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diff --git a/5397-h/5397-h.htm b/5397-h/5397-h.htm new file mode 100644 index 0000000..556bb86 --- /dev/null +++ b/5397-h/5397-h.htm @@ -0,0 +1,5881 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Dr. Jonathan, by Winston Churchill + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { margin-top: .75em; margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> + <p> + <br /><br /> + </p> +<pre xml:space="preserve"> +The Project Gutenberg EBook of Dr. Jonathan (A Play), by Winston Churchill +[The Author is the American Winston Churchill not the British] + +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: Dr. Jonathan (A Play) + +Author: Winston Churchill + +Release Date: October 6, 2006 [EBook #5397] +Last Updated: February 26, 2018 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK DR. JONATHAN (A PLAY) *** + + + +Produced by David Widger + + + + + +</pre> + + <h1> + DR. JONATHAN + </h1> + <p> + <br /> + </p> + <h3> + A Play in Three Acts + </h3> + <p> + <br /><br /> + </p> + <h2> + By Winston Churchill + </h2> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <blockquote> + <p class="toc"> + <big><b>CONTENTS</b></big> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_PREF"> PREFACE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> <b>DR. JONATHAN</b> </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> ACT I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> ACT II </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> ACT III </a> + </p> + </blockquote> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_PREF" id="link2H_PREF"> + <!-- H2 anchor --> </a> + </p> + <h2> + PREFACE + </h2> + <p> + This play was written during the war. But owing to the fact that several + managers politely declined to produce it, it has not appeared on any + stage. Now, perhaps, its theme is more timely, more likely to receive the + attention it deserves, when the smoke of battle has somewhat cleared. Even + when the struggle with Germany and her allies was in progress it was quite + apparent to the discerning that the true issue of the conflict was one + quite familiar to American thought, of self-determination. On returning + from abroad toward the end of 1917 I ventured into print with the + statement that the great war had every aspect of a race with revolution. + Subliminal desires, subliminal fears, when they break down the censor of + law, are apt to inspire fanatical creeds, to wind about their victims the + flaming flag of a false martyrdom. Today it is on the knees of the gods + whether the insuppressible impulses for human freedom that come roaring up + from the subliminal chaos, fanned by hunger and hate, are to thrash + themselves out in anarchy and insanity, or to take an ordered, intelligent + and conscious course. Of the Twentieth Century, industrial democracy is + the watchword, even as political democracy was the watchword of the two + centuries that preceded it. Economic power is at last realized to be + political power. No man owns himself, no woman owns herself if the + individual is not economically free. Perhaps the most encouraging omen of + the day is the fact that many of our modern employers, and even our modern + financiers and bankers seem to be recognizing this truth, to be growing + aware of the danger to civilization of its continued suppression. + Educators and sociologists may supply the theories; but by experiment, by + trial and error,—yes, and by prayer,—the solution must be + found in the practical domain of industry. + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + DR. JONATHAN + </h2> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <div class="play"> + <h2> + ACT I + </h2> +<pre xml:space="preserve"> +SCENE: The library of ASHER PINDAR'S house in Foxon Falls, a New England + village of some three thousand souls, over the destinies of which + the Pindars for three generations have presided. It is a large, + dignified room, built early in the nineteenth century, with white + doors and gloss woodwork. At the rear of the stage,—which is the + front of the house,—are three high windows with small, square panes + of glass, and embrasures into which are fitted white inside + shutters. These windows reach to within a foot or so of the floor; + a person walking on the lawn or the sidewalk just beyond it may be + seen through them. The trees bordering the Common are also seen + through these windows, and through a gap in the foliage a glimpse of + the terraced steeple of the Pindar Church, the architecture of which + is of the same period as the house. Upper right, at the end of the + wall, is a glass door looking out on the lawn. There is another + door, lower right, and a door, lower left, leading into ASHER + PINDAR'S study. A marble mantel, which holds a clock and certain + ornaments, is just beyond this door. The wall spaces on the right + and left are occupied by high bookcases filled with respectable + volumes in calf and dark cloth bindings. Over the mantel is an + oil painting of the Bierstadt school, cherished by ASHER as an + inheritance from his father, a huge landscape with a self-conscious + sky, mountains, plains, rivers and waterfalls, and two small figures + of Indians—who seem to have been talking to a missionary. In the + spaces between the windows are two steel engravings, “The Death of + Wolfe on the Plains of Abraham” and “Washington Crossing the + Delaware!” The furniture, with the exception of a few heirlooms, + such as the stiff sofa, is mostly of the Richardson period of the + '80s and '90s. On a table, middle rear, are neatly spread out + several conservative magazines and periodicals, including a + religious publication. +</pre> + <p> + TIME: A bright morning in October, 1917, + </p> +<pre xml:space="preserve"> + GEORGE PINDAR, in the uniform of a first lieutenant of the army, + enters by the doorway, upper right. He is a well set up young man + of about twenty-seven, bronzed from his life in a training camp, of + an adventurous and social nature. He glances about the room, and + then lights a cigarette. + + ASHER PINDAR, his father, enters, lower right. He is a tall, + strongly built man of about sixty, with iron grey hair and beard. + His eyes are keen, shadowed by bushy brows, and his New England + features bear the stamp of inflexible “character.” He wears a black + “cutaway” coat and dark striped trousers; his voice is strong and + resonant. But he is evidently preoccupied and worried, though he + smiles with affection as he perceives GEORGE. GEORGE'S fondness for + him is equally apparent. +</pre> + <p> + GEORGE. Hello, dad. + </p> + <p> + ASHER. Oh, you're here, George. + </p> + <p> + GEORGE (looking, at ASHER). Something troubling you? + </p> + <p> + ASHER (attempting dissimulation). Well, you're going off to France, + they've only given you two days' leave, and I've scarcely seen anything + of you. Isn't that enough? + </p> + <p> + GEORGE. I know how busy you've been with that government contract on + your hands. I wish I could help. + </p> + <p> + ASHER. You're in the army now, my boy. You can help me again when you + come back. + </p> + <p> + GEORGE. I want to get time to go down to the shops and say goodbye to + some of the men. + </p> + <p> + ASHER. No, I shouldn't do that, George. + </p> + <p> + GEORGE (surprised). Why not? I used to be pretty chummy with them, you + know,—smoke a pipe with them occasionally in the noon hour. + </p> + <p> + ASHER. I know. But it doesn't do for an employer to be too familiar with + the hands in these days. + </p> + <p> + GEORGE. I guess I've got a vulgar streak in me somewhere, I get along + with the common people. There'll be lots of them in the trenches, dad. + </p> + <p> + ASHER. Under military discipline. + </p> + <p> + GEORGE (laughing). We're supposed to be fighting a war for democracy. I + was talking to old Bains yesterday,—he's still able to run a + lathe, and he was in the Civil War, you know. He was telling me how the + boys in his regiment stopped to pick blackberries on the way to the + battle of Bull Run. + </p> + <p> + ASHER. That's democracy! It's what we're doing right now—stopping + to pick blackberries. This country's been in the war six months, since + April, and no guns, no munitions, a handful of men in France—while + the world's burning! + </p> + <p> + GEORGE. Well, we won't sell Uncle Sam short yet. Something is bothering + you, dad. + </p> + <p> + ASHER. No—no, but the people in Washington change my + specifications every week, and Jonathan's arriving today, of all days. + </p> + <p> + GEORGE. Has Dr. Jonathan turned up? + </p> + <p> + ASHER. I haven't seen him yet. It seems he got here this morning. No + telegram, nothing. And he had his house fixed up without consulting me. + He must be queer, like his father, your great uncle, Henry Pindar. + </p> + <p> + GEORGE. Tell me about Dr. Jonathan. A scientist,—isn't he? + Suddenly decided to come back to live in the old homestead. + </p> + <p> + ASHER. On account of his health. He was delicate as a boy. He must have + been about eight or nine years old when Uncle Henry left Foxon Falls for + the west,—that was before you were born. Uncle Henry died + somewhere in Iowa. He and my father never got along. Uncle Henry had as + much as your grandfather to begin with, and let it slip through his + fingers. He managed to send Jonathan to a medical school, and it seems + that he's had some sort of a position at Johns Hopkins's—research + work. I don't know what he's got to live on. + </p> + <p> + GEORGE. Uncle Henry must have been a philanthropist. + </p> + <p> + ASHER. It's all very well to be a philanthropist when you make more than + you give away. Otherwise you're a sentimentalist. + </p> + <p> + GEORGE. Or a Christian. + </p> + <p> + ASHER. We can't take Christianity too literally. + </p> + <p> + GEORGE (smiling). That's its great advantage, as a religion. + </p> + <p> + ASHER. George, I don't like to say anything just as you're going to + fight for your country, my boy, but your attitude of religious + skepticism has troubled me, as well as your habit of intimacy with the + shop hands. I confess to you that I've been a little afraid at times + that you'd take after Jonathan's father. He never went to church, he + forgot that he owed something to his position as a Pindar. He used to + have that house of his overrun with all sorts of people, and the yard + full of dirty children eating his fruit and picking his flowers. There's + such a thing as being too democratic. I hope I'm as good an American as + anybody, I believe that any man with brains, who has thrift, ought to + rise—but wait until they do rise. You're going to command men, and + when you come back here into the business again you'll be in a position + of authority. Remember what I say, if you give these working people an + inch, they'll take all you have. + </p> + <p> + GEORGE (laying his hand on ASHER's shoulder). Something is worrying you, + dad. We've always been pretty good pals, haven't we? + </p> + <p> + ASHER. Yes, ever since you were a little shaver. Well, George, I didn't + want to bother you with it—today. It seems there's trouble in the + shops,—in our shops, of all places,—it's been going on for + some time, grumbling, dissatisfaction, and they're getting higher wages + than ever before—ruinous wages. They want me to recognize the + union. + </p> + <p> + GEORGE. Well, that beats me. I thought we were above the labour-trouble + line, away up here in New England. + </p> + <p> + ASHER (grimly). Oh, I can handle them. + </p> + <p> + GEORGE. I'll bet you can. You're a regular old war horse when you get + started. It's your capital, it's your business, you've put it all at the + disposal of the government. What right have they to kick up a row now, + with this war on? I must say I haven't any sympathy with that. + </p> + <p> + ASHER (proudly). I guess you're a real Pindar after all, George. + </p> +<pre xml:space="preserve"> + (Enter an elderly maid, lower right.) +</pre> + <p> + MAID. Timothy Farrell, the foreman's here. + </p> +<pre xml:space="preserve"> + (Enter, lower right, TIMOTHY, a big Irishman of about sixty, in + working clothes.) +</pre> + <p> + TIMOTHY. Here I am, sir. They're after sending word you wanted me. + </p> + <p> + GEORGE (going up to TIMOTHY and shaking his hand warmly). Old Timothy! + I'm glad to get sight of you before I go. + </p> + <p> + TIMOTHY. And it's glad I am to see you, Mr. George, before you leave. + And he an officer now! Sure, I mind him as a baby being wheeled up and + down under the trees out there. My boy Bert was saying only this morning + how we'd missed the sight of him in the shops this summer. You have a + way with the men, Mr. George, of getting into their hearts, like. I was + thinking just now, if Mr. George had only been home, in the shops, maybe + we wouldn't be having all this complaint and trouble. + </p> + <p> + GEORGE. Who's at the bottom of this, Timothy? Rench? Hillman? I thought + so. Well, they're not bad chaps when you get under their skins. + </p> +<pre xml:space="preserve"> + (He glances at his wrist watch) +</pre> + <p> + Let me go down and talk with them, dad,—I've got time, my train + doesn't leave until one thirty. + </p> + <p> + ASHER (impatiently, almost savagely). No, I'll settle this, George, this + is my job. I won't have any humoring. Come into my study, Timothy. + </p> +<pre xml:space="preserve"> + TIMOTHY, shaking his head, follows ASHER out of the door, left. + + After a moment GEORGE goes over to the extreme left hand corner of + the room, where several articles are piled. He drags out a kit bag, + then some necessary wearing apparel, underclothes, socks, a sweater, + etc., then a large and rather luxurious lunch kit, a pin cushion. + with his monogram, a small travelling pillow with his monogram, a + linen toilet case embroidered in blue, to hang on the wall—these + last evidently presents from admiring lady friends. Finally he + brings forth a large rubber life preserving suit. He makes a show + of putting all these things in the bag, including the life- + preserving suit; and reveals a certain sentiment, not too deep, for + the pillow, the pincushion and the toilet case. At length he strews + everything over the floor, and is surveying the litter with mock + despair when a girl appears on the lawn outside, through one of the + windows. She throws into the room a small parcel wrapped in tissue + paper, and disappears. GEORGE picks up the parcel and looks + surprised, and suddenly runs out of the door, upper right. He + presently returns, dragging the girl by the wrists, she resisting. + + MINNIE FARRELL is about twenty one, with black hair and an abundant + vitality. Her costume is a not wholly ineffective imitation of + those bought at a great price at certain metropolitan + establishments. A string of imitation pearls gleams against her + ruddy skin. +</pre> + <p> + MINNIE. Cut it out, George! (Glancing around apprehensively.) Say, if + your mother was to find me here she'd want to send me up to the + reformatory (she frees herself). + </p> + <p> + GEORGE. Where the deuce did you blow in from? (Regarding her with + admiration.) Is this the little Minnie Farrell who left Foxon Falls two + years ago? Gee whiz! aren't we smart! + </p> + <p> + MINNIE. Do you like me? I'm making good money, since the war. + </p> + <p> + GEORGE. Do I like you? What are you doing here? + </p> + <p> + MINNIE. My brother Bert's out there—he ain't working today. Mr. + Pindar sent for father, and we walked up here with him. Where is he? + </p> + <p> + GEORGE (nodding toward the study). In there. But what are you doing, + back in Foxon Falls? + </p> + <p> + MINNIE. Oh, visiting the scenes of my childhood. + </p> + <p> + GEORGE (tearing open the tissue paper from the parcel). Did you make + these for me? (He holds up a pair of grey woollen wristlets.) + </p> + <p> + MINNIE. Well, I wanted to do something for a soldier, and when I heard + you was going to France I thought you might as well have 'em. + </p> + <p> + GEORGE. How did you hear I was going? + </p> + <p> + MINNIE. Bert told me when I came home yesterday. They say it's cold in + the trenches, and nothing keeps the hands so warm as wristlets. I know, + because I've had 'em on winter mornings, early, when I was going to + work. Will you wear 'em, George? + </p> + <p> + GEORGE. Will I wear them! (He puts then on his wrists.) I'll never take + them off till the war's over. + </p> + <p> + MINNIE (pleased). You always were a josher! + </p> + <p> + GEORGE. Tell me, Minnie, why did you run away from me two years ago? + </p> + <p> + MINNIE. Run away from you! I left because I couldn't stand this village + any longer. It was too quiet for me. + </p> + <p> + GEORGE. You're a josher! You went off while I was away, without telling + me you were going. And then, when I found out where you were and hustled + over to Newcastle in my car, you turned me down hard. + </p> + <p> + MINNIE. You didn't have a mortgage on me. There were plenty of girls of + your own kind at that house party you went to. I guess you made love to + them, too. + </p> + <p> + GEORGE. They weren't in the same class with you. You've got the ginger. + </p> + <p> + MINNIE. I've still got the ginger, all right. + </p> + <p> + GEORGE. I thought you cared for me. + </p> + <p> + MINNIE. You always had the nerve, George. + </p> + <p> + GEORGE. You acted as if you did. + </p> + <p> + MINNIE. I'm a good actor. Say, what was there in it for me?—packing + tools in the Pindar shops, and you the son of my boss? You didn't want + nothing from me except what all men want, and you wouldn't have wanted + that long. + </p> + <p> + GEORGE. I was crazy about you. + </p> + <p> + MINNIE (her eyes falling on the travelling pillow and the pincushion; + picking theron: up in turn). I guess you told them that, too. + </p> + <p> + GEORGE (embarrassed). Oh, I'm popular enough when I'm going away. They + don't care anything about me. + </p> + <p> + MINNIE (indicating the wristlets). You don't want them,—I'll give + 'em to Bert. + </p> + <p> + GEORGE. No, you won't. + </p> + <p> + MINNIE. I was silly. But we had a good time while it lasted,—didn't + we, George? + </p> +<pre xml:space="preserve"> + (She evades him deftly, and picks up the life-preserving suit.) +</pre> + <p> + What's this?—a full dress uniform? + </p> + <p> + GEORGE. When a submarine gets you, all you've got to do is to jump + overboard and blow this— + </p> +<pre xml:space="preserve"> + (He draws the siren from the pocket and starts to blow it, but she + seizes his hand.) +—and float around until a destroyer picks you up. + + (Takes from another pocket a metal lunch box.) +</pre> + <p> + This is for pate de foie gras sandwiches, and there's room in here— + </p> +<pre xml:space="preserve"> + (Indicating another pocket.) +—for a bottle of fizz. Come along with me, Minnie, ship as a Red Cross +nurse, and I'll buy you one. The Atlantic wouldn't be such a bad place, +with you,—and we wouldn't be in a hurry to blow the siren. You'd look +like a peach in a white costume, too. +</pre> + <p> + MINNIE. Don't you like me in this? + </p> + <p> + GEORGE. Sure, but I'd like that better. + </p> + <p> + MINNIE. I'd make a good nurse, if I do say it myself. And I'd take good + care of you, George,—as good as any of them. + </p> +<pre xml:space="preserve"> + (She nods toward the pillow and pincushion.) +</pre> + <p> + GEORGE. Better! + </p> +<pre xml:space="preserve"> + (He seizes her hands and attempts to draw her toward him.) +</pre> + <p> + You used to let me! + </p> + <p> + MINNIE. That ain't any reason. + </p> + <p> + GEORGE. Just once, Minnie,—I'm going away. + </p> + <p> + MINNIE. No. I didn't mean to come in here—I just wanted to see + what you looked like in your uniform. + </p> +<pre xml:space="preserve"> + (She draws away from him, just as Dr. JONATHAN appears in the + doorway, lower right.) +</pre> + <p> + Goodbye, George. + </p> +<pre xml:space="preserve"> + (She goes out through the doorway, upper right.) + + (DR. JONATHAN may be almost any age,—in reality about thirty five. + His head is that of the thinker, high above the eyes. His face + bears evidence in its lines of years of labour and service, as well + as of a triumphant struggle against ill health. In his eyes is a + thoughtful yet illuminating smile, now directed toward GEORGE who, + when he perceives him, is taken aback,) +</pre> + <p> + DR. JONATHAN. Hello! I was told to come in here,—I hope I'm not + intruding. + </p> + <p> + GEORGE. Not at all. How—how long have you been here? + </p> + <p> + DR. JONATHAN. Just long enough to get my bearings. I came this morning. + </p> + <p> + GEORGE. Oh! Are you—are you Dr. Jonathan? + </p> + <p> + DR. JONATHAN. I'm Jonathan. And you're George, I suppose. + </p> + <p> + GEORGE. Yes. (He goes to him and shakes hands.) I'm sorry to be leaving + just as you come. + </p> + <p> + DR. JONATHAN. I'll be here when you return. + </p> + <p> + GEORGE. I hope so (a pause). You won't find Foxon Falls a bad old town. + </p> + <p> + DR. JONATHAN. And it will be a better one when you come back. + </p> + <p> + GEORGE. Why do you say that? + </p> + <p> + DR. JONATHAN (smiling). It seems a safe conjecture. + </p> +<pre xml:space="preserve"> + (Dr. JONATHAN is looking at the heap of articles on the floor.) +</pre> + <p> + GEORGE (grinning, and not quite at ease). You might imagine I was + embarking in the gent's furnishing business, instead of going to war. + (He picks up the life-preserving suit.) Some friend of mother's told her + about this, and she insisted upon sending for it. I don't want to hurt + her feelings, but I can't take it, of course. + </p> +<pre xml:space="preserve"> + (He rolls it up and thrusts it under the sofa, upper left.) +</pre> + <p> + You won't give me away? + </p> + <p> + DR. JONATHAN. Never! + </p> + <p> + GEORGE. Dad ought to be here in a minute, he's in there with old Timothy + Farrell, the moulder foreman. It seems that things are in a mess at the + shops. Rotten of the men to make trouble now—don't you think?