Chapter III: Part 3

Sure! Go right up to my room! I'll be along after the meeting! [UMANSKI _exits_. GRUBBY _starts to follow_.] Where are you going, Grubby?

GRUBBY

Sandwiches! [_He exits._]

MARY MARGARET

[_Down L._]: Your supper's ready!

DANIEL

Thanks. [_Looks up_] What's this we're wearing? Golden slippers?

MARY MARGARET

Uh-huh! I took 'em out of the barrel of clothes that pretty lady sent.

DANIEL

[_Sitting at table_]: Supper with Cinderella!

MARY MARGARET

[_Setting dish before him_]: Gee, I love that story! [_She sits beside him, facing front._] When you tell it to me, you make me believe I'm her.

DANIEL

If you believe it ... you _are_.

MARY MARGARET

I guess believin' ain't never goin' to make _me_ dance.

DANIEL

You can't tell ... if you believe hard enough.

MARY MARGARET

That's what you said before, and I've tried, but, somehow, it don't work.

DANIEL

That's the very time to go on. If we stop, just because it don't work, that isn't faith.

MARY MARGARET

No; I s'pose not.

DANIEL

And faith moves mountains. Once upon a time there was a woman who'd been sick twelve years.

MARY MARGARET

What was the matter with her?

DANIEL

I don't know. But there was a Man in that city who said He could even make the dead rise. And everybody laughed at Him ... as they would today. But the woman didn't laugh, and one morning, when He was passing her house, she got up and followed Him ... just to touch the hem of His cloak. And what do you think?

MARY MARGARET

I duno.

DANIEL

She was cured. And the Man said----

MARY MARGARET

Oh, now, I know. "Thy faith hath made thee whole."

DANIEL

That's right.

MARY MARGARET

Could God do that for me?

DANIEL

Why not?

MARY MARGARET

It would be an awful big favor.

DANIEL

But if He doesn't, you must go on. If faith doesn't heal our hurts, it helps us to bear them. And that's almost the same thing, isn't it?

MARY MARGARET

[_Doubtfully_]: Yes.

DANIEL

Like believing you're Cinderella.

MARY MARGARET

Yes.

DANIEL

We can't decide what we want, and then be angry and doubtful because it doesn't happen our way. Because, all the time it's happening His way. The only thing we can be sure of is that He knows what's best.

MARY MARGARET

That's right.... You mean, if God wants me to be well, some day He'll make me well?

DANIEL

If you believe hard enough.

MARY MARGARET

And if He don't?

DANIEL

Then _that's_ right ... if you believe hard enough.

MARY MARGARET

I will, Mr. Gilchrist. [_She rises_] You ain't touched your supper.

DANIEL

I've had plenty.

MARY MARGARET

I'll send Grubby up for the tray.

[_She exits._ DANIEL _finishes, and puts up his
napkin. He observes that the window-shades have not been
drawn. Attends to that R. Facing L., with his hand on the
shade of the window L., he pauses to look out._ PEARL
HENNIG _enters. Pearl is 25, and her clothes are
cheaply flashy. An experienced eye should lose no time in
appraising her. She has an air of alarm. She looks around
for_ DAN, _and then isn't quite sure of him in the
shadows up stage_.]

PEARL

[_Uncertainly_]: Mr. Gilchrist? [_He half turns_] Don't stand by that window!

DANIEL

Hello, Pearl! [_He draws the shade_] How well you're looking. [_Comes down_] What's the matter with the window?

PEARL

It ain't safe.

DANIEL

[_Smiling_]: Are _you_ going to advise me to carry a pistol?

PEARL

No. Just to keep out o' sight of people that do.

DANIEL

Meaning?

PEARL

Meaning Joe Hennig.

DANIEL

I thought Joe was in Black River.

PEARL

He ain't. I told you he was ashamed to go home. I told you he was gonna stay here an' get you!

DANIEL

[_Sits on bench in front of table_]: Well?

PEARL

[_Down stage R. of table_]: Well ... he stayed. I went to him ... like I told you ... an' said it wasn't you ... an' ast him to take me back. An' he said I was a liar an' he was gonna get you. I told you all that!

DANIEL

Yes; I guess you did.

PEARL

While he was workin' up town I didn't hear nothin' about him. But a little while ago he lost his job, an' began hangin' around down here. An' he's been drinkin', an' talkin' wild, an' I come in to tell you.

DANIEL

That's kind of you, Pearl, but I'm not afraid of Joe.

PEARL

I am.... He's got his gang.... I _know_.

DANIEL

_How_ do you know?

PEARL

[_Hesitates_]: Well, last night I met up with one of his pals.... An' _he'd_ been drinkin'. An' he said Joe said you was livin' on women, an' this place was a blind, an' nobody's wife was safe while you was in the neighborhood. An' this man said they was gonna get together, an' drive you out. They're dang'rous, Mr. Gilchrist. For God's sake, believe me! For God's sake, telephone the police!

