARTER: Well, _somebody's_ got to go out there and tell 'em. + +SIMPSON: Well, I won't! + +MRS. SIMPSON: It's the chairman's place. + +CARTER: We all got to go! + +FRANKEL: Not me! + +SIMPSON: Yes, you will! [_Takes him by the shoulders._] + +RILEY [_taking him from_ SIMPSON]: Put him first! + + [_They begin to jostle toward the factory door._] + +FRANKEL [_as they push him he waves a despairing hand at_ GIBSON]: Mr. +Gibson, that was a fine trick you played on us! + +THE COMMITTEE [_shouting_]: You go on there! Come on! We got to take our +medicine! + +FRANKEL: Lemme alone! Take your hands off me! + + [_They jostle out, leaving_ NORA _and_ GIBSON _alone together._ + NORA _has gone to the large table, sitting beside it, with her + head far down between her hands. As the noise dies away_ + MIFFLIN _comes in from the factory._] + +MIFFLIN: What wonderful spirits! Just great, rough boys! + + [_Smiles as he gets his hat, magazines, newspaper, and + umbrella._] + +Everything is working out. Some little inevitable friction here, some +little setback there. But it all works, it all works to the one great +end. I'm sorry I wasn't present for the end of the meeting to hear what +success there was this month, but that's a detail. The dream has come +true. It's here, and we're living it! [_At the door._] I'll send you a +copy of my next article, Mr. Gibson. [_Modestly laughs._] They tell me +the series is making a little sensation in its way. Good morning! + + [_He goes out jauntily._ GIBSON _has never moved from his + chair; he turns his head, still not rising, and looks fixedly + at_ NORA. _She slowly lifts her head, meets his eye; her head + sinks again. He rises and slowly walks over to her, looking + down at her. Then, bending still lower, she begins to cry._] + +GIBSON: Well, Nora, what was the matter with it? + +NORA [_not looking up_]: I don't know. What was? + +GIBSON: You needed a manager to do what I had been doing. + +NORA: Couldn't we have learned? Couldn't one of us? + +GIBSON: One of you did--Hill. + +NORA: But he left! + +GIBSON: Why did Hill leave? + +NORA: Other people offered him more money. + +GIBSON: Yes; he was the one man that all the rest of you depended on. He +was worth more. + +NORA: But were you worth all that you took? You took all that the +business made. + +GIBSON: Yes; and last year it was fifty thousand. + +NORA: Were you actually worth that much to it? + +GIBSON: Other men in the business think so. [_Shows her a letter._] +Here's an offer from the Coles-Hibbard people, out in Cleveland, of that +much salary to do for them what I did here. + +NORA: It isn't right; you pay labour only what you have to pay. + +GIBSON: The Coles-Hibbard people offer to pay me what they'd have to, +and they're pretty hard-headed men. The whole world pays only what it +has to. + +NORA: It isn't right! It isn't right! + +GIBSON: Last winter I saw you in a three-dollar seat listening to +Caruso. Have you ever given that much to the organ grinder who comes +under these windows? + +NORA: Will it always be so? + +GIBSON: I don't know. But it's so now. + +NORA: But will the plan _always_ fail? + +GIBSON: I think it will until human beings are as near alike as the ants +and bees are. Your system is in full effect with them, but we--we +strive; even in this fellowship here of yours the striving began to +show. + +NORA [_looking up at him appealingly_]: But are these inequalities +_right_? + +GIBSON [_gently, rather sadly_]: I don't know. I only know what is. + +NORA: Well--I'm whipped. + + [_Smiles ruefully, away from him; then she turns again to + him._] + +Are you going to accept that offer? + +GIBSON: What do you say? + + [_Her head droops again. Angry voices are heard, growing louder + as they approach. The door is thrown open, and the members of + the committee, noisily talking, appear in the doorway._] + +FRANKEL: It was a bum deal all through! + +SHOMBERG: Shovin' his run-down factory off onto us! + +RILEY [_fiercely_]: You never give us no deed to this plant, Mr. Gibson! + +SIMPSON: They ain't a court in the land'll hold us to it! + +CARTER: No, sir; and we've voted this is your factory, Mr. Gibson! We +ain't responsible! + +GIBSON: It is my factory and I'm going to run it! Any man of you not +back at work in ten minutes on the old scale of wages will be fired! + + [_The members whoop with joy._ FRANKEL _and_ CARTER _both try + to shake hands with_ GIBSON _at once._] + +CARTER: Well, that's a relief to _me_. Thank you, Mr. Gibson! + +FRANKEL: That takes a heap off my mind! + +RILEY: God bless you, sir! + +GIBSON: Never mind that! You go back to work. + + [_Whooping, the committee, in great spirits and with the + greatest friendliness to one another, depart rapidly. Closing + the door_, GIBSON _turns briskly to_ NORA, _and speaks in a + businesslike way._] + +GIBSON: Nora, will you marry me? + +NORA [_meekly_]: Yes--I will. + +GIBSON: Will you marry me to-day? + +NORA [_with a little more spirit_]: Yes, I will! + +GIBSON: Will you go with me and marry me right now? + +NORA [_more loudly and promptly_]: Yes, I will! + +GIBSON: Well, then-- + + [_He gets his hat and coat, then thinks of something he wants + from his desk and goes over to get it. Meantime_ NORA, _not + moving so rapidly as_ GIBSON, _but more thoughtfully, goes up + to the wall where hang her jacket and hat, takes off her apron, + puts on the jacket and hat and goes to the door that leads to + the street, where she stands waiting. There is a knock on the + factory door, which opens without waiting, and_ SIMPSON _comes + in._] + +SIMPSON: I don't want to detain you if you're goin' out, Mr. Gibson, +but there's something's got to be settled. And the men in my department +say it's got to be settled right now. That wage scale says we get time +and a half for overtime, and the men in the finishing department, they +ain't gettin' no time and a half on piecework and we never understood +that agreement you claim we signed with you anyhow. So what we says, if +we don't get double time instead of time and a half for overtime--why, +Mr. Gibson, it looks like them men couldn't hardly be held back. Now +what we demand is-- + + [_He is still talking as the final curtain descends upon these + three_: GIBSON _seated at his desk, looking fixedly at_ + SIMPSON, NORA _waiting thoughtfully by the door that leads to + the street._] + + +CURTAIN + + + + + +End of the Project Gutenberg EBook of The Gibson Upright, by Booth Tarkington + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GIBSON UPRIGHT *** + +***** This file should be named 13275.txt or 13275.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/3/2/7/13275/ + +Produced by Suzanne Shell, Linda Cantoni, and the Online Distributed +Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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