—when + the country's at war! Darned unpatriotic, I say. + </p> + <p> + DR. JONATHAN. I saw a good many stars in your service flag as I passed + the office door this morning. + </p> + <p> + GEORGE. Yes. Over four hundred of our men have enlisted. I don't + understand it. + </p> + <p> + DR. JONATHAN. Perhaps you will, George, when you come home. + </p> + <p> + GEORGE. You mean— + </p> +<pre xml:space="preserve"> + (GEORGE is interrupted by the entrance, lower right, of his mother, + AUGUSTA PINDAR. She is now in the fifties, and her hair is turning + grey. Her uneventful, provincial existence as ASHER'S wife has + confirmed and crystallized her traditional New England views, her + conviction that her mission is to direct for good the lives of the + less fortunate by whom she is surrounded. She carries her knitting + in her hand,—a pair of socks for GEORGE. And she goes at once to + DR. JONATHAN.) +</pre> + <p> + AUGUSTA. So you are Jonathan. They told me you'd arrived—why + didn't you come to us? Do you think it's wise to live in that old house + of your father's before it's been thoroughly heated for a few days? + </p> + <p> + DR. JONATHAN (taking her hand). Oh, I'm going to live with the doors and + windows open. + </p> + <p> + AUGUSTA. Dear me! I understand you've been quite ill, and you were never + very strong as a child. I made it my business to go through the house + yesterday, and I must say it looks comfortable. But the carpenters and + plumbers have ruined the parlour, with that bench, and the sink in the + corner. What are you going to do there? + </p> + <p> + DR. JONATHAN. I'm having it made into a sort of laboratory. + </p> + <p> + AUGUSTA. You don't mean to say you intend to do any work! + </p> + <p> + DR. JONATHAN. Work ought to cure me, in this climate. + </p> + <p> + AUGUSTA. You mean to practise medicine? You ought to have consulted us. + I'm afraid you won't find it remunerative, Jonathan,—but your + father was impractical, too. Foxon Falls is still a small place, in + spite of the fact that the shops have grown. Workmen's families can't + afford to pay big fees, you know. + </p> + <p> + DR. JONATHAN (smiling). I know. + </p> + <p> + AUGUSTA. And we already have an excellent physician here, Dr. Senn. + </p> + <p> + DR. JONATHAN. I shan't interfere with Dr. Senn. + </p> + <p> + GEORGE (laying his hand on AUGUSTA's shoulder: apologetically). Mother + feels personally responsible for every man, woman and child in Foxon + Falls. I shouldn't worry about Dr. Jonathan if I were you, mother, I've + got a notion he can take care of himself. + </p> + <p> + AUGUSTA (a little baffled by DR. JONATHAN's self-command, sits down and + begins to knit). I must get these socks finished for you to take with + you, my dear. (To DR. JONATHAN) I can't realize he's going! (To GEORGE) + You haven't got all your things in your bag! Where's the life-preserving + suit I sent for? + </p> + <p> + GEORGE (glancing at DR. JONATHAN). Oh that's gone, mother. + </p> + <p> + AUGUSTA. He always took cold so easily, and that will keep him warm and + dry, if those terrible Germans sink his ship. But your presents, George! + (To DR. JONATHAN:) Made for him by sisters of his college friends. + </p> + <p> + GEORGE (amused but embarrassed). I can't fit up a section of the + trenches as a boudoir. + </p> + <p> + AUGUSTA. Such nice girls! I wish he'd marry one of them. Who made you + the wristlets? I hadn't seen them. + </p> + <p> + GEORGE (taking of the wristlets and putting them in his bag). Oh, I + can't give her away. I was—just trying them on, to see if they + fitted. + </p> + <p> + AUGUSTA. When did they come? + </p> + <p> + GEORGE (glancing at DR. JONATHAN). Er—this morning. + </p> +<pre xml:space="preserve"> + (Enter ASHER and TIMOTHY from the study, left. ASHER is evidently + wrought up from his talk with TIMOTHY.) +</pre> + <p> + ASHER. Remember, Timothy, I rely on sensible men like you to put a stop + to this nonsense. + </p> + <p> + AUGUSTA. Asher, here's Jonathan. + </p> + <p> + ASHER. Oh! (He goes up to DR. JONATHAN and takes his hand, though it is + quite evident that his mind is still on the trouble in the shops). Glad + to see you back in Foxon Falls, Jonathan. I heard you'd arrived, and + would have dropped in on you, but things are in a muddle here just now. + </p> + <p> + DR. JONATHAN. Not only here, but everywhere. + </p> + <p> + ASHER. You're right. The country's going to the dogs. I don't know what + will straighten it out. + </p> + <p> + DR. JONATHAN. Intelligence, open-mindedness, cooperation, Asher. + </p> + <p> + ASHER (arrested: looking at him). Hum! + </p> + <p> + DR. JONATHAN (leaving him and going up to TIMOTHY). You don't remember + me, Timothy? + </p> + <p> + TIMOTHY. Sure and I do, sir,—though you were only a little lad. + You mind me of your father,—your smile, like. He was the grand, + simple man! It's happy I am to see you back in Foxon Falls. + </p> + <p> + DR. JONATHAN. Yes, I've been ordered to the rear. + </p> + <p> + TIMOTHY. The rear, is it? I'm thinking we'll be fighting this war in + Foxon Falls, too. + </p> + <p> + DR. JONATHAN. Yes, much of it will be fought behind the battle lines. + </p> + <p> + AUGUSTA. You think the Germans will come over here? + </p> + <p> + DR. JONATHAN. No, but the issue is over here already. + </p> +<pre xml:space="preserve"> + (DR. JONATHAN picks up her ball of wool, which has fallen to the + floor.) +</pre> + <p> + AUGUSTA (looking at him apprehensively: puzzled). Thank you, Jonathan. + </p> +<pre xml:space="preserve"> + (She turns to TIMOTHY, who has started toward the door, lower right) +</pre> + <p> + Wait a moment, Timothy, I want to ask you about your children. What do + you hear from Minnie? I always took an interest in her, you know,—especially + when she was in the tool packing department of the shops, and I had her + in my Bible class. I appreciated your letting her come,—an + Irishman and a Catholic as you are. + </p> + <p> + TIMOTHY. The Church has given me up as a heathen, ma'am, when I married + your cook, and she a Protestant. + </p> + <p> + AUGUSTA. I've been worried about Minnie since she went to Newcastle. She + has so much vitality, and I'm afraid she's pleasure loving though she + seemed to take to religion with her whole soul. And where's Jamesy? + </p> + <p> + TIMOTHY. Jamesy, is it? It's gone to the bad entirely he is, with the + drink. He left the shops when the twelve-hour shifts began—wherever + he's at now. It's home Minnie came from Newcastle yesterday, ma'am, for + a visit,—she's outside there now, with Bert,—they walked + along with me. + </p> + <p> + AUGUSTA. Bring them in, I want to see them,—especially Minnie. I + must say I'm surprised she should have come home without calling on me. + </p> + <p> + TIMOTHY. I'll get them, ma'am. + </p> +<pre xml:space="preserve"> + (He goes out of the door, upper right. GEORGE, who has been + palpably ill at ease during this conversation, now makes for the + door, lower right.) +</pre> + <p> + AUGUSTA. Where are you going, my dear? + </p> + <p> + GEORGE (halting). I thought I'd look around and see if I'd forgotten + anything, mother. + </p> + <p> + AUGUSTA. Stay with us,—there's plenty of time. + </p> +<pre xml:space="preserve"> + (TIMOTHY returns through the doorway, upper right, with BERT, but + without MINNIE.) +</pre> + <p> + TIMOTHY. It's disappeared entirely she is, ma'am,—here one minute + and there the next, the way with young people nowadays. And she's going + back to Newcastle this afternoon, to her job at the Wire Works. + </p> + <p> + AUGUSTA. I must see her before she goes. I feel in a measure responsible + for her. You'll tell her? + </p> + <p> + TIMOTHY. I'll tell her. + </p> + <p> + AUGUSTA. How are you getting along, Bert? + </p> + <p> + BERT. Very well, thank you, Mrs. Pindar. + </p> +<pre xml:space="preserve"> + (The MAID enters, lower right.) +</pre> + <p> + MAID. Miss Thorpe wishes to speak with you, ma'am. + </p> + <p> + AUGUSTA (gathering up her knitting). It's about the wool for the Red + Cross. + </p> +<pre xml:space="preserve"> + (Exit, lower right.) +</pre> + <p> + GEORGE (shaking hands with BERT). Hello, Bert,—how goes it? + </p> + <p> + BERT. All right, thank you, lieutenant. + </p> + <p> + GEORGE. Oh, cut out the title. + </p> +<pre xml:space="preserve"> + (BERT FARRELL is about twenty three. He wears a brown flannel shirt + and a blue four-in-hand tie, and a good ready-made suit. He holds + his hat in front of him. He is a self-respecting, able young Irish + American of the blue-eyed type that have died by thousands on the + battle fields of France, and whose pictures may be seen in our + newspapers.) +</pre> + <p> + ASHER. You're not working today, Bert? + </p> + <p> + BERT. I've left the shops, Mr. Pindar,—I got through last night. + </p> + <p> + ASHER. Left the shops! You didn't say anything about this, Timothy! + </p> + <p> + TIMOTHY. No, sir,—you have trouble enough today. + </p> + <p> + ASHER (to BERT). Why did you leave? + </p> + <p> + BERT. I'm going to enlist, Mr. Pindar,—with the Marines. From what + I've heard of that corps, I think I'd like to join it. + </p> + <p> + ASHER (exasperated). But why do you do a thing like this when you must + know I need every man here to help turn out these machines? And + especially young men like you, good mechanics! If you wanted to serve + your country, you were better off where you were. I got you exempted—(catching + himself) I mean, you were exempted from the draft. + </p> + <p> + BERT. I didn't want to be exempted, sir. More than four hundred of the + boys have gone from the shops, as well as Mr. George here, and I + couldn't stand it no longer. + </p> + <p> + ASHER. What's Mr. George got to do with it? The cases are different. + </p> + <p> + BERT (stoutly). I don't see that, Mr. Pindar. Every man, no matter who + he is, has to decide a thing like this for himself. + </p> + <p> + GEORGE. Bert's right, dad. + </p> + <p> + ASHER. You say he's right, when you know that I need every hand I can + get to carry out this contract? + </p> + <p> + GEORGE. He's going to make a contract, too. He's giving up all he has. + </p> + <p> + ASHER. And you approve of this, Timothy? + </p> + <p> + TIMOTHY. Sure, I couldn't stop him, Mr. Pindar! And it's proud I am of + him, the same as you are of Mr. George, that he'd be fighting for + America and liberty. + </p> + <p> + ASHER. Liberty! License is what we're getting now! The workman thinks he + can do as he pleases. And after all I've done for my workmen,—building + them a club house with a piano in it, and a library and a billiard + table, trying to do my best to make them comfortable and contented. I + pay them enough to buy pianos and billiard tables for themselves, and + you tell me they want still higher wages. + </p> + <p> + TIMOTHY. They're saying they can go down to the shipyards, where they'd + be getting five dollars and thirty cents a day. + </p> + <p> + ASHER. Let them go to the shipyards, if they haven't any sense of + gratitude! What else do they say? + </p> + <p> + TIMOTHY. That you have a contract, sir, and making millions out of it. + </p> + <p> + ASHER. What can they know about my profits? + </p> + <p> + TIMOTHY. It's just that, sir,—they know nothing at all. But + they're saying they ought to know, since things is different now, and + they're working for the war and the country, the same as yourself. + </p> + <p> + ASHER. Haven't I established a system of bonuses, to share my profits + with the efficient and the industrious? + </p> + <p> + TIMOTHY. They don't understand the bonuses,—how you come by them. + Autocracy is the word they use. And they say you put up a notice sudden + like, without asking them, that there'd be two long shifts instead of + three eight-hour ones. They're willing to work twelve hours on end, for + the war, they say, but they'd want to be consulted. + </p> + <p> + ASHER. What business is it of theirs? + </p> + <p> + TIMOTHY. Well, it's them that has to do the hard work, sir. There was a + meeting last night, I understand, with Rench and Hillman and a delegate + come from Newcastle making speeches, the only way they'd get their + rights would be for you to recognize the union. + </p> + <p> + ASHER. I'll never recognize a union! I won't have any outsiders, + meddlers and crooks dictating my business to me. + </p> + <p> + TIMOTHY. I've been with you thirty years, come December, Mr. Pindar, and + you've been a good employer to me. I don't hold with the unions—you + know it well, sir, or you wouldn't be asking me advice. I'm telling you + what they're saying. + </p> + <p> + ASHER. I didn't mean to accuse you,—you've been a good and loyal + employee—that's why I sent for you. Find out what their game is, + and let me know. + </p> + <p> + TIMOTHY. It's not a detective I am, Mr. Pindar. I'm a workman meself. + That's another thing they're saying, that you'd pay detectives to go + among them, like workingmen. + </p> + <p> + ASHER (impatiently). I'm not asking you to be a detective,—I only + want you to give me warning if we are to have a strike. + </p> + <p> + TIMOTHY. I've warned you, sir,—if it's only for the sake of + beating the Germans, the dirty devils. + </p> + <p> + GEORGE (turning to BERT). Well, here's wishing you luck, Bert, and + hoping we'll meet over there. I know how you feel,—you want to be + in it, just as I do. + </p> + <p> + ASHER (turning). Perhaps I said more than I meant to, Bert. I've got to + turn out these machines in order that our soldiers may have shrapnel to + fight with, and what with enlistments and the determination of + unscrupulous workmen to take advantage of the situation, I'm pretty hard + pressed. I can't very well spare steady young men like you, who have too + much sense and too much patriotism to mix yourselves up with trouble + makers. But I, too, can understand your feeling,—I'd like to be + going myself. You might have consulted me, but your place will be ready + for you when you come back. + </p> + <p> + BERT. Thank you, sir. (He turns his hat over in his hands.) Maybe it + would be fair to tell you, Mr. Pindar, that I've got a union card in my + pocket. + </p> + <p> + ASHER. You, Timothy Farrell's son! + </p> + <p> + TIMOTHY. What's that? And never a word to me! + </p> + <p> + BERT (to TIMOTHY). Why wouldn't I join the union? I took out the card + this morning, when I see that that's the only way we'll get what's + coming to us. We ain't got a chance against the employers without the + union. + </p> + <p> + TIMOTHY. God help me, to think my son would join the union,—and he + going to be a soldier! + </p> + <p> + BERT (glancing at GEORGE). I guess there'll be other union men in the + trenches besides me. + </p> + <p> + ASHER. Soldier or no soldier, I'll never employ any man again who's + joined a union. + </p> + <p> + GEORGE (perturbed). Hold on, dad! + </p> + <p> + ASHER. I mean what I say, I don't care who he is. + </p> + <p> + BERT (who retains his self-possession). Excuse me, Mr. Pindar, but I'd + like to ask you a question—I've heard the men talking about this + in the shops. You don't like it if we go off to—fight, but if we + join the union you fire us, no matter how short-handed you are. + </p> + <p> + ASHER. It's a principle with me,—I won't have any outside agency + dictating to me. + </p> + <p> + BERT. But if it came to recognizing the union, or shutting down? + </p> + <p> + ASHER. I'd shut down tomorrow. + </p> +<pre xml:space="preserve"> + (GEORGE, who sees the point, makes a gesture as if about to + interrupt.) +</pre> + <p> + BERT. That's what I'm getting at, Mr. Pindar. You say you'd shut down + for a principle, whether the government gets the machines or not. And + the men say they'd join the union for a principle, whether the + government gets the machines or not. It looks to me as if both was + hindering the war for a principle, and the question is, which principle + is it that agrees best with what we're fighting for? + </p> + <p> + ASHER. No man joins a union for a principle, but for extortion. I can't + discuss it,—I won't! + </p> + <p> + BERT. I'm sorry, sir. + </p> +<pre xml:space="preserve"> + (He turns to go out, lower right.) +</pre> + <p> + GEORGE (overtaking him and grasping his hand). So long, Bert. I'll look + you up, over there! + </p> + <p> + BERT (gazing at him). All right, Mr. George. + </p> + <p> + GEORGE. Goodbye, Timothy. Don't worry about the boy. + </p> + <p> + TIMOTHY. It's proud I am to have him go. Mr. George,—but I can't + think why he'd be joining the union, and never telling me. + </p> +<pre xml:space="preserve"> + (He stands for a moment troubled, glancing at ASHER, torn between + loyalty to his employer and affection for his son. Then he goes out + slowly, upper right. All the while DR. JONATHAN has stood in the + rear of the room, occasionally glancing at GEORGE. He now comes + forward, unobtrusively, yet withal impressively.) +</pre> + <p> + ASHER. I never expected to hear such talk from a son of Timothy Farrell,—a + boy I thought was level-headed. (To DR. JONATHAN) What do you think of + that? You heard it. + </p> + <p> + DR. JONATHAN. Well, he stated the issue, Asher. + </p> + <p> + ASHER. The issue of what? + </p> + <p> + DR. JONATHAN. Of the new century. + </p> + <p> + GEORGE. The issue of the new century + </p> + <p> + ASHER. You're right, we've got to put these people down. After the war + they'll come to heel,—we'll have a cheap labour market then. + </p> + <p> + DR. JONATHAN. Humanity has always been cheap, but we're spending it + rather lavishly just now. + </p> + <p> + ASHER, You mean that there will be a scarcity of labour? And that they + can continue to blackmail us into paying these outrageous wages? + </p> + <p> + DR. JONATHAN. When you pay a man wages, Asher, you own him,—until + he is turned over to somebody else. + </p> + <p> + ASHER (puzzled, a little suspicious for the first time). I own his + labour, of course. + </p> + <p> + DR. JONATHAN. Then you own his body, and his soul. Perhaps he resents + being regarded as a commodity. + </p> + <p> + ASHER. What else is labour? + </p> + <p> + DR. JONATHAN. How would you like to be a commodity? + </p> + <p> + ASHER. I? I don't see what that has to do with it. These men have no + consideration, no gratitude, after the way I've treated them. + </p> + <p> + DR. JONATHAN. Isn't that what they object to? + </p> + <p> + ASHER. What? + </p> + <p> + DR. JONATHAN. To being treated. + </p> + <p> + ASHER. Object to kindness? + </p> + <p> + DR. JONATHAN. To benevolence. + </p> + <p> + ASHER. Well, what's the difference? + </p> + <p> + DR. JONATHAN. The difference between self-respect and dependence. + </p> + <p> + ASHER. Are—are you a Socialist? + </p> + <p> + DR. JONATHAN. NO, I'm a scientist. + </p> +<pre xml:space="preserve"> + (ASHER is standing staring at him when the MAID enters, lower + right.) +</pre> + <p> + MAID. Your long distance call to Washington, sir. + </p> + <p> + ASHER. Very well. + </p> +<pre xml:space="preserve"> + (As he starts to go out he halts and looks at DR. JONATHAN again, + and then abruptly leaves the room, lower right, following the MAID.) +</pre> + <p> + GEORGE (who has been regarding DR. JONATHAN: after a moment's + hesitation). You seem to think there's something to be said for the + workman's attitude, Dr. Jonathan. + </p> + <p> + DR. JONATHAN. What is his attitude, George? + </p> + <p> + GEORGE. Well, you heard Bert just now. I thought he had poor old dad on + the hip when he accused the employer of holding up the war, too. But + after all, what labour is after is more money, isn't it? and they're + taking advantage of a critical situation to get it. And when they get + money, most of them blow it in on sprees. + </p> + <p> + DR. JONATHAN. George, what are you going to France to fight for? + </p> + <p> + GEORGE. Germany's insulted our flag, murdered our people on the high + seas and wants to boss the world. + </p> + <p> + DR. JONATHAN (smiling). The issue, then, is human freedom. + </p> + <p> + GEORGE. Sure thing! + </p> + <p> + DR. JONATHAN. And you think every man and woman in this country is + reasonably free? + </p> + <p> + GEORGE. Every man can rise if he has the ability. + </p> + <p> + DR. JONATHAN. What do you mean by rise? + </p> + <p> + GEORGE. He can make money, set up for himself and be his own boss. + </p> + <p> + DR. JONATHAN. In other words, he can become free. + </p> + <p> + GEORGE (grinning). I suppose that's one way of putting it. + </p> + <p> + DR. JONATHAN. Money gives him freedom, doesn't it? Money gave you yours,—to + go to school and college until you were twenty four, and get an + education,—such as it was. + </p> + <p> + GEORGE. Such as it was! + </p> + <p> + DR. JONATHAN. Money gave you the choice of engaging in an occupation in + which you could take an interest and a pride, and enabled you + occasionally to go on a spree, if you ever went on a spree, George. + </p> + <p> + GEORGE. Once in awhile. + </p> + <p> + DR. JONATHAN. But this craving for amusement, for excitement and + adventure isn't peculiar to you and me. Workingmen have it too,—and + working girls. + </p> + <p> + GEORGE. You're a wise guy, I guess. + </p> + <p> + DR. JONATHAN. Oh no,—not that! But I've found out that you and I + are not so very different from Timothy Farrell and his children,—Bert + and Jamesy and—Minnie. + </p> + <p> + GEORGE (startled, and looking around to follow DR. JONATHAN'S glance + toward the windows). What do you know about them? + </p> + <p> + DR. JONATHAN. Oh, nothing at first hand. But I can see why Bert's going + to the war, and why Jamesy took to drink, and why Minnie left Foxon + Falls. + </p> + <p> + GEORGE. The deuce you can! + </p> + <p> + DR. JONATHAN. And so can you, George. When you get back from France you + will know what you have been fighting for. + </p> + <p> + GEORGE. And what's that? + </p> + <p> + DR. JONATHAN. Economic freedom, without which political freedom is a + farce. Industrial democracy. + </p> + <p> + GEORGE. Industrial democracy! Well, it wasn't included in my education + at Harvard. + </p> + <p> + DR. JONATHAN. Our education begins, unfortunately, after we leave + Harvard,—with Bert and Jamesy and Minnie. And here's Minnie, now! + </p> + <p> + GEORGE (hastily). I'll beat it! Mother wants to talk to her. + </p> + <p> + DR. JONATHAN (his hand on GEORGE'S arm). No,—wait. + </p> +<pre xml:space="preserve"> + (Enter, lower right, AUGUSTA, followed by MINNIE FARRELL. MINNIE, + AUGUSTA'S back being turned toward her, gives GEORGE a wink, which + he acknowledges, and then glances toward DR. JONATHAN. AUGUSTA, + with her knitting, seats herself in an armchair. Her attitude is + somewhat inquisitorial; her tone, as she addresses MINNIE, non- + committal. She is clearly offended by MINNIE'S poise and good- + natured self-assertion.) +</pre> + <p> + AUGUSTA. You remember Mr. Pindar, Minnie. + </p> + <p> + MINNIE (demurely). Glad to meet you again, Mr. Pindar. I hear you're + going off to the war. Well, that's great. + </p> + <p> + GEORGE (squeezing her hand; she winces a little). Oh, yes,-I remember + Minnie. + </p> + <p> + AUGUSTA. And this is Dr. Jonathan Pindar. + </p> + <p> + MINNIE (who has been eyeing DR. JONATHAN as a possible enemy; with + reserve). Glad to meet you, I'm sure. + </p> + <p> + DR. JONATHAN (smiling at her as he takes her hand). The pleasure is—mutual. + </p> + <p> + MINNIE (puzzled, but somewhat reassured). Glad to meet you. + </p> + <p> + DR. JONATHAN. I've come to live in Foxon Falls. I hope we'll be friends. + </p> + <p> + MINNIE. I hope so. I'm going back to Newcastle this afternoon, there's + nothing doing here. + </p> + <p> + DR. JONATHAN. Would you stay, if there were something doing? + </p> + <p> + MINNIE. I—I don't know. What would I be doing here? + </p> + <p> + AUGUSTA (disapprovingly, surveying, MINNIE'S costume). I don't think I + should have recognized you, Minnie. + </p> + <p> + MINNIE. City life agrees with me, Mrs. Pindar. But I needed a little + rest cure, and I came to see what the village looked like. + </p> + <p> + DR. JONATHAN. A sort of sentimental journey, Minnie. + </p> + <p> + MINNIE (flashing a look at GEORGE, and another at DR. JONATHAN). Well, + you might call it that. I get you. + </p> + <p> + AUGUSTA. Minnie, what church do you attend in Newcastle? + </p> + <p> + MINNIE. Well, I haven't got a seat in any particular church, Mrs. + Pindar. + </p> + <p> + AUGUSTA. I didn't expect you to go to the expense of getting a seat. I + hope you delivered the letter our minister gave you to the minister of + the First Church in Newcastle. + </p> + <p> + MINNIE. No, I didn't, Mrs. Pindar, and that's the truth. I never went + near a church. + </p> + <p> + AUGUSTA (drily). It's a pity you ever went to Newcastle, I think. + </p> + <p> + MINNIE. It's some town! Every time you ride into it you see a big sign, + “Welcome to Newcastle, population one hundred and six thousand, and + growing every day. Goodbye, and thank you!” + </p> + <p> + AUGUSTA (knitting). You drive about in automobiles! + </p> + <p> + MINNIE. Oh, sometimes I get a joy ride. + </p> + <p> + AUGUSTA. It grieves me to hear you talk in this way. I knew you were + pleasure loving, I thought I saw certain tendencies in you, yet you + seemed to realize the grace of religion when you were in my Bible class. + Your brother Jamesy took to drink— + </p> + <p> + MINNIE. And I took to religion. You meant to be kind, Mrs. Pindar, and I + thank you. But now I know why Jamesy took to drink—it was for the + same reason I took to religion. + </p> + <p> + AUGUSTA (scandalized). Minnie! + </p> + <p> + MINNIE. We were both trying to be free, to escape. + </p> + <p> + AUGUSTA. To escape? From what? + </p> + <p> + MINNIE (with a gesture indicating futility). I guess it would be pretty + hard to get it across to you, Mrs. Pindar. But I was working ten hours a + day packing tools in your shops, and all you gave me when the whistle + blew was—Jesus. + </p> +<pre xml:space="preserve"> + (A pause: GEORGE takes a step toward her.) +</pre> + <p> + Jamesy took to drink, and I took to Jesus. I'm not saying anything + against Him. He had His life, but I wanted mine. Maybe He would have + understood. + </p> +<pre xml:space="preserve"> + (Turning impulsively toward DR. JONATHAN.) +</pre> + <p> + I've got a hunch that you understand. + </p> + <p> + AUGUSTA. Minnie, I can't let you talk about religion in this way in my + presence. + </p> + <p> + MINNIE. I'm sorry, Mrs. Pindar, I knew it wasn't no use to come and see + you,—I told father so. + </p> + <p> + AUGUSTA. I suppose, if you're determined to continue this life of—(she + catches herself) I can't stop you. + </p> + <p> + MINNIE (flaring up). What life? Don't worry about me, Mrs. Pindar,—I + get twenty five dollars a week at the Shale Works making barb wire to + trip up the Huns with,—enough to get nice clothes—(she + glances down at her dress) and buy good food, and have a good time on + the side. + </p> + <p> + AUGUSTA (whose conceptions of what she believes to be MINNIE's kind are + completely upset). You still work? + </p> + <p> + MINNIE. Work! Sure I work. I wouldn't let any man get a strangle hold on + me. And I don't kick at a little overtime, neither. I'm working for what + he's going to fight for—(indicating GEORGE) it ain't for myself + only, but for everybody that ain't been free, all over the world. (To + DR. JONATHAN.) Ain't that right? (She does not wait for his nod of + approval.) I was just saying this morning—(she looks toward GEORGE + and catches herself)—I've been wishing all along I could do more—go + as a nurse for some of the boys. + </p> + <p> + AUGUSTA. A nurse! + </p> + <p> + MINNIE (to DR. JONATHAN). If I was a man, I'd have been a doctor, like + you. Sick people don't bother me, I give myself to 'em. Before mother + died, when she was sick, she always said I'd ought to have been a nurse. + (A pause.) Well, I guess I'll go along. The foreman only give me a + couple of days off to see the old home town. + </p> + <p> + GEORGE. Hold on, Minnie. + </p> + <p> + MINNIE. What is it? + </p> + <p> + GEORGE (to AUGUSTA). Minnie and I are old friends, mother. + </p> + <p> + AUGUSTA. Old friends? + </p> + <p> + GEORGE. Yes. I knew her—very well before she went away from Foxon + Falls, and I went to Newcastle and took her out for a drive in my car. + </p> + <p> + MINNIE (vehemently). No, you never. + </p> + <p> + GEORGE. Why do you deny it? + </p> + <p> + MINNIE. There's nothing to it. + </p> + <p> + AUGUSTA (aghast). George! + </p> + <p> + GEORGE. Well, it's true. I'm not ashamed of it, though Minnie appears to + be. + </p> + <p> + MINNIE (on the verge of tears). If you wasn't ashamed, why didn't you + tell, her before? I'm not ashamed of it, neither. It was natural. + </p> + <p> + AUGUSTA (after a pause, with a supreme effort to meet the situation). + Well, I suppose men are different. But there's no excuse for you, after + all I tried to do for you. + </p> + <p> + MINNIE. Thank God men are different! + </p> +<pre xml:space="preserve"> + (AUGUSTA rises. The ball of wool drops to the floor again, and DR. + JONATHAN picks it up.) +</pre> + <p> + GEORGE. Mother, I'd like to tell you about it. You don't understand. + </p> + <p> + AUGUSTA. I'm afraid I do understand, dear. + </p> +<pre xml:space="preserve"> + (As she leaves the room, with dignity, GEORGE glances appealingly at + DR. JONATHAN.) +</pre> + <p> + DR. JONATHAN (going up to MINNIE and taking her hand). Do you think + you'd have time to drop in to see me, Minnie, before your train goes? + </p> + <p> + MINNIE (gazing at him; after a moment). Sure! I guess I'd like to talk + to you. + </p> + <p> + DR. JONATHAN. It's the little white house across the Common. + </p> + <p> + MINNIE. Oh, I know, that's been shut up all these years. + </p> + <p> + DR. JONATHAN. And is open now again. + </p> +<pre xml:space="preserve"> + (He goes out, lower right, and there is a brief silence as the two + look after him.) +</pre> + <p> + MINNIE. Say, who is he? + </p> + <p> + GEORGE. Why, he's a cousin of mine— + </p> + <p> + MINNIE. I don't mean that. He's somebody, ain't he? + </p> + <p> + GEORGE. By jingo, I'm beginning to think he is! + </p> +<pre xml:space="preserve"> + (They stand gazing at one another.) +</pre> + <p> + MINNIE (remembering her grievance: passionately). Now you've gone and + done it—telling your mother we were friends. + </p> + <p> + GEORGE. But we are—aren't we? You couldn't expect me to keep + quiet, under the circumstances. + </p> + <p> + MINNIE. She thinks I'm not fit to talk to you. Not that I care, except + that I was fond of her, she's been good to me in her way, and I felt + real bad when I went off to Newcastle with the letter to the minister I + never laid eyes on. She'll believe—you know what she'll believe,—it'll + trouble her. She's your mother, and you're going away. You might have + kept still. + </p> + <p> + GEORGE. I couldn't keep still. What would you have thought of me? + </p> + <p> + MINNIE. It don't make any difference what I'd have thought of you. + </p> + <p> + GEORGE. It makes a difference to me, and it makes some difference what I + think of myself. I seem to be learning a good many things this morning. + </p> + <p> + MINNIE. From him? + </p> + <p> + GEORGE: You mean Dr. Jonathan? + </p> + <p> + MINNIE. Yes. + </p> + <p> + GEORGE (reflecting). I don't know. I'm learning them from you, from + everybody. + </p> + <p> + MINNIE. Maybe he put you wise. + </p> + <p> + GEORGE. Well, I don't feel wise. And seeing you again this morning + brought it all back to me. + </p> + <p> + MINNIE. You were only fooling. + </p> + <p> + GEORGE. I began that way,—I'll own up. But I told you I'd never + met a girl like you, you're full of pep—courage—something I + can't describe. I was crazy about you,—that's straight,—but + I didn't realize it until you ran off, and then I went after you,—but + it was no good! I don't claim to have been square with you, and I've + been thinking—well, that I'm responsible. + </p> + <p> + MINNIE. Responsible for what? + </p> + <p> + GEORGE. Well-for your throwing yourself away down there at Newcastle. + You're too good. + </p> + <p> + MINNIE (with heat). Throwing myself away? + </p> + <p> + GEORGE. Didn't you? Didn't you break loose?—have a good time? + </p> + <p> + MINNIE. Why wouldn't I have a good time? That's what you were having,—a + good time with me,—wasn't it? And say, did you ever stop to think + what one day of a working girl's life was like? + </p> + <p> + GEORGE. One day? + </p> + <p> + MINNIE. With an alarm clock scaring you out of sweet dreams in the + winter, while it's dark, and you get up and dress in the cold and heat a + little coffee over a lamp and beat it for the factory,—and stand + on your feet all morning, in a noise that would deafen you, feeding a + thing you ain't got no interest in? It don't never need no rest! By + eleven o'clock you think you're all in, that the morning'll never end, + but at noon you get a twenty five cent feed that lasts you until about + five in the afternoon,—and then you don't know which way the + machine's headed. I've often thought of one of them cutters at Shale's + as a sort of monster, watching you all day, waiting to get you when + you're too tired to care. (Dreamily.) When it looks all blurred, and you + want to put your hand in it. + </p> + <p> + GEORGE. Good God, Minnie! + </p> + <p> + MINNIE. And when the whistle blows at night all you have is your little + hall bedroom in a rooming house that smells of stale smoke and cabbage. + There's no place to go except the streets—but you've just got to + go somewhere, to break loose and have a little fun,—even though + you're so tired you want to throw yourself on the bed and cry. + </p> +<pre xml:space="preserve"> + (A pause.) +</pre> + <p> + Maybe it's because you're tired. When you're tired that way is when you + want a good time most. It's funny, but it's so. + </p> +<pre xml:space="preserve"> + (A pause.) +</pre> + <p> + You ain't got no friends except a few girls with hall bedrooms like + yourself, and if a chance comes along for a little excitement, you don't + turn it down, I guess. + </p> + <p> + GEORGE (after a pause). I never knew what your life was like. + </p> + <p> + MINNIE. Why would you?—with friends, and everything you want, only + to buy it? But since the war come on, I tell you, I ain't kicking, I can + go to a movie or the theatre once in a while, and buy nice clothes, and + I don't get so tired as I used to. I don't want nothing from anybody, I + can take care of myself. It's money that makes you free. + </p> + <p> + GEORGE. Money! + </p> + <p> + MINNIE. When I looked into this room this morning and saw you standing + here in your uniform, I says to myself, “He's changed.” Not that you + wasn't kind and good natured and generous, George, but you didn't know. + How could you? You'd never had a chance to learn anything! + </p> + <p> + GEORGE (bitterly, yet smiling in spite of himself). That's so! + </p> + <p> + MINNIE. I remember that first night I ran into you,—I was coming + home from your shops, and you made love to me right off the bat! And + after that we used to meet by the watering trough on the Lindon road. We + were kids then. And it didn't make no difference how tired I was, I'd + get over it as soon as I saw you. You were the live wire! + </p> + <p> + GEORGE. Minnie, tell me, what made you come back to Foxon Falls today? + </p> +<pre xml:space="preserve"> + (He seizes her hand.) +</pre> + <p> + MINNIE (struggling). Don't, George,—don't go and be foolish again! + </p> +<pre xml:space="preserve"> + (The shop whistle blows. She pulls away from him and backs toward + the doorway, upper right.) +</pre> + <p> + There's the noon whistle! Goodbye, I'll be thinking of you, over there. + </p> + <p> + GEORGE. I'll write to you. Will you write to me, Minnie? + </p> + <p> + MINNIE (shaking her head). Don't lose any sleep about me. Good luck, + George! + </p> +<pre xml:space="preserve"> + (She goes to the doorway, upper right, turns, kisses her hand to + GEORGE and disappears. He goes to the doorway and gazes after her; + presently he raises his hand and waves in answer to another signal, + and smiles. He remains there until MINNIE is out of sight, and then + is about to come back into the room when a man appears on the + sidewalk, seen through the windows. The man is PRAG. He is a gaunt + workman, with high cheek bones and a rather fanatical light in his + blue eyes. He stands motionless, gazing at the house.) +</pre> + <p> + GEORGE (calling). Do you want anything, Prag? + </p> + <p> + PRAG. I joost come to look at your house, where you live. It is no harm, + is it? + </p> + <p> + GEORGE. None at all. + </p> +<pre xml:space="preserve"> + (PRAG continues to stare at the house, and GEORGE obeys a sudden + impulse.) +</pre> + <p> + Won't you come in, Prag? + </p> + <p> + PRAG (looking fixedly at the house). No, I stay here. + </p> + <p> + GEORGE. Come in a while,—don't be unsociable. + </p> +<pre xml:space="preserve"> + (PRAG crosses the lawn and enters, upper right. He surveys the room + curiously, defiantly, and then GEORGE in uniform, as he cones down + the stage.) +</pre> + <p> + You're not working today? + </p> + <p> + PRAG (with bitter gloom). I lose my job, you don't hear? No, it is + nothings to you, and you go away to fight for liberty,—ain't it? + </p> + <p> + GEORGE. How did you lose your job? + </p> + <p> + PRAG. The foreman come to me last night and says, “Prag I hear you + belong to the union. You gets out.” + </p> + <p> + GEORGE (after a moment's hesitation). But—there are plenty of + other jobs these days. You can go down to the coast and get more than + five dollars a day at a shipyard. + </p> + <p> + PRAG. It is easy, yes, when you have a little home bought already, and + mortgaged, and childrens who go to school here, and a wife a long time + sick. + </p> + <p> + GEORGE. I'm sorry. But weren't you getting along all right here, except + your wife's illness? I don't want to be impertinent,—I recognize + that it's your affair, but I'd like to know why you joined the union. + </p> + <p> + PRAG. Why is it you join the army? To fight for somethings you would + give your life for—not so? Und you are a soldier,—would you + run away from your comrades to live safe and happy? No! That is like me. + I lose my job, I go away from my wife and childrens, but it is not for + me, it is for all, to get better things for all,—freedoms for all. + </p> + <p> + GEORGE. Then—you think this isn't a free country. + </p> + <p> + PRAG. When I sail up the harbour at New York twenty years ago and see + that Liberty shining in the sun, I think so, yes. But now I know, for + the workmens, she is like the Iron Woman of Nuremberg, with her spikes + when she holds you in her arms. You call me a traitor, yes, when I say + that. + </p> + <p> + GEORGE. No—I want to understand. + </p> + <p> + PRAG. I am born in Bavaria, but I am as good an American as any,—better + than you, because I know what I fight for, what I suffer for. I am not + afraid of the Junkers here,—I have spirits,—but the Germans + at home have no spirits. You think you fight for freedoms, for + democracy, but you fight for this! (He waves his hand to indicate the + room.) If I had a million dollars, maybe I fight for it, too,—I + don't know. + </p> + <p> + GEORGE. So you think I'm going to fight for this—for money? + </p> + <p> + PRAG. Are you going to fight for me, for the workmens and their + childrens? No, you want to keep your money, to make more of it from your + war contracts. It is for the capitalist system you fight. + </p> + <p> + GEORGE. Come, now, capital has some rights. + </p> + <p> + PRAG. I know this, that capital is power. What is the workmen's vote + against it? against your newspapers and your system? America, she will + not be free until your money power is broken. You don't like kings and + emperors, no,—you say to us workmens, you are not patriots, you + are traitors if you do not work and fight to win this war for democracy + against kings. Are we fools that we should worry about kings? Kings will + fall of themselves. Now you can put me in jail. + </p> + <p> + GEORGE. I don't want to put you in jail, God knows! How would you manage + it? + </p> + <p> + PRAG. Why does not the employer say to his workmens, “This is our war, + yours and mines. Here is my contract, here is my profits, we will have + no secrets, we will work together and talk together and win the war + together to make the world brighter for our childrens.” Und then we + workmens say, “Yes, we will work night and day so hard as we can, + because we are free mens.” + </p> +<pre xml:space="preserve"> + (A fanatical gleams comes into his eyes.) +</pre> + <p> + But your employer, he don't say that,—no. He says, “This is my + contract, this is my shop, and if you join the unions to get your + freedoms you cannot work with me, you are traitors!” + </p> +<pre xml:space="preserve"> + (He rises to a frenzy of exaltation.) +</pre> + <p> + After this there will be another war, and the capitalists will be swept + away like the kings! + </p> +<pre xml:space="preserve"> + (He pauses; GEORGE is silent.) +</pre> + <p> + Und now I go away, and maybe my wife she die before I get to the + shipyard at Newcastle. + </p> +<pre xml:space="preserve"> + (He goes slowly out, upper right, and GEORGE does not attempt to + stay him. Enter ASHER, lower right.) +</pre> + <p> + ASHER. I've just called up the Department in Washington and given them a + piece of my mind—told 'em they'd have to conscript labour. Damn + these unions, making all this trouble, and especially today, when you're + going off. I haven't had a chance to talk to you. Well, you know that + I'm proud of you, my boy. Your grandfather went off to the Civil War + when he was just about your age. + </p> + <p> + GEORGE. And he knew what he was going to fight for. + </p> + <p> + ASHER. What? + </p> + <p> + GEORGE. I thought I knew, this morning. Now I'm not so sure. + </p> + <p> + ASHER. You say that, when Germany intended to come over here and crush + us, when she got through with the Allies. + </p> + <p> + GEORGE. No, it's not so simple as that, dad, it's bigger than that. + </p> + <p> + ASHER. Who's been talking to you? Jonathan Pindar? I wish to God he'd + never come to Foxon Falls! I might have known what his opinions would + be, with his inheritance. (Reproachfully.) I didn't suppose you could be + so easily influenced by sentimentalism, George, I'd hoped you'd got over + that. + </p> + <p> + GEORGE. Are you sure it's sentimentalism, dad? Dr. Jonathan didn't say + much, but I'll admit he started me thinking. I've begun to realize a few + things— + </p> + <p> + ASHER. What things? + </p> + <p> + GEORGE (glancing at the clock on the mantel). I haven't got time to tell + you,—I'm afraid I couldn't make it clear, anyway,—it isn't + clear in my own mind yet. But,—go slow with this labour business, + dad, there's dynamite in it. + </p> + <p> + ASHER. Dynamite? + </p> + <p> + GEORGE. Human dynamite. They're full of it,—we're full of it, too, + I guess. They're not so different from you and me, though I'll admit + that many of them are ignorant, prejudiced and bitter. But this row + isn't just the result of restlessness and discontent,—that's the + smoke, but the fire's there, too. I've heard enough this morning to be + convinced that they're struggling for something fundamental, that has to + do with human progress,—the issue behind the war. It's obscured + now, in the smoke. Now if that's so you can't ignore it, dad, you can't + suppress it, the only thing to do is to sit down with them and try to + understand it. If they've got a case, if the union has come to stay, + recognize it and deal with it. + </p> + <p> + ASHER. You—you, my son, are not advising me to recognize the + union! To give our employees a voice in our private affairs! + </p> + <p> + GEORGE (courageously). But is the war our private affair, dad? Hasn't it + changed things already? + </p> +<pre xml:space="preserve"> + (ASHER makes a gesture of pain, of repudiation. GEORGE approaches + him appealingly.) +</pre> + <p> + Dad, you know how much we've always been to each other, I'd hate to have + any misunderstanding between us,—especially today. I've always + accepted your judgment. But I'm over twenty one, I'm going to fight this + war, I've got to make up my own mind about it. + </p> + <p> + ASHER (extending his arms and putting his hands on GEORGE'S shoulders). + Something's upset you today, my boy,—you don't know what you're + saying. When you get over there and take command of your men you'll see + things in a truer proportion. + </p> + <p> + GEORGE. No, I can't leave it this way, dad. I've come to feel this + thing, it's got hold of me now, I shan't change. And I'll be thinking of + it over there, all the time, if we don't talk it out. + </p> + <p> + ASHER. For God's sake, George, don't speak of it again,—don't + think of it! There's no sacrifice I wouldn't make for you, in reason, + but you're asking me to go against my life-long convictions. As your + father, I forbid you to entertain such ideas—(he breaks off, + choking). Don't speak of them, don't think of them! + </p> +<pre xml:space="preserve"> + (TIMOTHY FARRELL Steps inside the doorway, upper right, followed by + BERT, and after a few moments by DR. JONATHAN.) +</pre> + <p> + TIMOTHY. Excuse me sir, but you asked me to be letting you know if I + heard anything. There's a meeting called for tonight, and they'll strike + on Monday morning. It's certain I am, from the way the men are talking,—unless + ye'd agree to meet the committee this afternoon and come to an + understanding like. + </p> + <p> + ASHER. Let them strike. If they burned down the shops this afternoon, I + wouldn't stop them! (He waves TIMOTHY Off.) My boy is leaving for + France, and I'm going to New York with him. + </p> + <p> + TIMOTHY (with a sudden flaring up of sympathy). It's meself has a boy + going, too, Mr. Pindar. And maybe it's almost the last I'll be seeing of + him, this noon hour. Just a word with ye, before it's too late, sir. + </p> + <p> + ASHER (suppressing him). No, let them strike! + </p> +<pre xml:space="preserve"> + (He turns to hide his emotion and then rushes out of the door, lower + right. GEORGE and BERT come forward and stand with TIMOTHY, silent + after ASHER's dramatic exit; when TIMOTHY perceives DR. JONATHAN.) +</pre> + <p> + TIMOTHY. Did you see my Minnie, doctor? She went to your house. + </p> + <p> + DR. JONATHAN. I met her on the street just now, and left her with Mrs. + Prag. + </p> + <p> + GEORGE. Prag's wife! You've been to see her? + </p> + <p> + DR. JONATHAN. Yes. Her condition is serious. She needs a nurse, and + Minnie volunteered. + </p> + <p> + TIMOTHY. My Minnie, is it? Then she won't be going back to Newcastle. + </p> + <p> + DR. JONATHAN (looking at GEORGE). She won't be going back to Newcastle. + </p> + <p> + TIMOTHY. That's Minnie! (he turns to GEORGE). Well, goodbye, Mr. George,—I'll + say God bless you again. (He looks at BERT.) You'll be fighting over + there, the pair of you, for freedom. Have an eye on him, Sir, if you + can,—give him some good advice. + </p> + <p> + GEORGE (his hand on BERT'S shoulder). Bert can take care of himself, I + guess. I'll be needing the advice! + </p> +<pre xml:space="preserve"> + (He shakes hands with TIMOTHY.) + + CURTAIN. +</pre> + <a name="link2H_4_0004" id="link2H_4_0004"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II + </h2> +<pre xml:space="preserve"> +SCENE: A fairly large room in DR. JONATHAN's house in Foxon Falls, which + has been converted into a laboratory. The house antedates the + PINDAR mansion, having been built in the first decade of the + nineteenth century, and though not large, has a certain distinction + and charm. The room has a panelled wainscoting and a carved wooden + mantel, middle left, painted white, like the doors. Into the + fireplace is set a Franklin stove. The windows at the rear have + small panes; the lower sashes are raised; the tops of the hollyhocks + and foxgloves in the garden bed may be seen above the window sills, + and the apple trees beyond. Under the windows is a long table, on + which are chemical apparatus. A white enamelled sink is in the rear + right corner. The walls are whitewashed, the wooden floor bare. A + door, left, in the rear, leads into DR. JONATHAN'S office; another, + middle right, into a little front hall. +</pre> + <p> + TIME: A July morning, 1918. + </p> +<pre xml:space="preserve"> + MINNIE FARRELL, in the white costume worn by nurses and laboratory + workers, is at the bench, pouring liquid into a test tube and + holding its up to the light, when DR. JONATHAN enters from the + right. +</pre> + <p> + DR. JONATHAN. Has anyone been in, Minnie? + </p> + <p> + MINNIE (turning, with the test tube in her hand). Now, what a question + to ask, Dr. Jonathan! Was there ever a morning or afternoon that + somebody didn't stray in here with their troubles? (Fiercely.) They + don't think a scientist has a real job,—they don't understand, if + you put this across—(she holds up the test tube)—you'll save + the lives of thousands of soldiers, and a few ordinary folks, too, I + guess. But you won't let me tell anyone. + </p> + <p> + DR. JONATHAN. It will be time enough to tell them when we do put it + across. + </p> + <p> + MINNIE. But we're going to,—that is, you're going to. + </p> + <p> + DR. JONATHAN. You're too modest, Minnie. + </p> + <p> + MINNIE. Me modest! But what makes me sore is that they don't give you a + chance to put this thing across. Dr. Senn's a back number, and if + they're sick they come here and expect you to cure 'em for nothing. + </p> + <p> + DR. JONATHAN. But they can't complain if I don't cure them. + </p> + <p> + MINNIE. And half the time they ain't sick at all,—they only + imagine it. + </p> + <p> + DR. JONATHAN. Well, that's interesting too,—part of a doctor's + business. It's pretty hard to tell in these days where the body ends and + the soul begins. + </p> + <p> + MINNIE. It looks like you're cutting out the minister, too. You'd ought + to be getting his salary. + </p> + <p> + DR. JONATHAN. Then I'd have to do his job. + </p> + <p> + MINNIE. I get you—you'd be paid to give 'em all the same brand of + dope. You wouldn't be free. + </p> + <p> + DR. JONATHAN. To experiment. + </p> + <p> + MINNIE. You couldn't be a scientist. Say, every time I meet the minister + I want to cry, he says to himself, “She ran away from Jesus and went to + the bad. What right has she got to be happy?” And Mrs. Pindar's just the + same. If you leave the straight and narrow path you can't never get back—they + keep pushing you off. + </p> + <p> + DR. JONATHAN (who has started to work at the bench). I've always had my + doubts about your sins, Minnie. + </p> + <p> + MINNIE. Oh, I was a sinner, all right, they'll never get that out of + their craniums. But being a sinner isn't a patch on being a scientist! + It's nearly a year now since you took me in. The time's flown! When I + was in the Pindar Shops, and in the Wire Works at Newcastle I could + always beat the other girls to the Main Street when the whistle blew, + but now I'm sorry when night comes. I can't hardly wait to get back here—honest + to God! Say, Dr. Jonathan, I've found out one thing,—it's being in + the right place that keeps a man or a woman straight. If you're in the + wrong place, all the religion in the world won't help you. If you're + doing work you like, that you've got an interest in, and that's some + use, you don't need religion (she pauses). Why, that's religion,—it + ain't preaching and praying and reciting creeds, it's doing—it's + fun. There's no reason why religion oughtn't to be fun, is there? + </p> + <p> + DR. JONATHAN. None at all! + </p> + <p> + MINNIE. Now, if we could get everybody in the right job, we wouldn't + have any more wars, I guess. + </p> + <p> + DR. JONATHAN. The millennium always keeps a lap ahead—we never + catch up with it. + </p> + <p> + MINNIE. Well, I don't want to catch up with it. We wouldn't have + anything more to do. Say, it's nearly eleven o'clock—would you + believe it?—and I've been expecting Mr. Pindar to walk in here + with the newspaper. I forgot he was in Washington. + </p> + <p> + DR. JONATHAN. He was expected home this morning. + </p> + <p> + MINNIE. What gets me is the way he hangs around here, too, like + everybody else, and yet I've heard him call you a Socialist, and swear + he hasn't any use for Socialists. + </p> + <p> + DR. JONATHAN. Perhaps he's trying to find out what a Socialist is. + Nobody seems to know. + </p> + <p> + MINNIE. He don't know, anyway. If it hadn't been for you, his shops + would have been closed down last winter. + </p> + <p> + DR. JONATHAN. It looks as if they'd be closed down now, anyway. + </p> + <p> + MINNIE (concerned, looking up). Is that so? Well, he won't recognize the + union—he doesn't know what century he's living in. But he's human, + all the same, and he's good to the people he's fond of, like my father,—and + he sure loves George. He's got George's letters all wore out, reading + them, to people. (A pause.) He don't know where George is, does he, Dr. + Jonathan? + </p> + <p> + DR. JONATHAN. Somewhere in France. + </p> + <p> + MINNIE. We spotted Bert because he's with the Marines, at that place + where they put a crimp in the Huns the other day when they were going to + walk into Paris. + </p> + <p> + DR. JONATHAN. Chateau-Thierry. + </p> + <p> + MINNIE. I'll leave it to you. But say, Dr. Jonathan, things don't look + good to me,—I'm scared we won't get enough of our boys over there + before the deal's closed up. I've got so I don't want to look at a + paper. + </p> +<pre xml:space="preserve"> + (A brief silence.) +</pre> + <p> + I never told you George wrote me a couple of letters, did I? + </p> + <p> + DR. JONATHAN. No, I'm quite sure you didn't. + </p> + <p> + MINNIE. I never told nobody. His father and mother would be wild if they + knew it. I didn't answer them—I just sent him two post cards with + no writing on except the address—just pictures. + </p> + <p> + DR. JONATHAN. Pictures? + </p> + <p> + MINNIE. One of the Pindar Church and the Other of the Pindar Shops. I + guess he'll understand they were from me, all right. You see, when I ran + away from the Pindar Shops and the Pindar Church—I always connect + them together—I was stuck on George. That's why I ran away. + </p> + <p> + DR. JONATHAN. I see. + </p> + <p> + MINNIE. Oh, I never let him know. I don't know why I told you—I + had to tell somebody,—and you won't give me away. + </p> + <p> + DR. JONATHAN. You may count on me. + </p> + <p> + MINNIE. He didn't care nothing about me, really. But you can't help + liking George. He's human, all right! If he was boss of the Pindar Shops + there wouldn't be any strike. + </p> +<pre xml:space="preserve"> + (A knock at the door, right.) +</pre> + <p> + I wonder who's butting in now! + </p> +<pre xml:space="preserve"> + (She goes to the door and jerks it open.) + + (A man's voice, without.) Good morning, Miss Farrell. Is the doctor + in? +</pre> + <p> + MINNIE. This is his busy day. + </p> + <p> + DR. JONATHAN (going toward the door). Oh, it's you, Hillman. Come in. + </p> + <p> + MINNIE. I guess I'll go for the mail. + </p> +<pre xml:space="preserve"> + (With a resigned expression she goes oust right as HILLMAN comes in, + followed by RENCH and FERSEN. They are the strike committee. + HILLMAN is a little man, with red hair and a stiff, bristling red + moustache. He holds himself erect, and walks on the balls of his + feet, quietly. RENCH is tall and thin, with a black moustache, + like a seal's. He has a loud, nasal voice, and an assertive manner. + FERSEN is a blond Swede.) + + (DR. JONATHAN puts one or two objects in place on the bench. His + manner is casual but cordial, despite the portentous air of the + Committee.) + + (The men, their hats in their hands, go toward the bench and inspect + the test tubes and apparatus.) +</pre> + <p> + RENCH (New England twang). Always manage to have something on hand when + you ain't busy with the folks, doctor. It must be interestin' to fool + with these here chemicals. + </p> + <p> + DR. JONATHAN. It keeps me out of mischief. + </p> + <p> + HILLMAN. I guess you haven't much time to get into mischief. + </p> + <p> + FERSEN. We don't like to bother you. + </p> + <p> + DR. JONATHAN. No bother, Fersen,—sit down. (He draws forward some + chairs, and they sit down.) How is the baby? + </p> + <p> + FERSEN. Oh, she is fine, now, since we keep her outside in the baby + carriage, like you tell us. + </p> +<pre xml:space="preserve"> + (FERSEN grins, and immediately becomes serious again. A brief + silence.) +</pre> + <p> + HILLMAN (clearing his throat). The fact is, Dr. Jonathan, the boys have + struck,—voted last night to walk out at noon today. + </p> + <p> + FERSEN. We thought we tell you now. You been such a good friend to us + and our families. + </p> + <p> + DR. JONATHAN. But isn't this rather sudden, with Mr. Pindar in + Washington? + </p> + <p> + RENCH. We couldn't wait no longer,—he's been standing us off for + more than a year. When he comes back from Washington there'll be nothing + doing. He's got to recognize the union or lose his contract. + </p> + <p> + DR. JONATHAN. He may prefer to lose his contract. + </p> + <p> + RENCH. Well, he can afford to. Then he can go to hell. + </p> + <p> + HILLMAN. Hold on, Sam, that ain't no way to talk to the doctor! + </p> + <p> + RENCH. I didn't mean no disrespect to him. He don't go 'round preachin', + like some fellers I could mention, but actions is louder than words. + Ain't that the reason we're here, because he sympathizes with us and + thinks we're entitled to a little more of this freedom that's bein' + handed 'round? We want you to help us, doctor. + </p> + <p> + DR. JONATHAN. It seems to me you've come a little late, Rench,—after + the event. + </p> + <p> + HILLMAN. Maybe if you'd said a word, they'd never have voted to strike. + </p> + <p> + FERSEN. But you never said nothing, Doctor. + </p> + <p> + DR. JONATHAN. Well, when you get around to admitting doctors to your + labour unions, perhaps they'll talk. + </p> + <p> + HILLMAN. If all the doctors was like you! + </p> + <p> + DR. JONATHAN. Give 'em a chance, Hillman. + </p> + <p> + HILLMAN. We don't have to explain to you why we want the union,—it's + the only way we'll ever get a say about the conditions in which we work + and live, now that the day of individual bargaining is gone by. You + understand. Mr. Pindar raised our wages when we threatened to strike + last fall, but he calculates to drop 'em again when the soldiers come + home. + </p> + <p> + FERSEN (nodding). Sure thing! + </p> + <p> + HILLMAN. It's this way, doctor. We notice Mr. Pindar comin' in here to + see you every day or so,—like the rest of Foxon Falls. And we + thought you could make him see this thing straight, if any man could. + </p> + <p> + DR. JONATHAN. So the shops will be idle. + </p> + <p> + RENCH. Not a shaft'll turn over till he recognizes the union. + </p> + <p> + HILLMAN. We don't want to do nothin' to obstruct the war, but we've got + to have our rights. + </p> + <p> + DR. JONATHAN. Can you get your rights now, without obstructing the war? + </p> + <p> + RENCH (aggressively). I get what you're driving at, doctor. You're going + to say that we've just reached quantity production on these here + machines, and if labour gets from under now, the Huns win. But tell me + this,—where'll labour be if America wins and our Junkers (he + pronounces the J) come out on top?—as they callate to. + </p> + <p> + DR. JONATHAN (smiling). When a building with dry rot catches fire, + Rench, can you put limit to how much of it will burn? + </p> + <p> + RENCH (after a pause). Maybe not. I get you—but— + </p> + <p> + DR. JONATHAN. No nation, no set of men in any nation can quench that + fire or make the world that is coming out of this war. They may think + they can, but they can't. + </p> + <p> + HILLMAN. That's so! + </p> + <p> + DR. JONATHAN. Germany will be beaten, because it is the temper of the + nation, the temper of the times—your temper. You don't want + Germany to win, Rench? + </p> + <p> + RENCH. No, I guess not. + </p> + <p> + DR. JONATHAN. And if you don't work here, you'll go off to work + somewhere else. + </p> + <p> + RENCH. Where they recognize the union. + </p> + <p> + DR. JONATHAN. A good many of your friends have enlisted, haven't they? + (RENCH nods.) And what do you suppose they are fighting for? + </p> + <p> + RENCH. For the same thing as we want, a square deal. + </p> + <p> + DR. JONATHAN. And what do you think George Pindar is fighting for? + </p> + <p> + RENCH. I ain't got nothing to say against him. + </p> + <p> + DR. JONATHAN. If you close down the Pindar Shops, won't it mean that a + few more of your friends will lose their lives? These men are fighting + for something they don't yet understand, but when they come back they'll + know more about it. Why not wait until George Pindar comes back? + </p> + <p> + RENCH. He mayn't never come back. + </p> + <p> + DR. JONATHAN. Give him the opportunity. + </p> + <p> + RENCH. I like George,—he's always been friendly—what we call + a common man up here in New England—naturally democratic. But at + bottom employers is all alike. What makes you think he won't take his + ideas about labour from the old man? + </p> + <p> + DR. JONATHAN. Because he belongs to the generation that fights this war. + </p> + <p> + HILLMAN (shuffling). It ain't no use, doctor. Unless you can bring Mr. + Pindar 'round, the shops'll close down. + </p> + <p> + DR. JONATHAN. I can't, but something else can. + </p> + <p> + HILLMAN. What? + </p> + <p> + DR. JONATHAN. Circumstances. No man can swim up stream very long in + these days, Hillman. Wait a while, and see. + </p> + <p> + RENCH (rising). We've voted to put this strike through, and by God, + we'll do it. + </p> + <p> + FERSEN (rising and shaking hands with DR. JONATHAN). It's fine weather, + doctor. + </p> + <p> + RENCH (bursting into a laugh). He's like the man who said, when Congress + declared war, “It's a fine day for it!” It's a fine day for a strike! + </p> + <p> + HILLMAN (who has risen, shaking hands with DR. JONATHAN). But you'll + talk to Mr. Pindar, anyway? + </p> + <p> + DR. JONATHAN (smiling). Yes, I'll talk with him. + </p> +<pre xml:space="preserve"> + (Enter TIMOTHY FARRELL, right, in working clothes.) +</pre> + <p> + TIMOTHY. Good morning, doctor. (Surveying the committee.) So it's here + ye are, after voting to walk out of the shops just when we're beginning + to turn out the machines for the soldiers! + </p> + <p> + RENCH. If we'd done right we'd have called the strike a year ago. + </p> + <p> + TIMOTHY. Fine patriots ye are—as I'm sure the doctor is after + telling you—to let the boys that's gone over there be murdered + because ye must have your union! + </p> + <p> + HILLMAN. If Mr. Pindar recognizes the union, Timothy, we'll go to work + tomorrow. + </p> + <p> + TIMOTHY. He recognize the union! He'll recognize the devil first! Even + Dr. Jonathan, with all the persuasion he has, couldn't get Mr. Pindar to + recognize the union. He'll close down the shops, and it's hunting a job + I'll be, and I here going on thirty years. + </p> + <p> + RENCH. If he closes the shops—what then? The blood of the + soldiers'll be on his head, not ours. If there were fewer scabs in the + country— + </p> + <p> + HILLMAN. Hold on, Sam. + </p> + <p> + TIMOTHY. A scab, is it? If I was the government do you know what I'd do + with the likes of you—striking in war time? I'd send ye over there + to fight the Huns with your bare fists. I'm a workman meself, but I + don't hold with traitors. + </p> + <p> + RENCH. Who's a traitor? It's you who are a traitor to your class. If a + union card makes a man a traitor, your own son had one in his pocket the + day he enlisted. + </p> + <p> + TIMOTHY. A traitor, and he fighting for his country, while you'd be + skulking here to make trouble for it! + </p> +<pre xml:space="preserve"> + (MINNIE appears on the threshold of the door, right. DR. JONATHAN, + who is the first to perceive from her expression that there is + something wrong, takes a step toward her. After a moment's silence + she comes up to TIMOTHY and lays a hand on his arm.) +</pre> + <p> + TIMOTHY (bewildered). What is it, Minnie? + </p> + <p> + MINNIE. Come home, father. + </p> + <p> + TIMOTHY. What is it? It's not a message ye have—it's not a message + about Bert? + </p> +<pre xml:space="preserve"> + (MINNIE continues to gaze at him.) +</pre> + <p> + The one I'd be looking for these many days! (He seizes her.) Can't ye + speak, girl? Is the boy dead? + </p> + <p> + MINNIE. Yes, father. + </p> + <p> + TIMOTHY (puts his hand to his forehead and lets fall his hat. DR. + JONATHAN picks it up). Me boy! The dirty devils have killed him! + </p> + <p> + MINNIE. Come, father, we'll go home. + </p> + <p> + TIMOTHY. Home, is it? It's back to the shops I'm going. (To the + committee) Damn ye—we'll run the shops in spite of ye! Where's me + hat? + </p> +<pre xml:space="preserve"> + (DR. JONATHAN hands it to him as the committee file out in silence.) +</pre> + <p> + Come with me as far as the shops, Minnie. Thank you, doctor—(as + DR. JONATHAN gives him the hat)—it's you I'll be wanting to see + when I get me mind again. + </p> +<pre xml:space="preserve"> + (DR. JONATHAN goes with TIMOTHY and MINNIE as far as the door, + right, and then comes back thoughtfully to the bench, takes up a + test tube and holds it to the light. Presently ASHER PINDAR + appears in the doorway, right.) +</pre> + <p> + ASHER. Good morning, Jonathan. + </p> + <p> + DR. JONATHAN. Good morning, Asher. I didn't know you'd got back from + Washington. + </p> + <p> + ASHER. I came in on the mail train. + </p> + <p> + DR. JONATHAN. Have you been to the office? + </p> + <p> + ASHER. No. I stopped at the house to speak to Augusta, and then—(he + speaks a trifle apologetically)—well, I went for a little walk. + </p> + <p> + DR. JONATHAN. A walk. + </p> + <p> + ASHER. I've been turning something over in my mind. And the country + looked so fine and fresh I crossed the covered bridge to the other side + of the river. When George was a child I used to go over there with him + on summer afternoons. He was such a companionable little shaver—he'd + drop his toys when he'd see me coming home from the office. I can see + him now, running along that road over there, stopping to pick funny + little bouquets—the kind a child makes, you know—ox-eyed + daisies and red clover and buttercups all mixed up together, and he'd + carry them home and put them in a glass on the desk in my study. + </p> +<pre xml:space="preserve"> + (A pause.) +</pre> + <p> + It seems like yesterday! It's hard to realize that he's a grown man, + fighting over there in the trenches, and that any moment I may get a + telegram, or be called to the telephone—Have you seen today's + paper? + </p> + <p> + DR. JONATHAN. No. + </p> + <p> + ASHER. It looks like more bad news,—the Germans have started + another one of those offensives. I was afraid they were getting ready + for it. West of Verdun this time. And George may be in that sector, for + all I know. How is this thing going to end, Jonathan? That damned + military machine of theirs seems invincible—it keeps grinding on. + Are we going to be able to stem the tide, or to help stem it with a lot + of raw youths. They've only had a year's training. + </p> + <p> + DR. JONATHAN. Germany can't win, Asher. + </p> + <p> + ASHER. What makes you say that? We started several years too late. + </p> + <p> + Dr. JONATHAN. And Germany started several centuries too late. + </p> + <p> + ASHER. My God, I hope you're right. I don't know. + </p> +<pre xml:space="preserve"> + (He walks once or twice up and down the room..) +</pre> + <p> + I've had another letter. + </p> + <p> + DR. JONATHAN. This morning? + </p> + <p> + ASHER. No—I got it before I left for Washington. But I didn't + bring it in to you I wanted to think about it. + </p> +<pre xml:space="preserve"> + (He draws the letter, together with a folded paper, from his pocket, + and lays the paper down on the bench. Then he adjusts his glasses + and begins to read.) +</pre> + <p> + “Dear dad, + </p> + <p> + “The sky is the colour of smeared charcoal. We haven't been in the + trenches long enough to evolve web feet, so mine are resting on a duck + board spread over a quagmire of pea soup. The Heinies are right here, + soaking in another ditch beyond a barbed wire fence, about the distance + of second base from the home plate. Such is modern war! + </p> + <p> + “But these aren't the things that trouble me. Last night, when I was wet + to the skin and listening to the shells—each singing its own song + in the darkness—I was able to think with astonishing ease better + than if I were sitting at a mahogany desk in a sound proof room! I was + thinking over the talk we had the day I left home,—do you remember + it?—about the real issue of this war. I've thought of it time and + again, but I've never written you about it. Since I have been in France + I have had a liberal education gathered from all sorts and conditions of + men. Right here in the trench near me are a street car conductor, a + haberdasher, a Swedish farm hand, a grocery clerk, a college professor, + a Pole from the Chicago Stock Yards, an Irish American janitor of a New + York apartment house, and Grierson from Cleveland, whose father has an + income of something like a million a year. We have all decided that this + is a war for the under dog, whether he comes from Belgium or Armenia or + that so-called land of Democracy, the United States of America. The hope + that spurs us on and makes us willing to endure these swinish + surroundings and die here in the mud, if need be, is that the world will + now be reorganized on some intelligent basis; that Grierson and I, if we + get back, won't have to rot on a large income and petrified ideas, but + will have some interesting and creative work to do. Economic + inequalities must be reduced, and those who toil must be given a chance + to live, not merely to exist. Their lives must include a little leisure, + comfortable homes, art and beauty and above all an education that none + of us, especially those of us who went to universities, never got,—but + which now should be available for all. + </p> + <p> + “The issue of this war is industrial democracy, without which political + democracy is a farce. That sentence is Dr. Jonathan's. But when I was + learning how to use the bayonet from a British sergeant in Picardy I met + an English manufacturer from Northumberland. He is temporarily an + officer. I know your opinion of theorists, but this man is working out + the experiment with human chemicals. After all, the Constitution of the + United States, now antiquated and revered, once existed only in the + brains of French theorists! In the beginning was the Word, but the deed + must follow. This Englishman, whose name is Wray, has given me the + little pamphlet he wrote from his experience, and I shall send it to + you. + </p> + <p> + “Though I am writing this letter in what to me is a solemn and + undoubtedly exalted hour, I am sure that my mind was never clearer or + saner. Dad, I have set my heart on inaugurating an experiment in + industrial democracy in Foxon Falls! I'd like to be able to think—if + anything happened to me—that the Pindar shops were among the first + in America to recognize that we are living in a new era and a changed + world.” + </p> +<pre xml:space="preserve"> + (ASHER walks over to the bench and lays down the open letter on it.) +</pre> + <p> + If anything should happen to that boy, Jonathan, there wouldn't be + anything in life left for me! Industrial democracy! So you put that into + his head! Socialism, I suppose. + </p> + <p> + DR. JONATHAN. No, experimental science. + </p> + <p> + ASHER. Call it what you like. What surprises me is, when I look back + over the months you've been here, how well we've got along in spite of + your views. + </p> + <p> + DR. JONATHAN. Why not say in spite of yours, Asher? + </p> + <p> + ASHER (smiling involuntarily). Well, it's been a comfort to drop in here + and talk to you, in spite of what you believe. You've got the gift of + sympathy, Jonathan. But I don't approve of you're spending your time in + this sort of work—(he waves a hand toward the bench)—which + may never come to anything, and in doctoring people for nothing and + patching up their troubles. I daresay you enjoy it, but what worries me + is how you are going to live? + </p> + <p> + DR. JONATHAN. By practising your cardinal virtue, thrift. + </p> + <p> + ASHER. I've got a proposal to make to you part of a scheme I've been + turning over in my mind for the last six months—and when George's + letter came I decided to put it through. I went to New York and had + Sterry, a corporation lawyer, draw it up. I'm going to prove I'm not a + mossback. It will reorganize the Pindar Shops. + </p> + <p> + DR. JONATHAN. Well, that's good news. + </p> + <p> + ASHER. First, with reference to your part in it, I shall establish a + free hospital for my employees, and put you in charge of it, at a salary + of five thousand a year. After all, you're the only Pindar left except + George, and I'm satisfied that as a doctor you're up to the job, since + you've driven Dr. Senn out of business. + </p> + <p> + DR. JONATHAN. Practical proof, Asher. Fortunately Dr. Senn has enough to + live on. + </p> + <p> + ASHER. In offering you this position I have only one stipulation to make—(he + clears his throat)—it's about Minnie Farrell. I think the world of + Timothy, I wouldn't willingly hurt his feelings, but I can't have Minnie + with you in the hospital, Jonathan. You deserve a great deal of credit + for what you've done for the girl, you've kept her out of mischief, but + considering her past, her life at Newcastle—well, even if I + approved of having her in the hospital Augusta would never hear of it. + And then she had some sort of an affair with George—I daresay + there was nothing wrong— + </p> + <p> + DR. JONATHAN. Wrong is a question of code, Asher. We've all had pasts—What + interests me is Minnie's future. + </p> + <p> + ASHER. Of course you wouldn't decline my offer on Minnie's account. + </p> + <p> + DR. JONATHAN. On my own account, Asher. We'll say no more about Minnie. + </p> + <p> + ASHER. You refuse to help me, when I'm starting out on a liberal scheme + which I thought you would be the first to endorse? + </p> + <p> + DR. JONATHAN. I have not refused to help you,—but you have not + told me the scheme? + </p> + <p> + ASHER. Well. (He' taps the paper in his hand.) For those employees who + serve me faithfully I have arranged pensions. + </p> + <p> + DR. JONATHAN. For those, in other words, who refrain from taking their + destinies in their own hands, and who do as you wish. + </p> + <p> + ASHER. For those who are industrious and make no trouble. And I have met + the objection that they have no share in the enterprise by allowing + them, on favourable terms, to acquire stock in the company. + </p> + <p> + DR. JONATHAN. I see. You will let them acquire half of the stock, in + order that they may have an equal voice. + </p> + <p> + ASHER. Equal? It's my company, isn't it? + </p> + <p> + DR. JONATHAN. At present. + </p> + <p> + ASHER. I supply the capital. Furthermore, I have arranged for a system + of workmen's committees, which I recognize, and with which I will + continually consult. That's democratic enough—isn't it? If the men + have any grievances, these will be presented in an orderly manner + through the committees. + </p> + <p> + DR. JONATHAN. And if you find the demands—reasonable, you grant + them. + </p> + <p> + ASHER. Certainly. But one thing I set my face against as a matter of + principle, I won't recognize the unions. + </p> + <p> + DR. JONATHAN. But—who is to enforce the men's side of this + contract? + </p> + <p> + ASHER. What do you mean? + </p> + <p> + DR. JONATHAN. What guarantee have they, other than a union organization, + that you will keep faith? + </p> + <p> + ASHER. My word. + </p> + <p> + DR. JONATHAN. Oh! + </p> + <p> + ASHER. Never in my life have I regarded my possessions as my own. I am a + trustee. + </p> + <p> + DR. JONATHAN. The sole trustee. + </p> + <p> + ASHER. Under God. + </p> + <p> + DR. JONATHAN. And you have God's proxy. Well, it seems to me that that + is a very delightful arrangement, Asher—William appears to approve + of it, too. + </p> + <p> + ASHER. William? William who? + </p> + <p> + DR. JONATHAN. William Hohenzollern. + </p> + <p> + ASHER. You compare me to the Kaiser! + </p> + <p> + DR. JONATHAN. Only in so far as you have in common a certain + benevolence, Asher. Wouldn't your little plan, if your workmen accepted + it, keep you in as a benevolent autocrat? + </p> + <p> + ASHER. Me? an autocrat? + </p> + <p> + DR. JONATHAN. You are preparing to give your men more privileges, and + perhaps more money on the condition that they will renounce rights to + which they are entitled as free men. You are ready to grant anything but + a constitution. So is William. + </p> + <p> + ASHER. Do you seriously suggest that I give labour a voice in my + business? + </p> + <p> + DR. JONATHAN. Doesn't George suggest it, when he pleads for industrial + democracy? He seems to think that he is ready to give his life for it. + And Bert Farrell has already given his life for it. + </p> + <p> + ASHER (agitatedly). What? Timothy's boy, Bert? Is he dead? Why didn't + you tell me? + </p> + <p> + DR. JONATHAN (gently). I've had no chance. Minnie and Timothy were here + just before you came in. + </p> + <p> + ASHER. Oh God, I'm sorry—I'm sorry for Timothy. It might have been—I'll + go and see Timothy. Where is he?—at his house. + </p> + <p> + DR. JONATHAN. No, at the shops. He wanted to keep working until they + close down. + </p> + <p> + ASHER (who has started for the door, right, turns). What do you mean? + </p> +<pre xml:space="preserve"> + (There is a knock at the door.) +</pre> + <p> + DR. JONATHAN. I mean that the moment has come, Asher, to remember + George. That your opportunity is here—heed it. + </p> + <p> + ASHER. I can't, I won't desert my principles + </p> +<pre xml:space="preserve"> + (The knock is repeated. DR. JONATHAN goes to the door and opens it. + Enter, in the order named, HILLMAN, RENCH and FERSEN.) +</pre> + <p> + HILLMAN. Beg your pardon, Mr. Pindar, we've been waiting for you at the + office, and we heard you was here. + </p> + <p> + ASHER ( facing them with a defiance almost leonine). Well, what is it? + </p> + <p> + HILLMAN (glancing at DR. JONATHAN). There's a matter we'd like to talk + over with you, Mr. Pindar, as soon as convenient. + </p> + <p> + ASHER. This is as convenient as any time, right now. + </p> + <p> + HILLMAN. The men voted to strike, last night. Maybe Dr. Jonathan has + told you. + </p> + <p> + ASHER. Voted to strike behind my back while I was in Washington + attending to the nation's business! + </p> + <p> + RENCH. It ain't as if this was anything new, Mr. Pindar, as if we hadn't + been discussing this here difference for near a year. You've had your + warning right along. + </p> + <p> + ASHER. Didn't I raise your wages last January? + </p> + <p> + HILLMAN. Wait a minute, Mr. Pindar. (He looks at DR. JONATHAN.) It + oughtn't to be only what you say—what capital says. Collective + bargaining is only right and fair, now that individual bargaining has + gone by. We want to be able to talk to you as man to man,—that's + only self-respecting on our part. All you've got to do is to say one + word, that you'll recognize the union, and I'll guarantee there won't be + any trouble. + </p> + <p> + RENCH. If you don't, we walk out at noon. + </p> + <p> + HILLMAN (with an attempt at conciliation). I know if we could sit down + and talk this thing out with you, Mr. Pindar, you'd see it reasonable. + </p> + <p> + ASHER. Reasonable? Treasonable, you mean,—to strike when the lives + of hundreds of thousands of your fellow countrymen depend on your + labour. + </p> + <p> + RENCH. We ain't striking—you're striking! + </p> + <p> + FERSEN (nodding). That's right! + </p> + <p> + RENCH. We're ready to go back to work this afternoon if you treat us + like Americans. (FERSEN nods.) You say we're obstructing the war by not + giving in,—what's the matter with you giving in? Ain't the + employers just as much traitors as we? + </p> + <p> + HILLMAN. Hold on, Sam,—we won't get nowhere by calling names. + Let's discuss it cool! + </p> + <p> + ASHER. I refuse to discuss it. + </p> +<pre xml:space="preserve"> + (He takes the paper out of his docket and holds it up.) +</pre> + <p> + Do you see this paper? It's a plan I had made, of my own free will, for + the betterment and advancement of the working class. It was inspired by + the suggestion of my son, who is now fighting in France. I came back to + Foxon Falls this morning happy in the hope that I was to do something to + encourage what was good in labour—and how have I been met? With a + demand, with a threat. I was a fool to think you could stand decent + treatment! + </p> +<pre xml:space="preserve"> + (He seizes the paper, and tears it in two.) +</pre> + <p> + HILLMAN. Wait a minute, Mr. Pindar. If you won't listen to us, maybe Dr. + Jonathan would say a word for us. He understands how we feel. + </p> + <p> + ASHER (savagely tearing the paper in two, and then again in four). + That's my answer! I won't have Dr. Pindar or anyone else interfering in + my private affairs. + </p> + <p> + RENCH. All right—I guess we're wasting time here, boys. We walk + out and stay out. (Threateningly.) Not a shaft'll turn over in them + shops until you recognize the union. And if that's treason, go back to + Washington and tell 'em so. Come on boys! + </p> +<pre xml:space="preserve"> + (He walks out, followed by FERSEN, nodding, and lastly by HILLMAN, + who glances at DR. JONATHAN. ASHER stares hard at them as they + leave. Then an expression of something like agony crosses his + face.) +</pre> + <p> + ASHER. My God, it's come! My shops shut down, for the first time in my + life, and when the government relies on me! + </p> +<pre xml:space="preserve"> + (DR. JONATHAN stoops down and picks up the fragments of the document + from the floor.) +</pre> + <p> + What are you doing? + </p> + <p> + DR. JONATHAN. Trying to save the pieces, Asher. + </p> + <p> + ASHER. I've got no use for them now. + </p> + <p> + DR. JONATHAN. But history may have. + </p> + <p> + ASHER. History. History will brand these men with shame for all time. + I'll fix 'em! I'll go back to Washington, and if the government has any + backbone, if it's still American, they'll go to work or fight! + (Pointedly.) This is what comes of your Utopian dreams, of your + socialism! + </p> +<pre xml:space="preserve"> + (A POLAK WOMAN is seen standing in the doorway, right.) +</pre> + <p> + WOMAN. Doctor! + </p> + <p> + DR. JONATHAN. Yes. + </p> + <p> + WOMAN. My baby is seek—I think maybe you come and see him. Mrs. + Ladislaw she tell me you cure her little boy, and that maybe you come, + if I ask you. + </p> + <p> + DR. JONATHAN. Yes, I'll come. What is your name? + </p> + <p> + WOMAN. Sasenoshky. + </p> + <p> + DR. JONATHAN. Your husband is in the shops? + </p> + <p> + WOMAN. He was, doctor. Now he is in the American army. + </p> + <p> + DR. JONATHAN. Sasenoshky—in the American army. + </p> + <p> + WOMAN (proudly). Yes, he is good American now,—he fight to make + them free in the old country, too. + </p> + <p> + DR. JONATHAN. Well, we'll have a look at the baby. He may be in the + White House some day—President Sasenoshky! I'll be back, Asher. + </p> +<pre xml:space="preserve"> + (The noon whistle blows.) +</pre> + <p> + ASHER. That's the signal! I'll get along, too. + </p> + <p> + DR. JONATHAN. Where are you going? + </p> + <p> + ASHER. I guess it doesn't make much difference where I go. + </p> +<pre xml:space="preserve"> + (He walks out, followed by DR. JONATHAN and the WOMAN. The room is + empty for a moment, and then MINNIE FARRELL enters through the + opposite door, left, from DR. JONATHAN'S office. She gazes around + the room, and then goes resolutely to the bench and takes up several + test tubes in turn, holding theme to the light. Suddenly her eye + falls on GEORGE'S letter, which ASHER has left open on the bench + with the envelope beside it. MINNIE Slowly reaches out and picks it + up, and then holds it to her lips... She still has the letter + in her hand, gazing at it, when AUGUSTA PINDAR enters, right.) +</pre> + <p> + AUGUSTA. Oh, I thought Mr. Pindar was here! + </p> + <p> + MINNIE. Perhaps he's been here—I don't know. I just came in. (She + hesitates a second, then goes to the bench and lays the letter down.) + </p> + <p> + AUGUSTA. He must have been here,—he told me he was coming to talk + with Dr. Pindar. + </p> +<pre xml:space="preserve"> + (She approaches the bench and glances at the letter.) +</pre> + <p> + Isn't that a letter from my son? + </p> + <p> + MINNIE (a little defiantly, yet almost in tears). I guess it is. + </p> + <p> + AUGUSTA. It was written to you? + </p> + <p> + MINNIE. No. + </p> + <p> + AUGUSTA. Then what were you doing with it? + </p> + <p> + MINNIE. I just—picked it up. You think I was reading it? Well, I + wouldn't. + </p> + <p> + AUGUSTA. Then how did you know it was written by my son? + </p> +<pre xml:space="preserve"> + (MINNIE is silent.) +</pre> + <p> + You must be familiar with his handwriting. I think I'd better take it. + (She folds it up and puts it in the envelope.) Does George write to you? + </p> + <p> + MINNIE. I've had letters from him. + </p> + <p> + AUGUSTA. Since he went to France? + </p> + <p> + MINNIE. Yes. + </p> + <p> + AUGUSTA (after a pause). I've never approved of Dr. Findar employing you + here. I warned him against you—I told him that you would betray + his kindness as you betrayed mine, but he wouldn't listen to me. I told + him that a girl who was capable of drawing my son into an intrigue while + she was a member of the church and of my Bible class, a girl who had the + career you had in Newcastle, couldn't become a decent and trustworthy + woman. The very fact that you had the audacity to come back to Foxon + Falls and impose on Dr. Pindar's simplicity, proves it. + </p> + <p> + MINNIE. You know all about me, Mrs. Pindar. + </p> + <p> + AUGUSTA. I wasn't born yesterday. + </p> + <p> + MINNIE. Oh, ladies like you, Christian ladies, are hard! They won't + believe nothing good of anybody—only the bad. You've always been + sheltered, you've always had everything you'd want, and you come and + judge us working girls. You'd drive me out of the only real happiness I + ever had, being here with a man like Dr. Jonathan, doing work it's a + pleasure to do—a pleasure every minute!—work that may do + good to thousands of people, to the soldiers over there—maybe to + George, for all you know! (She burst into tears.) You can't understand—how + could you? After all, you're his mother. I oughtn't to forget it. + </p> + <p> + AUGUSTA. Yes, I'm his mother. And you? You haven't given up the idea + that he may marry you some day, if you stay here and pretend to have + reformed. You write to him. George may have been foolish, but he isn't + as foolish as that! + </p> + <p> + MINNIE. He doesn't care about me. + </p> + <p> + AUGUSTA. I'm glad you realize it. But you mean to stay here in Foxon + Falls, nevertheless. You take advantage of Dr. Pindar, who is easily + imposed upon, as his father was before him. But if I told you that you + might harm Dr. Pindar by staying here, interfere with his career, would + you be willing to leave? + </p> + <p> + MINNIE. Me? Me doing Dr. Jonathan harm? + </p> + <p> + AUGUSTA, Yes. I happen to know that he has very little money. He makes + none, he never asks anyone for a bill. He spends what he has on this + kind of thing—research, for the benefit of humanity, as he thinks,—but + very little research work succeeds, and even then it doesn't pay. + </p> + <p> + MINNIE. He doesn't care about money. + </p> + <p> + AUGUSTA. Perhaps not. He is one of those impractical persons who have to + be looked out for, if they are fortunate enough to have anyone to look + out for them. Since he is a cousin of my husband, Mr. Pindar considers + him as one of his many responsibilities. Mr. Pindar has always had, in a + practical way, the welfare of his working people at heart, and now he + proposes to establish a free hospital for them and to put Dr. Pindar in + charge of it. This will give him a good living as well as a definite + standing in the community, which he needs also. + </p> + <p> + MINNIE. He's the biggest man in Foxon Falls today! + </p> + <p> + AUGUSTA. That is as one thinks. At any rate, he has this opportunity. + Are you going to stand in the way of it? + </p> + <p> + MINNIE. Me stand in the way of it? + </p> + <p> + AUGUSTA. If Dr. Pindar accepts the place, you can't go with him,—you + will have to find some other position. Mr. Pindar is firm about that, + and rightly so. But I believe Dr. Pindar would be quite capable of + refusing rather than inconvenience anyone with whom he is connected. + </p> + <p> + MINNIE. You're right there! + </p> + <p> + AUGUSTA. He's quixotic. + </p> + <p> + MINNIE. If that's a compliment, you're right again. + </p> + <p> + AUGUSTA. It isn't exactly a compliment. + </p> + <p> + MINNIE. I guess you mean he's queer—but you're wrong—you're + wrong! He's the only man in Foxon Falls who knows what kind of a world + we're going to live in from now on. Why? Because he's a scientist, + because he's trained himself to think straight, because he understands + people like you and people like me. He don't blame us for what we do—he + knows why we do it. + </p> +<pre xml:space="preserve"> + (A pause.) +</pre> + <p> + That's the reason I try not to blame you for being hard—you can't + understand a girl like me. You can't understand George. + </p> + <p> + AUGUSTA (white). We'll leave my son out of the conversation, if you + please. We were talking of Dr. Pindar. You seem to have some + consideration for him, at least. + </p> + <p> + MINNIE. I'd go to the electric chair for him! + </p> + <p> + AUGUSTA. I'm not asking you to do that. + </p> + <p> + MINNIE. You want me to go away and get another place. I remember a + lesson you gave us one day in Bible class, “Judge not, that you be not + judged,”—that was what you talked about. But you're judging me on + what you think is my record,—and you'd warn people against hiring + me. If everybody was a Christian like that these days, I'd starve or go + on the street. + </p> + <p> + AUGUSTA. We have to pay for what we do. + </p> + <p> + MINNIE. And you make it your business to see that we pay. + </p> +<pre xml:space="preserve"> + (A pause.) +</pre> + <p> + Well, I'll go. I didn't know how poor Dr. Jonathan was,—he never + said anything about it to me. I'll disappear. + </p> + <p> + AUGUSTA. You have some good in you. + </p> + <p> + MINNIE. Don't begin talking to me about good! + </p> +<pre xml:space="preserve"> + (TIMOTHY FARRELL enters, right.) +</pre> + <p> + TIMOTHY. Good morning, ma'am. (Looking at MINNIE and AUGUSTA). I came to + fetch Minnie to pass an hour with me. + </p> + <p> + AUGUSTA (agitated and taken aback). Were—were having a little + talk. (She goes up to TIMOTHY.) I'm distressed to hear about Bert! + </p> + <p> + TIMOTHY. Thank you for your sympathy, ma'am. + </p> +<pre xml:space="preserve"> + (A brief silence. Enter ASHER, right.) +</pre> + <p> + ASHER (surveying the group). You here, Augusta? (He goes up to TIMOTHY + and presses his hand.) I wanted to see you, Timothy,—I understand + how you feel. We both gave our sons in this war. You've lost yours, and + I expect to lose mine. + </p> + <p> + AUGUSTA. Asher! + </p> + <p> + TIMOTHY. Don't say that, Mr. Pindar + </p> + <p> + ASHER. Why not? What right have I to believe, after what has happened in + my shops today, that he'll come back? + </p> + <p> + TIMOTHY. God forbid that he should be lost, too! There's trouble enough—sorrow + enough— + </p> + <p> + ASHER. Sorrow enough! But if a man has one friend left, Timothy, it's + something. + </p> + <p> + TIMOTHY (surprised). Sure, I hope it's a friend I am, sir,—a + friend this thirty years. + </p> + <p> + ASHER. We're both old fashioned, Timothy,—we can't help that. + </p> + <p> + TIMOTHY. I'm old fashioned enough to want to be working. And now that + the strike's on, whatever will I do? Well, Bert is after giving his life + for human liberty,—the only thing a great-hearted country like + America would be fighting for. There's some comfort in that! I think of + him as a little boy, like when he'd be carrying me dinner pail to the + shops at noon, runnin' and leppin' and callin' out to me, and he only + that high! + </p> + <p> + ASHER. As a little boy! + </p> + <p> + TIMOTHY. Yes, sir, it's when I like to think of him best. There's a + great comfort in childher, and when they grow up we lose them anyway. + But it's fair beset I'll be now, with nothing to do but think of him. + </p> + <p> + ASHER. You can thank these scoundrels who are making this labour trouble + for that. + </p> + <p> + TIMOTHY. Scoundrels, is it? Scoundrels is a hard word, Mr. Pindar. + </p> + <p> + ASHER. What else are they? Scoundrels and traitors! Don't tell me that + you've gone over to them, Timothy—that you've deserted me, too! + That you sympathize with these agitators who incite class against class! + </p> + <p> + TIMOTHY. I've heard some of them saying, sir, that if the unions gain + what they're after, there'll be no classes at all at all. And classes is + what some of us didn't expect to find in this country, but freedom. + </p> + <p> + ASHER. Freedom! They're headed for anarchy. And they haven't an ounce of + patriotism. + </p> + <p> + TIMOTHY (meaningly). Don't say that, sir. Me own boy is after dying over + there, and plenty have gone out of your own shops, as ye can see for + yourself every time you pass under the office door with some of the + stars in the flag turning to gold. And those who stays at home and works + through the night is patriots, too. The unions may be no better than + they should be, but the working man isn't wanting anyone to tell him + whether he'd be joining them or not. + </p> + <p> + ASHER. I never expected to hear you talk like this! + </p> + <p> + TIMOTHY. Nor I, sir. But it's the sons, Mr. Pindar,—the childher + that changes us. I've been thinking this morning that Bert had a union + card in his pocket when he went away,—and if he died for that kind + of liberty, it's good enough for his old father to live for. I see how + wicked it was to be old fashioned. + </p> + <p> + ASHER. Wicked? + </p> + <p> + TIMOTHY. Isn't it the old fashioned nation we're fighting, with its + kings and emperors and generals that would crush the life and freedom + out of them that need life. And why wouldn't the men have the right to + organize, sir, the way that they'd have a word to say about what they'd + be doing? + </p> + <p> + ASHER. You—you ask me to sacrifice my principles and yield to men + who are deliberately obstructing the war? + </p> + <p> + TIMOTHY. Often times principles is nothing but pride, sir. And it might + be yourself that's obstructing the war, when with a simple word from you + they'd go on working. + </p> + <p> + ASHER (agitatedly). I can't, I won't recognize a labour union! + </p> + <p> + TIMOTHY. Have patience, sir. I know ye've a kind heart, and that ye've + always acted according to your light, the same as me. But there's more + light now, sir,—it's shining through the darkness, brighter than + the flashes of the cannon over there. In the moulding room just now it + seems to break all around me, and me crying like a child because the boy + was gone. There was things I hadn't seen before or if I saw them, it was + only dim-like, to trouble me (ASHER turns away) the same as you are + troubled now. And to think it's me that would pity you, Mr. Pindar! I + says to myself, I'll talk to him. I ain't got no learning, I can't find + the words I'm after—but maybe I can persuade him it ain't the same + world we're living in. + </p> + <p> + ASHER. I was ready to recognize that. Before they came to me this + morning I had made a plan to reorganize the shops, to grant many + privileges. + </p> + <p> + TIMOTHY. You'll excuse me, sir, but it's what they don't want,—anyone + to be granting them privileges, but to stand on their own feet, the same + as you. I never rightly understood until just now,—and that + because I was always looking up, while you'd be looking down, and seeing + nothing but the bent backs of them. It's inside we must be looking, sir,—and + God made us all the same, you and me, and Mr. George and my son Bert, + and the Polak and his wife and childher. It's the strike in every one of + us, sir,—and half the time we'd not know why we're striking! + </p> + <p> + ASHER. You're right there, Timothy + </p> +<pre xml:space="preserve"> +TIMOTHY. But that makes no difference, sir. It's what we can't be +reasoning, but the nature in us all— + + (He flings his arm toward the open windows.) +—like the flowers and the trees in the doctor's garden groping to the +light of the sun. Maybe the one'll die for lack of the proper soil, and +many is cruelly trampled on, but the rest'll be growing, and none to +stop 'em. +</pre> + <p> + ASHER (pacing to the end of the room, and turning). No, I won't listen + to it! You—you ask me to yield to them, when you have lost your + son, when they're willing to sacrifice—to murder my son on the + field of battle? + </p> +<pre xml:space="preserve"> + (He pauses and looks toward the doorway, right. DR. JONATHAN + standing there, holding in his hand a yellow envelope. ASHER + starts forward.) +</pre> + <p> + A telegram? For me? + </p> + <p> + DR. JONATHAN. Yes, Asher. + </p> +<pre xml:space="preserve"> + (After giving it to ASHER, DR. JONATHAN takes his stand beside + MINNIE, who is at the back of the room, near the bench. He lays a + hand on her arm. ASHER tears open the envelope and stares at the + telegram, his hands trembling.) +</pre> + <p> + ASHER (exclaiming, in a half whisper). George! + </p> + <p> + AUGUSTA. Oh Asher, not—not—! + </p> +<pre xml:space="preserve"> + (She reaches for the telegram. He gives it to her. She reads.) +“Captain George Pindar severely wounded, condition critical.” + </pre> + <p> + TIMOTHY. Please God he'll be spared to ye! + </p> +<pre xml:space="preserve"> + CURTAIN. +</pre> + <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III + </h2> + <h3> + SCENE: Same as in Act I, the library of ASHER PINDAR'S house. + </h3> +<pre xml:space="preserve"> +TIME: The following day, early afternoon. A storm is raging, with wind + and rain and occasional bright flashes of lightning and heavy peals + of thunder. ASHER is pacing up and down the room, folding and + unfolding his hands behind his back, when AUGUSTA enters, lower + right, her knitting in her hand. There is a flash and a peal of + thunder. +</pre> + <p> + AUGUSTA. Oh! Asher, did you know that the elm at the end of the Common + was struck just now?—that splendid old landmark! + </p> + <p> + ASHER. All the old landmarks are being struck down, one after another. + </p> + <p> + AUGUSTA (going up to him and putting her hand on his arm). I've been so + nervous all day. Do be careful how you go about during this strike. + Those sullen and angry groups of men on the street this morning— + </p> + <p> + ASHER. Oh, they wouldn't dare touch me. If we only had a state + constabulary we'd soon break that sort of thing up. But the Legislature + trembles whenever a labour leader opens his mouth. + </p> + <p> + AUGUSTA (sitting down and taking up her knitting). If only I could be of + some help to you! But it's always been so. + </p> + <p> + ASHER. You've been a good wife, Augusta! + </p> + <p> + AUGUSTA. I don't know. I've kept your house, I've seen that you were + well fed, but I've been thinking lately how little that is for a woman—for + a human being. + </p> + <p> + ASHER (surprised). Why, Augusta! I can't remember the time when you + haven't been busy. You've taken an active part in church work and looked + out for the people of the village. + </p> + <p> + AUGUSTA. Yes, and what has it all amounted to? The poor are ungrateful, + they won't go near the church, and today they're buying pianos. Soon + there won't be any poor to help. + </p> + <p> + ASHER. That's so. We'll be the paupers, if this sort of thing keeps on. + </p> + <p> + AUGUSTA. I've tried to do my duty as a Christian woman, but the world + has no use, apparently, for Christians in these times. And whenever you + have any really serious trouble, I seem to be the last person you take + into your confidence. + </p> + <p> + ASHER. I don't worry you with business matters. + </p> + <p> + AUGUSTA. Because you do not regard me as your intellectual equal. + </p> + <p> + ASHER. A woman has her sphere. You have always filled it admirably. + </p> + <p> + AUGUSTA. “Adorn” is the word, I believe. + </p> + <p> + ASHER. To hear you talk, one would think you'd been contaminated by + Jonathan. You, of all people! + </p> + <p> + AUGUSTA. There seems to be no place for a woman like me in these days,—I + don't recognize the world I'm living in. + </p> + <p> + ASHER. You didn't sleep a wink last night, thinking of George. + </p> + <p> + AUGUSTA. I've given up all hope of ever seeing him again alive. + </p> +<pre xml:space="preserve"> + (Enter DR. JONATHAN, lower right. His calmness is in contrast to + the storm, and to the mental states of ASHER and AUGUSTA.) +</pre> + <p> + Why, Jonathan, what are you doing out in this storm? + </p> + <p> + DR. JONATHAN. I came to see you, Augusta. + </p> + <p> + AUGUSTA (knitting, trying to hide her perturbation at his appearance). + Did you? You might have waited until the worst was over. You still have + to be careful of your health, you know. + </p> + <p> + DR. JONATHAN (sitting down). There are other things more important than + my health. No later news about George, I suppose. + </p> + <p> + ASHER. Yes. I got another telegram early this morning saying that he is + on his way home on a transport. + </p> + <p> + DR. JONATHAN. On his way home! + </p> + <p> + ASHER. If he lives to arrive. I'll show you the wire. Apparently they + can't make anything out of his condition, but think it's shell shock. + This storm has been raging along the coast ever since nine o'clock, the + wires are down, but I did manage to telephone to New York and get hold + of Frye, the shell-shock specialist. In case George should land today, + he'll meet him. + </p> + <p> + DR. JONATHAN. Frye is a good man. + </p> + <p> + ASHER. George is hit by a shell and almost killed nearly a month ago, + and not a word do I hear of it until I get that message in your house + yesterday! Then comes this other telegram this morning. What's to be + said about a government capable of such inefficiency? Of course the + chances of his landing today are small, but I can't leave for New York + until tonight because that same government sends a labour investigator + here to pry into my affairs, and make a preliminary report. They're + going to decide whether or not I shall keep my property or hand it over + to them! And whom do they send? Not a business man, who's had practical + experience with labour, but a professor out of some university,—a + theorist! + </p> + <p> + DR. JONATHAN. Awkward people, these professors. But what would you do + about it, Asher? Wall up the universities? + </p> + <p> + ASHER. Their trustees, who are business men, should forbid professors + meddling in government and politics. This fellow had the impudence to + tell me to my face that my own workmen, whom I am paying, aren't working + for me. I'm only supposed to be supplying the capital. We talk about + Germany being an autocracy it's nothing to what this country has become! + </p> + <p> + DR. JONATHAN (smiling). An autocracy of professors instead of business + men. Well, every dog has his day. And George is coming home. + </p> + <p> + ASHER. And what is there left to hand over to him if he lives? What + future has the Pindar Shops,—which I have spent my life to build + up? + </p> + <p> + DR. JONATHAN. If George lives, as we hope, you need not worry about the + future of the Pindar Shops, I think. + </p> + <p> + AUGUSTA. If God will only spare him! + </p> + <p> + ASHER. I guess I've about got to the point where I don't believe that a + God exists. + </p> +<pre xml:space="preserve"> + (A flash and a loud peal of thunder.) +</pre> + <p> + AUGUSTA. Asher + </p> + <p> + ASHER. Then let Him strike me! + </p> +<pre xml:space="preserve"> + (He hurries abruptly out of the door, left.) +</pre> + <p> + AUGUSTA (after a silence). During all the years of our married life, he + has never said such a thing as that. Asher an atheist! + </p> + <p> + DR. JONATHAN. So was Job, Augusta,—for a while. + </p> + <p> + AUGUSTA (avoiding DR. JONATHAN'S glance, and beginning to knit). You + wanted to speak to me, Jonathan? + </p> +<pre xml:space="preserve"> + (The MAID enters, lower right.) +</pre> + <p> + MAID. Timothy Farrell, ma'am. + </p> +<pre xml:space="preserve"> + (Exit maid, enter TIMOTHY FARRELL.) +</pre> + <p> + AUGUSTA. I'm afraid Mr. Pindar can't see you just now, Timothy. + </p> + <p> + TIMOTHY. It's you I've come to see, ma'am, if you'll bear with me,—who + once took an interest in Minnie. + </p> + <p> + AUGUSTA. It is true that I once took an interest in her, Timothy, but + I'm afraid I have lost it. I dislike to say this to you, her father, but + it's so. + </p> + <p> + TIMOTHY. Don't be hard on her, Mrs. Pindar. She may have been wild-like + in Newcastle, but since she was back here to work for the doctor she's + been a good girl, and that happy I wouldn't know her, and a comfort to + me in me old age,—what with Bert gone, and Jamesy taken to drink! + And now she's run away and left me alone entirely, with the shops + closed, and no work to do. + </p> + <p> + AUGUSTA (knitting). She's left Foxon Falls? + </p> + <p> + TIMOTHY (breaking down for a moment). When I woke up this morning I + found a letter beside me bed—I'm not to worry, she says and I know + how fond of me she was—be the care she took of me. She's been + keeping company with no young man—that I know. If she wasn't + working with the doctor on that discovery she'd be home with me. + </p> + <p> + AUGUSTA. I'm sorry for you, Timothy, but I don't see what I can do. + </p> + <p> + TIMOTHY. I minded that you were talking to her yesterday in the + lab'rat'ry, before the telegram came about Mr. George. + </p> + <p> + AUGUSTA. Well? + </p> + <p> + TIMOTHY. It was just a hope, ma'am, catching at a straw-like. + </p> + <p> + AUGUSTA (tightening her lips). I repeat that I'm sorry for you, Timothy. + I have no idea where she has gone. + </p> + <p> + TIMOTHY (looking at her fixedly. She pauses in her knitting and returns + his look). Very well, ma'am—there's no need of my bothering you. + You've heard nothing more of Mr. George? + </p> + <p> + AUGUSTA (with sudden tears). They're sending him home. + </p> + <p> + TIMOTHY. And now that ye're getting him back, ma'am, ye might think with + a little more charity of her that belongs to me—the only one I'd + have left. + </p> +<pre xml:space="preserve"> + (TIMOTHY goes out, lower right. AUGUSTA is blinded by tears. She + lets fall her ball of wool. DR. JONATHAN picks it up.) +</pre> + <p> + AUGUSTA. I try to be fair in my judgments, and true to my convictions, + but what Minnie has done cannot be condoned. + </p> + <p> + DR. JONATHAN (sitting down beside AUGUSTA) And what has Minnie done, + Augusta? + </p> + <p> + AUGUSTA. You ask me that? I try hard to give you credit, Jonathan, for + not knowing the ways of the world—but it's always been difficult + to believe that Minnie Farrell had become well—a bad woman. + </p> + <p> + DR. JONATHAN. A bad woman. I gather, then, that you don't believe in the + Christian doctrines of repentance and regeneration. + </p> + <p> + AUGUSTA (bridling). The leopard doesn't change his spots. And has she + shown any sign of repentance? Has she come to me and asked my pardon for + the way in which she treated me? Has she gone to church and asked God's + forgiveness? But I know you are an agnostic, Jonathan,—it grieves + me. I couldn't expect you to see the necessity of that. + </p> + <p> + DR. JONATHAN. If it hadn't been for Minnie, I shouldn't have been able + to achieve a discovery that may prove of value to our suffering + soldiers, as well as to injured operatives in factories. In spite of the + news of her brother's death, Minnie worked all afternoon and evening. It + was midnight when we made the successful test, after eight months of + experiment. + </p> + <p> + AUGUSTA. I hope the discovery may be valuable. It seems to me that there + is too much science in these days and too little religion. I've never + denied that the girl is clever. + </p> + <p> + DR. JONATHAN. But you would deny her the opportunity to make something + of her cleverness because in your opinion; she has broken the Seventh + Commandment. Is that it? + </p> + <p> + AUGUSTA. I can't listen to you when you talk in this way. + </p> + <p> + DR. JONATHAN. But you listen every Sunday to Moses—if it was + Moses?—when he talks in this way. You have made up your mind, + haven't you, that Minnie has broken the Commandment? + </p> + <p> + AUGUSTA. I'm not a fool, Jonathan. + </p> + <p> + DR. JONATHAN. You are what is called a good woman. Have you proof that + Minnie is what you would call a bad one? + </p> + <p> + AUGUSTA. Has she ever denied it? And you heard her when she stood up in + this room and spoke of her life in Newcastle. + </p> + <p> + DR. JONATHAN. But no court of law would convict her on that. + </p> + <p> + AUGUSTA. And she had an affair with George. Oh, I can't talk about it! + </p> + <p> + DR. JONATHAN. I'm afraid that George will wish to talk about it, when he + comes back. + </p> + <p> + AUGUSTA, She's been corresponding with George—scheming behind my + back. + </p> + <p> + DR. JONATHAN. Are you sure of that? + </p> + <p> + AUGUSTA. She confessed to me that she had had letters from him. + </p> + <p> + DR. JONATHAN. And that she'd written letters in return? + </p> + <p> + AUGUSTA. What right have you to catechize me, Jonathan? + </p> + <p> + DR. JONATHAN. The same right, Augusta, that you have to catechize + Minnie. Only I wish to discover the truth, and apparently you do not. + She left me a letter, too, in which she said, “Don't try to find me—I + wouldn't come back if you did. Mrs. Pindar was right about me, after all—I + had to break loose again.” Now, Augusta, I'd like to know what you make + of that? + </p> + <p> + AUGUSTA. It's pretty plain, isn't it? + </p> + <p> + DR. JONATHAN. If the girl were really “bad,” as you insist, would she + say a thing like that? + </p> + <p> + AUGUSTA. I'm afraid I'm not an authority on Minnie's kind. + </p> + <p> + DR. JONATHAN. Well, I am. The only motive which could have induced her + to leave my laboratory and Foxon Falls—her father—is what + you would call a Christian motive. + </p> + <p> + AUGUSTA. What do you mean? + </p> + <p> + DR. JONATHAN. An unselfish motive. She went because she thought she + could help someone by going. + </p> + <p> + AUGUSTA. Why—do you discuss this with me? + </p> + <p> + DR. JONATHAN. Because I've come to the conclusion that you know + something about Minnie's departure, Augusta. + </p> + <p> + AUGUSTA (again on the verge of tears). Well, then, I do. I am + responsible for her going—I'm not ashamed of it. Her remaining + here was an affront to all right thinking people. I appealed to her, and + she had the decency to leave. + </p> + <p> + DR. JONATHAN. Decency is a mild word to apply to her sacrifice. + </p> + <p> + AUGUSTA. I suppose, with your extraordinary radical views, you mean that + she might have remained here and married George. One never can predict + the harm that a woman of that kind can do. + </p> + <p> + DR. JONATHAN (rising). The harm that a bad woman can do, Augusta, is + sometimes exceeded only by the harm a good woman can do. You are + unfortunately steeped in a religion which lacks the faith in humanity + that should be its foundation. The girl has just given you the strongest + proof of an inherent goodness, and you choose to call her bad. But if + you will not listen to Moses and the prophets, how will you listen to + Christ? + </p> + <p> + AUGUSTA. Jonathan! Where are you going? + </p> + <p> + DR. JONATHAN. To find Minnie Farrell and bring her back to Foxon Falls. + </p> +<pre xml:space="preserve"> + (He goes out, lower right. AUGUSTA sits for a while, motionless, + and then makes an attempt to go on with her knitting. A man's face + is seen pressed against the glass of the middle window. AUGUSTA + does not perceive him. He disappears, the glass door, upper right, + opens slowly and PRAG enters! His clothes are wet, he is unshaven, + he is gaunt and ill, and his eyed gleans. He leaves the door open + behind him. Once inside the room, he halts and stares at AUGUSTA, + who gathers up her knitting and rises. She does not lack courage.) +</pre> + <p> + AUGUSTA. What do you want? + </p> + <p> + PRAG. I come to see Mr. Pindar. + </p> + <p> + AUGUSTA. The proper place to see Mr. Pindar is in his office. What do + you mean by forcing your way into this house? + </p> + <p> + PRAG (advancing). I have no right here—it is too fine for me, yes? + </p> +<pre xml:space="preserve"> + (Through the window the figure of a woman is seen running across the + lawn, and a moment later MINNIE FARRELL comes in through the open + doorway, upper right. She is breathless and somewhat wet.) +</pre> + <p> + AUGUSTA. Minnie! + </p> + <p> + PRAG (turning and confronting MINNIE). So! You come back to Foxon Falls, + too! + </p> + <p> + MINNIE. You guessed it. + </p> + <p> + PRAG. You follow me? + </p> + <p> + MINNIE. But you're some sprinter! (She seizes him by the arm.) Come on, + Prag,—you haven't got any business here, and you know it. + </p> + <p> + PRAG (stubbornly). I come to see Mr. Pindar. I vill see him! + </p> + <p> + AUGUSTA. He isn't home. + </p> + <p> + PRAG. Then I vait for him. + </p> + <p> + MINNIE (glancing toward the study door, where she suspects ASHER is). No + you don't, either! You come along with me. + </p> +<pre xml:space="preserve"> + (She pulls him, and he resists. They begin to struggle. AUGUSTA + cries out and runs to MINNIE's assistance.) +</pre> + <p> + Keep away, Mrs. Pindar. If Mr. Pindar's home, find him and tell him not + to come in here. This man's crazy. + </p> + <p> + PRAG (struggling with MINNIE). Crazy, is it? What is it to you—what + I do with Mr. Pindar. He is also your enemy—the enemy of all + work-peoples. + </p> +<pre xml:space="preserve"> + (AUGUSTA, after a second's indecision, turns and runs toward the + door, left, that leads into ASHER's study. MINNIE tries to push + PRAG toward the doorway, upper right, but she is no match for the + nervous strength he is able to summon up in his fanatical frenzy. + Just as AUGUSTA reaches the study door, it is flung open and ASHER + appears.) +</pre> + <p> + ASHER. What's the matter? + </p> +<pre xml:space="preserve"> + (Then he sees MINNIE and PRAG struggling and strides toward them. + AUGUSTA tries to prevent him reaching them. PRAG wrenches himself + free from MINNIE and draws a pistol front his pocket. MINNIE flings + herself between him and ASHER, who momentarily halts, too astonished + to act.) +</pre> + <p> + PRAG (to MINNIE). Get avay! He kill my wife, he drive me out of my home—he + will not have the unions. I shoot him! Get oudt! + </p> + <p> + ASHER. Stand aside, Minnie, I'll take care of him. + </p> +<pre xml:space="preserve"> + (AUGUSTA cries out. ASHER advances, seizes MINNIE by the shoulder + and thrusts her aside. PRAG has the pistol levelled at him.) +</pre> + <p> + PRAG. Recognize the unions, or I shoot! + </p> + <p> + ASHER. Lower that pistol! Do you think you can intimidate me? + </p> + <p> + PRAG. They can hang me,—I die for freedoms! + </p> +<pre xml:space="preserve"> + (He is apparently about to pull the trigger, but he does not. His + eyes are drawn away from ASHER, toward the doorway, lower right, + where DR. JONATHAN is seen standing, gazing at him. Gradually his + arm drops to his side, and DR. JONATHAN goes up to him and takes the + pistol from his hand. PRAG breaks down, sobbing violently.) +</pre> + <p> + It is no good! I can't—now. + </p> + <p> + DR. JONATHAN (his hand on PRAG'S shoulder). Come with me, Prag, to my + house. + </p> +<pre xml:space="preserve"> + (He leads PRAG, shaken by sobs, out of the doorway, upper right, + and they are seen through the windows crossing the lawn and + disappearing.) +</pre> + <p> + AUGUSTA. Oh, Asher! + </p> +<pre xml:space="preserve"> + (She goes up to him and puts her hand on his arm, and then turns to + MINNIE.) +</pre> + <p> + You saved him + </p> + <p> + MINNIE. Dr. Jonathan saved him. He'd save everybody, if they'd let him. + Ever since he took care of Prag's wife, when she died, he's got him + hypnotized. + </p> + <p> + ASHER. You've done a brave thing, Minnie. I shan't forget it. + </p> + <p> + MINNIE. I want you to forget it. I wouldn't like to see anybody hurt. + </p> + <p> + AUGUSTA. But—how did you happen to be here—in Foxon Falls? + </p> + <p> + MINNIE. Oh, I didn't mean to come back. I'm going away again. + </p> + <p> + AUGUSTA. I have no right to ask you to go away, now. + </p> + <p> + ASHER. What's this? Did you ask Minnie to leave Foxon Falls? + </p> + <p> + AUGUSTA. Asher, I'd like to talk with Minnie, if you don't mind. + </p> + <p> + ASHER (glancing at the two women). Well, I shan't forget what you've + done, Minnie. + </p> +<pre xml:space="preserve"> + (He goes out, lower right.) +</pre> + <p> + MINNIE (who is on the verge of losing her self-control). I didn't come + back to Foxon Falls to talk to you again, Mrs. Pindar. I'm sorry, but + I've got to go. + </p> + <p> + AUGUSTA. Where? + </p> + <p> + MINNIE. You didn't care yesterday—why should you care today? + </p> + <p> + AUGUSTA (with an effort). I ought to tell you that Dr. Pindar has + declined Mr. Pindar's offer. + </p> + <p> + MINNIE. He isn't going to take charge of the hospital? + </p> + <p> + AUGUSTA. No. + </p> + <p> + MINNIE. But if he's so poor, how's he going to live? He can't afford to + hire me to help him. + </p> + <p> + AUGUSTA. I don't know. Dr. Pindar was about to leave in search of you. + </p> + <p> + MINNIE. I was afraid of that—when he ought to be going to New York + to test the discovery at the hospitals there. He meant to. + </p> + <p> + AUGUSTA. You must see him. + </p> + <p> + MINNIE. Oh, I'll see him now. That was what hurt me most, lying to him + about why I was leaving—letting him think I was sick of working + with him. + </p> + <p> + AUGUSTA. Minnie, I'm willing to say that I was mistaken about you. You + may have been unwise, but you never did anything wrong. Isn't it so? + </p> + <p> + MINNIE. Why do you think that now? What changed you? Just because I + might have helped to keep Mr. Pindar from being shot by a crazy man—that + didn't change you, did it? + </p> + <p> + AUGUSTA. I was mistaken! + </p> + <p> + MINNIE. If you thought I was bad yesterday, I'm bad today. + </p> + <p> + AUGUSTA. A bad woman couldn't have done what you did just now. + </p> + <p> + MINNIE. Don't you believe it, Mrs. Pindar. I knew a woman in Newcastle—but + there's no use going into that, I guess. There's worse kinds of badness + than what you call bad. + </p> + <p> + AUGUSTA. I—I can't discuss it. But I want to be just. I'm + convinced that I did you a wrong—and I'm sorry. Won't you believe + me? + </p> + <p> + MINNIE. But you'll never forgive me—even if I hadn't done what you + thought—on account of what happened with George. + </p> + <p> + AUGUSTA. I—I'll try. + </p> + <p> + MINNIE. No, don't try—forgiveness doesn't come that way, Mrs. + Pindar. (With sudden acuteness.) It was on account of George, not Dr. + Jonathan, that you wanted to get me out of Foxon Falls. + </p> + <p> + AUGUSTA. I repeat—I shouldn't have asked you to go. Isn't that + enough? + </p> + <p> + MINNIE. I told you not to worry about me and George. I ran away from him + once—I guess I won't have to do it again. + </p> + <p> + AUGUSTA. You—you ran away from him? + </p> + <p> + MINNIE. From the church, too, and from the Bible class and from you, and + from the shops. But I'm free now, there isn't any danger of my going + wrong,—I know what I can do, I've learned my job—Dr. + Jonathan's taught me. You needn't have me on your conscience, either. + I'll go across and see if I can help Dr. Jonathan take care of that poor + wreck, Prag. Life's been too tough for him— + </p> + <p> + AUGUSTA (starting forward to detain her). Wait a moment, Minnie,—tell + me how you happened to come back, to be here so—providentially. + </p> + <p> + MINNIE. There wasn't anything providential about it. I took the six + o'clock train to Newcastle this morning. Not that I had any notion of + staying there. I ran into Prag at the station. I nursed his wife, you + know—and he started in to tell me how he was coming up to Foxon + Falls to shoot Mr. Pindar because he'd closed down the works rather than + recognize the union. I knew that Prag was just about crazy enough to do + it, because I've heard Dr. Jonathan talk about the mental disease he's + got. That was about ten, and the train for Foxon Falls was leaving in a + few minutes. I ran into the booth to phone Dr. Jonathan, but the storm + had begun down there, and I couldn't get a connection. So I caught the + train, and when it pulled in here I saw Pray jump out of the smoking car + and start to run. I couldn't run as fast as he could, and I'd only got + to the other side of the Common when I saw him walk into the house. + </p> + <p> + AUGUSTA (after a pause). Minnie, you'll stay here now? Your father needs + you—I—I should never forgive myself if you left. + </p> + <p> + MINNIE. Tell me, Mrs. Pindar,—have you heard anything more from + George? + </p> + <p> + AUGUSTA (hesitating). Yes—Mr. Pindar got a telegram this morning. + </p> + <p> + MINNIE. He's coming home! When will he get here? + </p> + <p> + AUGUSTA. I—don't know. Oh, I'm afraid he may never get here—alive. + </p> + <p> + MINNIE. Don't say that! George will live—he's got to live. + </p> + <p> + AUGUSTA (gazing, at her). What makes you think so? + </p> + <p> + MINNIE. Because he's needed so in the world—in Foxon Falls. + </p> +<pre xml:space="preserve"> + (She starts for the doorway, upper right.) +</pre> + <p> + AUGUSTA. You're not going? + </p> + <p> + MINNIE. I couldn't stay here—now. + </p> + <p> + AUGUSTA. Why—why not? + </p> + <p> + MINNIE (in tears). I should think you'd know why not! + </p> + <p> + AUGUSTA. You mean—you care—you care that much? + </p> + <p> + MINNIE. I'm going. + </p> +<pre xml:space="preserve"> + (She turns to leave the room when the sound of an automobile is + heard without, the brakes going on, etc. MINNIE, who has got as far + as the doorway, upper right halts and stares.) +</pre> + <p> + AUGUSTA (excitedly). What is it? + </p> + <p> + MINNIE. An automobile. Oh, Mrs. Pindar—it's him—it's George! + </p> +<pre xml:space="preserve"> + (She draws back from the doorway, her hands clasped.) +</pre> + <p> + AUGUSTA. George! (She hurries toward the doorway, speaking as she goes.) + Where is he? + </p> + <p> + Why doesn't he come in? + </p> + <p> + MINNIE (staring out). He can't. Oh, I'll get Dr. Jonathan! + </p> +<pre xml:space="preserve"> + (She is speaking as AUGUSTA goes out.) + + (Mingling with other voices, ASHER's resonant and commanding voice + is heard.) +</pre> + <p> + ASHER (without). Bring him in through the library—it's easier for + you, George. + </p> +<pre xml:space="preserve"> + (MINNIE who obviously cannot now escape through the doorway, upper + right, without GEORGE seeing her, after a second's resolution dashes + across the room and out of the door, lower right. A moment later + GEORGE is brought in through the doorway, upper right, leaning + heavily on Dr. FRYE, a capable looking man, whose well fitting + business suit and general appearance indicate a prosperous city + practice. GEORGE is in uniform. He is much thinner, and his face + betrays acute suffering. His left arm hangs helpless at his side.) + + (ASHER and AUGUSTA follow, ASHER with a look of pain which has been + increased by an incident which occurred at the automobile, where + GEORGE refused to allow ASHER to help support him.) + + (GEORGE gets a little way into the room when he stops, sways a + little, and spasmodically puts his hand to his heart. ASHER, in a + frenzy of anxiety, again approaches to help him, but GEORGE repulses + him.) +</pre> + <p> + GEORGE (protesting with what strength he has, as if in fear). N—no, + dad, I'd rather not—I—I can get along. + </p> +<pre xml:space="preserve"> + (ASHER halts and gazes at him mutely, and then looks at AUGUSTA.) +</pre> + <p> + DR. FRYE. You'd better sit down here a minute and rest, Captain Pindar. + </p> +<pre xml:space="preserve"> + (ASHER starts to pull up an armchair, but AUGUSTA looks at him and + shakes her head, and pulls it up herself. GEORGE sinks into the + chair, leans back his head and closes his eyes. AUGUSTA hovers over + him, smoothing his hair.) +</pre> + <p> + AUGUSTA. Is there nothing we can do, Dr. Frye? A little brandy—? + </p> + <p> + Dr. FRYE (who is evidently trying to hide his own concern by a show of + professional self-confidence), I think I'd wait a few moments. + </p> + <p> + GEORGE (murmuring). I—I'll be all right, mother + </p> +<pre xml:space="preserve"> + (DR. FRYE stands gazing down at him a few seconds and then comes + forward into the room to join ASHER.) +</pre> + <p> + ASHER. For God's sake tell me what it is, doctor! Why did you leave New + York with him when he was in this condition? Was it because? + </p> + <p> + Dr. FRYE (speaking more rapidly than is his wont). He was surprisingly + well, considering everything, when we left New York, and the army + medical men advised taking him home. I thought an automobile better than + a slow train. I tried to telephone you, but the storm— + </p> + <p> + ASHER. I know. + </p> + <p> + Dr. FRYE. I sent you a wire. + </p> + <p> + ASHER. I didn't get it. + </p> + <p> + DR. FRYE. It was impossible to get a good nurse on account of the + influenza epidemic. In fact, I didn't think he needed one—but I + thought you'd feel more comfortable if I came. He seemed extraordinary + well, even cheerful until we got right into Foxon Falls. We were passing + your shops, and a big crowd of men were there, making a noise, shouting + at a speaker. Is there a strike on here? + </p> + <p> + ASHER. Yes. You say he got like this when he saw the crowd? + </p> + <p> + DR. FRYE (indicating GEORGE). As you see. He fell back on the cushions + as though he'd been hit—it all happened in a second. I have the + history of the case from the army people—he had an attack + something like this abroad. + </p> + <p> + ASHER. Did you notice how he avoided me? + </p> + <p> + DR. FRYE (with reluctance). That may not be anything. It's his heart, at + present,—and yet I'm convinced that this is a case for a + psychologist as well as for a medical man. I confess I'm puzzled, and as + soon as we can get a connection with New York I want to summon Barnwell. + </p> + <p> + ASHER. I'll see if I can get a wire through. + </p> + <p> + DR. FRYE. Telephone Plaza 4632. + </p> +<pre xml:space="preserve"> + (ASHER hurries out, lower right. Dr. FRYE returns to GEORGE to take + his pulse when DR. JONATHAN enters, upper right. He crosses the + room directly to GEORGE and stands looking down at him.) +</pre> + <p> + AUGUSTA (who is a little behind GEORGE'S chair, gives DR. JONATHAN an + agonized glance, which she transfers to Dr. FRYE when he drops GEORGE'S + wrist). George! George, dear! + </p> +<pre xml:space="preserve"> + (DR. FRYE is silent Then ASHER reenters.) +</pre> + <p> + ASHER (in a low tone, to Dr. FRYE). They think they can get New York + within half an hour. + </p> +<pre xml:space="preserve"> + (DR. FRYE nods. His attention is now fixed upon DR. JONATHAN, whose + gaze is still focussed on GEORGE. ASHER and AUGUSTA now begin to + look at DR. JONATHAN. Gradually, as though by the compulsion of DR. + JONATHAN'S regard; GEORGE slowly opens his eyes.) +</pre> + <p> + GEORGE (stammering). Dr. Jonathan! + </p> + <p> + DR. JONATHAN. I'm here, George. + </p> + <p> + GEORGE. Is there-is there a strike in the shops? + </p> +<pre xml:space="preserve"> + (DR. JONATHAN glances at ASHER.) +</pre> + <p> + ASHER (hesitating, speaking with difficulty). Don't worry about that + now, George. + </p> + <p> + GEORGE. Why—why are they striking? + </p> + <p> + ASHER. I'll tell you all about it later—when you feel better. + </p> + <p> + GEORGE (feebly, yet insistent). I—I want to know. + </p> + <p> + ASHER. We can't talk about it now, my boy—later. + </p> + <p> + GEORGE. Did—did you get my letter—the letter in which I + begged you— + </p> + <p> + ASHER. Yes, yes—I'll explain it all tomorrow. + </p> + <p> + GEORGE. I—I may not be here—tomorrow. You didn't do what—I + asked? It's—so simple—when you've thought about it—when + you've fought for it. + </p> + <p> + ASHER. I—I had a plan, George. We'll go over it + </p> +<pre xml:space="preserve"> + (He approaches GEORGE.) +</pre> + <p> + GEORGE (shrinking). No—no! + </p> +<pre xml:space="preserve"> + (ASHER recoils. MINNIE FARRELL appears, upper right, from the + direction of the Common. She carries a phial, a dropper and some + water in a glass. Seeing the group gathered about GEORGE, she + hesitates, but DR. JONATHAN motions her to come forward.) +</pre> + <p> + W—who is that? Minnie? + </p> +<pre xml:space="preserve"> + (GEORGE makes an attempt to sit up, but his head falls back and his + eyes close again. Then DR. JONATHAN lays his hand on Dr. FRYE's + arm, as though to draw him aside.) +</pre> + <p> + Dr. FRYE. Is this Dr. Jonathan Pindar? I wondered if you were a relation—(he + glances at ASHER)—but I wasn't looking for you in Foxon Falls. If + you have something to suggest—? + </p> + <p> + DR. JONATHAN ( taking the phial and the dropper from MINNIE). With your + permission. In any case it can do no harm. + </p> + <p> + DR. FRYE. By all means: If I had realized you were here—! + </p> +<pre xml:space="preserve"> + (ASHER looks on in astonishment. DR. JONATHAN measures out a few + drops of the liquid from the phial into the glass of water, which + MINNIE holds.) +</pre> + <p> + DR. JONATHAN. George, will you take this? + </p> +<pre xml:space="preserve"> + (He holds the glass while GEORGE drinks. To Dr. FRYE:) +</pre> + <p> + There's a lounge in Mr. Pindar's study. + </p> + <p> + (To AUGUSTA:) Get a blanket. + </p> +<pre xml:space="preserve"> + (AUGUSTA goes toward the door, lower right, while MINNIE Starts to + retire.) +</pre> + <p> + We'll need you, Minnie. + </p> +<pre xml:space="preserve"> + (He hands MINNIE the glass, dropper and phial. The two physicians + pick GEORGE up and carry him out, left, followed by MINNIE. ASHER + goes a little way and then halts with a despairing gesture. AUGUSTA + having gone for the blanket, ASHER is left alone, pacing, until she + returns.) +</pre> + <p> + AUGUSTA (going through the room from right to left, with the blanket). + Ah, Asher! + </p> +<pre xml:space="preserve"> + (ASHER begins pacing again, when Dr. FRYE reenters from the left.) +</pre> + <p> + ASHER. Is there—is there any hope? + </p> + <p> + DR. FRYE (his hand on ASHER'S sleeve). I can tell you more when I have + had a chance to talk with Dr. Pindar. This seems to be one of his cases—but + I confess, when I mentioned Barnwell, I didn't think of him. The + situation came so suddenly. And in spite of his name being yours, I + didn't expect to find him here. + </p> + <p> + ASHER. Then you know of Jonathan? + </p> + <p> + DR. FRYE. I didn't know of him until I read the book which he published + about a year ago. When I was in Baltimore in March, I asked for him at + Johns Hopkins's, and they told me that he had gone to New England for + his health. Extraordinary to meet him here—and today! + </p> + <p> + ASHER. What book? He's never spoken to me of any book. + </p> + <p> + DR. FRYE. On the Physical Effects of Mental Crises. There has been a + good deal of controversy about it in the profession, but I'm one of + those who believe that the physician must seek to cure, not only the + body, but the soul. We make a guess—though he's published no + religion—the true scientist is the minister of the future. + </p> + <p> + ASHER. I never realized that Jonathan—! + </p> + <p> + DR. FRYE (smiling a little). No prophet is without honour save in his + own country. + </p> + <p> + ASHER. What has he given George? + </p> + <p> + DR. FRYE. I can't tell you exactly, but I can make a guess—though + he's published no account of his recent experiments. + </p> +<pre xml:space="preserve"> + (As DR. JONATHAN reenters from the left.) +</pre> + <p> + He will undoubtedly tell you himself. (Exit Dr. FRYE, left.) + </p> + <p> + ASHER. Will he live? + </p> + <p> + DR. JONATHAN. I'll be frank with you, Asher,—I don't know. All we + can do is to wait. + </p> + <p> + ASHER. I call God to witness there's nothing I wouldn't do, no sacrifice + I wouldn't make, if that boy could be saved! + </p> + <p> + DR. JONATHAN. Remember that, Asher. + </p> + <p> + ASHER. Remember what? + </p> + <p> + DR. JONATHAN. If his life is saved, you will be called upon to make a + sacrifice, to do your part. + </p> + <p> + ASHER. My part? + </p> + <p> + DR. JONATHAN. Yes. What I have given him—the medicine—is + only half the battle—should it succeed. My laboratory experiments + were only completed last night. + </p> + <p> + ASHER. This is what you have been working on? + </p> + <p> + DR. JONATHAN. It happens to be. But I have had no chance to test it—except + on animals. I meant to have gone to a war hospital in New York today. If + it works, then we shall have to try the rest of the experiment,—your + half of it. + </p> + <p> + ASHER. What's that? + </p> + <p> + DR. JONATHAN. You probably noticed that George avoided you. + </p> + <p> + ASHER. It's more than I can bear. You know what we've been to each + other. If he should die—feeling that way—! + </p> + <p> + DR. JONATHAN. George hasn't lost his affection for you; if it were so, + we shouldn't have that symptom. I will tell you, briefly, my theory of + the case. But first let me say, in justice to Frye, that he was in no + position to know certain facts that give the clue to George's condition + the mental history. + </p> + <p> + ASHER. I don't understand. + </p> + <p> + DR. JONATHAN. The day he left home, for France, certain things happened + to him to arouse his sympathy with what we call working people, their + lives and aspirations. As you know, George has a very human side,—he + loves his fellow men. He'd never thought of these things before. He went + with them, naturally, to you, and I infer that you suppressed him! + </p> + <p> + ASHER. I told him I couldn't discuss certain aspects. His emotional + state troubled me,—he was going away, and I imagined he would get + over it. + </p> + <p> + DR. JONATHAN. He didn't get over it. It was an emotional crisis. He left + home with a conflict in his mind,—a conflict between his affection + for you and that which he had suddenly come to see was right. I mean, + right for today, for the year and hour in which we are living. This + question of the emancipation of labour began a hundred years ago, with + the introduction of machinery and the rise of modern industry, and in + this war it has come to a head. Well, as the time approached for George + to risk his life for his new beliefs, his mental conflict deepened. He + talked with other young men who believed they were fighting for the same + cause. And then—it must have been shortly before he was wounded—he + wrote you that appeal. + </p> + <p> + ASHER. The letter I read to you! + </p> + <p> + DR. JONATHAN. The fact that in his own home, in the shops which bore his + name, no attempt had been made to meet the new issues for which he was + going into battle, weighed upon him. Then came the shell that shattered + his body. But the probabilities are that he was struck down, + unconscious, at the very moment when the conflict in his mind was most + acute. He was thinking of you, of the difference you and he had had, he + was lonely, he was afraid for the bravest men feel fear. To him the + bursting of the shell was the bursting of the conflict within him. I + won't go into the professional side of the matter, the influence of the + mental state on the physical—but after the wound healed, whenever + anything occurred to remind him of the conflict,—a letter from + you, the sight of the strikers this afternoon at the shops, meeting you + once more, a repetition came of what happened when the shell struck him. + Certain glands fail in their functions, the heart threatens to stop and + put an end to life. If my theory is correct, what I have given him may + tide over that danger, but only on one condition can he continue to live + and become a useful member of society. + </p> + <p> + ASHER. What condition? + </p> + <p> + DR. JONATHAN. That the mental conflict, the real cause of the trouble, + he resolved. The time has come, Asher, when you must make your choice + between your convictions and your son. + </p> + <p> + ASHER. Speak out. + </p> + <p> + DR. JONATHAN. I mean that you must be prepared to tell George, if he + recovers, that you have abandoned your attitude toward the workmen, that + you are willing to recognize their union, settle the strike, and go even + further than in their ignorance they ask. You must try the experiment in + the democratization of industry on which George's heart is set. + Otherwise I will not answer for his sanity, I cannot even give you the + hope that he will live. + </p> + <p> + ASHER. I never heard of a mental conflict producing such a state! + </p> + <p> + DR. JONATHAN. Remember, you have said that you will make any sacrifice + to save George's life. + </p> + <p> + ASHER (turning on DR. JONATHAN). You're not trying to play on my—my + superstition,—at a time like this! + </p> + <p> + DR. JONATHAN. I'm not dealing with superstition, Asher, but with + science. If George revives, he will wish to talk with you. + </p> + <p> + ASHER. When? + </p> + <p> + DR. JONATHAN. Probably this evening—or never. I ask you the + question—will you yield your convictions? + </p> +<pre xml:space="preserve"> + (ASHER bows his head. DR. JONATHAN gazes at him for a moment, + compassionately.) +</pre> + <p> + I'll go back to him now. I think he'd better be moved to his room, and + put to bed. + </p> +<pre xml:space="preserve"> + (Exit DR. JONATHAN, left. For a minute ASHER remains alone, and + then DR. JONATHAN and Dr. FRYE reappear, carrying GEORGE. The + blanket is flung over his knees, and he seems lifeless. They are + followed by MINNIE, carrying the phial and the glass, and by + AUGUSTA. They cross the room and go out, lower right. ASHER walks + behind them as far as the door, hesitates, and then goes out.) +</pre> +<pre xml:space="preserve"> + (THE CURTAIN falls and remains down a minute to indicate a lapse of + three hours. When it rises again night has come, the lamps are + lighted and the window curtains drawn. ASHER and AUGUSTA are + discovered standing together. ASHER has a black, leather covered + book in his hand, with one finger in the place where he has been + reading. Both show the effects of a strain.) +</pre> + <p> + AUGUSTA (who has been speaking). And when we took him upstairs, I was + sure he was going to die—it seemed to me as if nothing could save + him. He's been sitting up and talking to us—of course he's pale + and weak and wasted, but in spite of that, Asher, he seems to have a + strength, a force that he didn't have before he went away. He isn't a + boy any more. I can't describe it, but I'm almost afraid of him—! + </p> + <p> + ASHER. He—he hasn't mentioned me? + </p> + <p> + AUGUSTA. No, my dear—and since Jonathan warned me not to, I've + said nothing about you. Why is it? + </p> + <p> + ASHER. Jonathan's the master now. + </p> + <p> + AUGUSTA. In spite of what I've felt about him, he has saved George for + us. It seems a miracle. + </p> + <p> + ASHER. A scientific miracle. + </p> + <p> + AUGUSTA (indicating the book ASHER holds). And yet you were reading the + Bible! + </p> + <p> + ASHER. I just took it down. (He lays it on the table, and touches + AUGUSTA, with an unwonted tenderness, on the shoulder). I think we may + hope, now, Augusta. But before we can be sure that he'll get well, + there's something else to be done. + </p> + <p> + AUGUSTA (anxiously). What? + </p> + <p> + ASHER. Go back to George,—I'll tell you later. It seems that we + must trust Jonathan. Here he is now. + </p> +<pre xml:space="preserve"> + (Enter DR. JONATHAN, lower right, as AUGUSTA departs.) +</pre> + <p> + DR. JONATHAN. George wants to get dressed, and come down. + </p> + <p> + ASHER. You think it wise? + </p> + <p> + DR. JONATHAN. Under the circumstances yes. The heart is practically + normal again, we have done all that is physically possible. One half of + the experiment seems to have succeeded, and the sooner we try the other + half, the better. Are you still willing? + </p> + <p> + ASHER. I'm prepared. I've carried out your—instructions—sent + for the committee. + </p> + <p> + DR. JONATHAN (looking at him). Good! + </p> + <p> + ASHER (with an effort). Jonathan, I—I guess I misjudged you— + </p> + <p> + DR. JONATHAN (Smiling). Wait until you are sure. Nothing matters if we + can save that boy. By the way, he asked for Timothy, and I've sent for + him. + </p> + <p> + ASHER. He asked for Timothy, and not for me! + </p> + <p> + DR. JONATHAN. It seems he saw an officer of Bert's regiment, after the + boy was killed. Here's the committee, I think. + </p> +<pre xml:space="preserve"> + (The MAID enters, lower right. She does not speak, but ushers in + HILLMAN, RENCH and FERSEN, and retires.) +</pre> + <p> + HILLMAN. | RENCH. |-Good evening, Mr. Pindar. Good evening, doctor. + FERSEN. | + </p> + <p> + ASHER. Good evening. + </p> +<pre xml:space="preserve"> + (An awkward silence. From habit, ASHER stares at them defiantly, as + DR. JONATHAN goes out, lower right.) +</pre> + <p> + HILLMAN (going up to ASHER). How's your son, Mr. Pindar? + </p> + <p> + RENCH. We're real anxious about the Captain. + </p> + <p> + FERSEN (nodding). The boys think a whole lot of him, Mr. Pindar. + </p> + <p> + ASHER. He's better, thank you. The medicine Dr. Pindar has given him + </p> + <p> + RENCH. Didn't I say so? When I heard how he was when he got back, I said + to Fred Hillman here,—if anybody can cure him, it's Dr. Jonathan, + right here in Foxon Falls! + </p> +<pre xml:space="preserve"> + (A pause.) +</pre> + <p> + I'm sorry this here difference came up just now, Mr. Pindar, when the + Captain come home. We was a little mite harsh—but we was strung + up, I guess, from the long shifts. If we'd known your son was comin'— + </p> + <p> + ASHER. You wouldn't have struck? + </p> + <p> + RENCH. We'd have agreed to put it off. When a young man like that is + near dying for his country why—anything can wait. But what we're + asking is only right. + </p> + <p> + ASHER. Well, right or not right, I sent for you to say, so far as I'm + concerned, the strike's over. + </p> + <p> + RENCH. You'll—you'll recognize the union? + </p> + <p> + ASHER. I grant—( he catches himself)—I consent to your + demands. + </p> +<pre xml:space="preserve"> + (After a moment of stupefaction, their faces light up, and they + approach him.) +</pre> + <p> + RENCH. We appreciate it, Mr. Pindar. This'll make a lot of families + happy tonight. + </p> + <p> + FERSEN. It will that. + </p> + <p> + HILLMAN. Maybe you won't believe me, Mr. Pindar, but it was hard to see + the shops closed down—as hard on us as it was on you. We take + pride in them, too. I guess you won't regret it. + </p> + <p> + ASHER (waving them away). I hope not. I ought to tell you that you may + thank my son for this—my son and Dr. Pindar. + </p> + <p> + RENCH. We appreciate it,—just the same. + </p> +<pre xml:space="preserve"> + (ASHER makes a gesture as thought to dismiss the subject, as well as + the committee. They hesitate, and are about to leave when GEORGE, + followed by DR. JONATHAN, comes in, lower right. His entrance is + quite dramatic. He walks with the help of a stick, slowly, but his + bearing is soldierly, authoritative, impressive. He halts when he + perceives the committee.) +</pre> + <p> + HILLMAN (going up to GEORGE). How are you, Captain? + </p> + <p> + FERSEN. Good to have you home once more. + </p> + <p> + RENCH (going up to GEORGE). Good to see you, Captain, on a day like + this. As Larz Fersen said when we were going to strike, “It's a fine day + for it.” Well, this is a better day—you home and well, and the + strike off. + </p> + <p> + GEORGE (glancing from one to the other, and then at ASHER). What do you + mean? + </p> + <p> + RENCH. Why, Mr. Pindar—your father here's just made everybody + happy. He's recognized the union, and we're going back to work. We'll + turn out machines to make shrapnel enough to kill every Hun in France,—get + square with 'em for what they done to you. + </p> +<pre xml:space="preserve"> + (They all watch GEORGE, absorbed in the effect this announcement has + on him. An expression of happiness grows in his eyes. After a + moment he goes up to ASHER.) +</pre> + <p> + GEORGE. Dad, why did you do this? + </p> + <p> + ASHER. I'll tell you, George. When you came home this afternoon I + realized something I hadn't realized before. I saw that the tide was + against me, that I was like that old English king who set his throne on + the sands and thought he could stay the waters. If—if anything had + happened to you, I couldn't have fought on, but now that you're here + with me again, now that you've risked your life and almost lost it for + this—this new order in which you believe, why, it's enough for me—I + can surrender with honour. I'm tired, I need a rest. I'd have gone down + fighting, but I guess you've saved me. I've been true to my convictions,—you, + who belong to the new generation, must be true to yours. And as I told + you once, all I care about this business is to hand it over to you. + </p> + <p> + GEORGE. You'll help me! + </p> + <p> + ASHER. This seems to be Jonathan's speciality,—science. But I + never give my word half heartedly, my boy, and I'll back you to my last + dollar. Be prepared for disappointments,—but if you accomplish + something, I'll be glad. And if you fail, George,—any failure for + a man's convictions is a grand failure. + </p> + <p> + GEORGE. Well, it means life to me, dad. I owe it to you. + </p> + <p> + ASHER (turning toward DR. JONATHAN). No, you owe it to him,—to + science. + </p> +<pre xml:space="preserve"> + (He puts one hand on GEORGE'S shoulder, and the other, with an + abrupt movement, on DR. JONATHAN'S.) +</pre> + <p> + And if science will do as much for democracy, then— + </p> + <p> + GEORGE. Then, you're from Missouri. Good old dad! + </p> + <p> + ASHER (huskily, trying, to carry it off, and almost overcome by emotion + at the reconciliation). I'm from Missouri, my boy. + </p> + <p> + DR. JONATHAN. Then you're a true scientist, Asher, for science, too, + waits to be shown. + </p> +<pre xml:space="preserve"> + (ASHER goes out, lower right. Dr. JONATHAN, evidently in support + and sympathy, goes with him. GEORGE and the committee look after + them, and then GEORGE sits down, and smiles at the men.) +</pre> + <p> + GEORGE. And we've got to be scientists, too. Are you fellows willing to + take your share in the experiment? + </p> + <p> + HILLMAN. What experiment's that, Captain? + </p> + <p> + GEORGE. Now that you've got your union, what's the good of it? + </p> + <p> + RENCH (after a pause). Why, I thought we'd made that pretty clear, + Captain. We've got something to fall back on in case the employers don't + live up to their agreements. I'm not speaking of you— + </p> + <p> + GEORGE. In other words, you've got a weapon. + </p> + <p> + RENCH. Well, you might call it that. + </p> + <p> + GEORGE. But weapons imply warfare,—don't they? + </p> + <p> + RENCH. We wouldn't fight with you. + </p> + <p> + GEORGE. Yes, you would,—if our interests conflicted. When I was in + the trenches I kept thinking of the quotation Lincoln used, “A house + divided against itself cannot stand.” We're going to try to perpetuate + that house, just as he did. + </p> + <p> + HILLMAN. Lincoln had common sense. + </p> + <p> + GEORGE. Another name for intelligence. And what we've got to decide is + whether the old house will do—for democracy—industrial + democracy? Can we shore up the timbers—or shall we have to begin + to build a new house? + </p> + <p> + RENCH (glancing at HILLMAN). The old one sure enough looks rotten to me. + I've said that all along. + </p> + <p> + GEORGE. It seems to have served its day. Has your union got the plans of + a new house ready—consulted an architect? + </p> + <p> + RENCH. I'm afraid we don't get you, Captain. + </p> + <p> + GEORGE. You belong to the American Federation of Labour, don't you? Has + it got a new house ready to move into? + </p> + <p> + RENCH. Well, I haven't seen any plans. + </p> + <p> + GEORGE. If the old structure's too small, one party or the other will + have to be shoved out. The capitalist or the employee. Which will it be? + </p> + <p> + RENCH (laughing). If it comes to that— + </p> + <p> + GEORGE (smiling). There's no question in your mind. But you hadn't + thought about it—your Federation hasn't thought about it, or + doesn't want to think about it, and your employers don't want to, + either. + </p> + <p> + HILLMAN (stroking his moustache). That's so + </p> + <p> + GEORGE. I'll tell you who have thought about it—the Bolshevists + and the I. W. W. And because they have a programme,—some + programme, any programme, they're more intelligent than we, for the + time. + </p> + <p> + RENCH. Those guys? + </p> + <p> + GEORGE. Exactly,—those guys. At least they see that the house + isn't fit to live in. They want to pull it down, and go back to living + in trees and caves. + </p> + <p> + HILLMAN. That's about right. + </p> + <p> + GEORGE. But you're conservatives, you labour union people—the + aristocrats of labour, which means that you don't think. What you really + object to, when you come down to it, is that men like my father and me, + and the bankers,—we're all in the same boat, most of 'us own + banks, too,—control the conditions of life for you and men like + you. + </p> + <p> + RENCH. I never heard it put in those words, but by gum, it's so. + </p> + <p> + GEORGE. And your Confederation, your unions are for the skilled workers, + whose conditions aren't so bad,—and they're getting better every + time you jack up the wages. You complain that we employers aren't + thinking of you, but are you thinking of the millions of the unskilled + who live from hand to mouth? The old structure's good enough for you, + too. But what will the miserable men, who don't sit in, be doing while + we're squabbling to see who'll have the best rooms? + </p> + <p> + RENCH. Blow the house up, I guess. + </p> + <p> + GEORGE. If they're rough with it, it'll tumble down like a pack of cards—simply + because we're asses. Can't we build a house big enough for all—for + a hundred million people and their descendants? A house in which, after + a while, there will be no capitalists and no exploiters and no wreckers, + only workers—each man and woman on the job they were fitted for? + It's a man-sized job, but isn't it worth tackling? + </p> + <p> + RENCH (enthused). It's sure worth tackling, Captain. + </p> + <p> + GEORGE. And can't we begin it, in a modest way, by making a little model + of the big house right here in Foxon Falls? Dr. Jonathan will help us. + </p> + <p> + RENCH. Go to it, Captain. We'll trust him and you. + </p> + <p> + GEORGE. Trust is all right, but you've got to go to it, too, and use + your headpieces. We've got to sit down together and educate ourselves, + who are now employers and employees, get hold of all the facts, the + statistics,—and all the elements, the human nature side of it, + from the theorists, the students, whom we've despised. + </p> + <p> + RENCH. Well, it's a fact, I hadn't thought much of them intellectuals. + </p> + <p> + GEORGE. They're part of the game—their theories are the basis for + an intelligent practice. And what should we be able to do without their + figures? Look at what we've worked out in large scale production and + distribution in this war! That's a new world problem. Shall we be + pioneers here in Foxon Falls in the new experiment? + </p> + <p> + RENCH. An experiment in human chemicals, as the doctor would say. + Pioneers! I kind of like that word. You can put me in the wagon, + Captain. + </p> + <p> + GEORGE. It will be a Conestoga with the curtains rolled up, so that + everybody can see in. No secrets. And it will be a wagon with an + industrial constitution. + </p> + <p> + FERSEN. Excuse me, Captain,—but what's that? + </p> +<pre xml:space="preserve"> + (RENCH laughs.) +</pre> + <p> + GEORGE (smiling). Hasn't it struck you, Fersen, that unless a man has a + voice and an interest in the industry in which he works his voice, and + interest in the government for which he votes is a mockery? + </p> +<pre xml:space="preserve"> + (FERSEN nods.) +</pre> + <p> + RENCH. We'll have to give Larz a little education. + </p> + <p> + GEORGE. Oh, I guess he'll make a good industrial citizen. But that's + part of the bargain. + </p> + <p> + RENCH. That's fair. Human nature ain't so rotten, when you give it a + chance. + </p> + <p> + GEORGE. Well, then, are you willing to try it out, on the level? + </p> + <p> + RENCH. I cal'late we'll stick, Captain. + </p> + <p> + HILLMAN. We sure will. + </p> + <p> + FERSEN. We'll be pioneers! + </p> + <p> + GEORGE. That's good American, Fersen, not to be afraid of an ideal. + Shake! We'll sit down with it in a day or two. + </p> +<pre xml:space="preserve"> + (They all shake. The members of the committee file out of the room, + lower right. GEORGE is left alone for a brief interval, when + MINNIE, in the white costume of a nurse, enters, lower right, + with a glass of medicine in her hand.) +</pre> + <p> + MINNIE (halting). You're all alone? Where's Dr. Jonathan? + </p> + <p> + GEORGE. He's gone off with dad. + </p> + <p> + MINNIE. It's nine o'clock. + </p> +<pre xml:space="preserve"> + (She hands him the glass, he drinks the contents and sets the glass + on the table. Then he takes her hands and draws her to him and + kisses her. She submits almost passively.) +</pre> + <p> + Why are you doing this, George? + </p> + <p> + GEORGE. Because I love you, because I need you, because I'm going to + marry you. + </p> + <p> + MINNIE (shaking her head: slowly). No you're not. + </p> + <p> + GEORGE. Why not? + </p> + <p> + MINNIE. You know why not, as well as I do. + </p> +<pre xml:space="preserve"> + (She gazes up at him. He is still holding her in his arms. + Suddenly she kisses him passionately, breaks away from him and + starts to fly from the room, when she runs into DR. JONATHAN, who is + entering, lower right.) +</pre> + <p> + DR. JONATHAN. Where are you going, Minnie? + </p> +<pre xml:space="preserve"> + (MINNIE halts, and is silent. DR. JONATHAN lays a detaining hand on + her arm, and looks from one to the other, comprehendingly.) +</pre> + <p> + GEORGE. I've asked her to marry me, Dr. Jonathan. + </p> + <p> + DR. JONATHAN. And what are your objections, Minnie? + </p> + <p> + MINNIE. You know why I can't, Dr. Jonathan. What kind of a wife would I + make for him, with his family and friends. I'd do anything for him but + that! He wouldn't be happy. + </p> + <p> + DR. JONATHAN. And what's your answer, George? + </p> + <p> + GEORGE. I don't want her for my family and friends,—I want her for + myself. This isn't a snap judgment—I've had time to think it over. + </p> + <p> + MINNIE. I didn't mean to be here when you got home. I know I'm not fit + to be your wife I haven't had any education. + </p> + <p> + GEORGE. Neither have I. We start level there. I've lived among people of + culture, and I've found out that culture chiefly consists of fixed + ideas, and obstruction to progress, of hating the President,—of + knowing the right people and eating fish with a fork. + </p> + <p> + MINNIE (smiling, though in tears). Well, I never ate fish with a knife, + anyway. + </p> + <p> + GEORGE. I spent my valuable youth learning Greek and Latin, and I can't + speak or read either of them. I know that Horace wrote odes, and Cicero + made orations, but I can't quote them. All I remember about biology is + that the fittest are supposed to survive, and in this war I've seen the + fittest killed off like flies. You've had several years of useful work + in the Pindar Shops and the Wire Works, to say nothing of a course in + biological chemistry, psychology and sociology under Dr. Jonathan. I'll + leave it to him whether you don't know more about life than I do—about + the life and problems of the great mass of people in this country. And + now that the strike's over— + </p> + <p> + MINNIE. The strike's over! + </p> + <p> + GEORGE. Yes. I've chosen my life. It isn't going to be divided between a + Wall Street office and Newport and Palm Beach. A girl out of a finishing + school wouldn't be of any use to me. I'm going to stay right here in + Foxon Falls, Minnie, I've got a real job on my hands, and I need a real + woman with special knowledge to help me. I don't mean to say we won't + have vacations, and we'll sit down and get our education together. Dr. + Jonathan will be the schoolmaster. + </p> + <p> + MINNIE. It's a dream, George. + </p> + <p> + GEORGE. Well, Minnie, if it's a dream worth dying for it's a dream worth + living for. Your brother Bert died for it. + </p> + <br /> + </div> +<pre xml:space="preserve"> + CURTAIN +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + PG EDITOR'S BOOKMARKS: + + Economic freedom, without which political freedom is a farce + Flaming flag of a false martyrdom + It's money that makes you free + Often times principles is nothing but pride + We can't take Christianity too literally +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + +End of Project Gutenberg's Dr. Jonathan (A Play), by Winston Churchill + +*** END OF THIS PROJECT GUTENBERG EBOOK DR. 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