DANIEL

There's no telephone here, Pearl. But there's always an officer at hand, and I'm among friends. Don't worry. Sit down, and wait for the meeting. I haven't seen you in ages.

PEARL

[_Doesn't sit. She is restless_]: Two weeks.

DANIEL

What are you doing?

PEARL

I'm workin' at Macy's.

DANIEL

Like it?

PEARL

[_Defiantly_]: Better than bein' with Joe.

DANIEL

If you'd stayed with Joe, maybe he wouldn't _be_ drinking.

PEARL

He always did. That's why I ast you to stick around in Black River. That's one reason I quit.

DANIEL

_One_ reason.

PEARL

[_Admitting it grudgingly_]: They was others.... I wanted good clothes, an' a good time ... jus' like other women.

DANIEL

[_Thinking of_ CLARE]: Yes ... like other women.

PEARL

[_Indicating her costume_]: An' I've got 'em!

DANIEL

Yes; you've "got 'em." But don't you think ... sometimes ... you and the other women ... that they cost you too much?

PEARL

I don't get you.

DANIEL

I only mean isn't there something worth more than good clothes and a good time? A good home, maybe, with love in it ... and little children.

[PEARL _hesitates, and then the uneasiness she has
never lost takes her up to peep out of the curtain_.]

PEARL

We oughtn't to be here talkin'.

DANIEL

Why not?

PEARL

I'm frightened of Joe.

DANIEL

You needn't be.

PEARL

I am. I can't help it. I got a hunch. I ain't told you all this man said, an' I ain't told you how he come to say it, but he said it was gonna be soon, an' I got a hunch sumpin's gonna happen _tonight_. Please let me go out an' phone! Please let me get the police! [DANIEL _laughs_] You're crazy, Mr. Gilchrist! You're just crazy! [_An infinitesimal pause. She turns._] An' I'm goin'! [_She runs to the door, which opens before her, and admits_ CLARE GOODKIND. CLARE _is smartly gowned, in street attire, but somehow, she has the appearance of being disheveled ... of having dressed in haste_.]

DANIEL

Clare--Mrs. Goodkind! [_A pause_] Mrs. Hennig's just going.

CLARE

Mrs. Hennig?

DANIEL

_Pearl_ Hennig. You've heard your husband mention her name.

PEARL

I know your husband.

CLARE

I know you do. [_Her tone tells how much she knows._]

PEARL

[_Quails_]: I guess you ain't got much use for me.

CLARE

Why? What's the difference between us?

PEARL

[_Unable to make it out_]: Well ... good-night! [_She exits._]

DANIEL

Clare, I asked you....

CLARE

I'd nowhere else to go. I've left him.

DANIEL

Left ... Jerry?

CLARE

Yes. For good. He struck me.

DANIEL

No!!

CLARE

Here ... in the breast! And he's lying now ... brandy-soaked and half-conscious ... across the foot of my bed!

DANIEL

I can't ... believe....

CLARE

He's been drinking ... more and more! And, of course, there've been women ... from the beginning! All kinds of women! _That_ woman, salesgirls, stenographers, women of our own class! Do you remember ... in your church ... a Mrs. Thornbury? He's been quite open about _her_! Tonight we were going out to dinner! He came to my room ... drunk ... and babbled that he'd refused to go until she was invited! Then _I_ refused to go, and he accused me ... _of you_ ... and struck me with his fist!

DANIEL

He accused ... _you_?

CLARE

Yes. And then he tried to take me in his arms! Night after night he's come to me ... drunk ... and held me in his arms. And I said once there was nothing more degrading than poverty! In the past two years I've learned what degradation means! I've come to see your way at last! I've come to realize that the material things are nothing, and that love is all! It isn't too late?

DANIEL

It's never too late!

CLARE

I knew you'd say that! I'll share your work ... your want ... if need be ... gladly! Only take me away!

DANIEL

[_Not yet comprehending_]: But my work is here!

CLARE

We can't stay here! Jerry suspects us! He's made his father suspect us! Do you know what they're planning to do now? [_He nods_] Jerry wants to send you to an asylum! He said so tonight! And he'll do it, too! The strange thing about Jerry is that, with his mind going, and his health gone, he still gets what he wants! Take me away, and "we'll have five or six rooms, and each other!"

DANIEL

Clare!

CLARE

Don't you understand that I'm offering myself to you?

DANIEL

Yes; I understand!

CLARE

I love you! I need you! I've always loved you, and needed you, even when I lied to you, and myself! This is our last chance for happiness! I've been blind, and stupid, and cruel, but it isn't too late! Take me, and hold me, and we'll both forget!

DANIEL

Forget?

CLARE

Forget everything! Won't you take me, dear?

DANIEL

No!

CLARE

Don't you want me?

DANIEL

No!

CLARE

That's not true! You love me! You've always loved me! Look at me, and deny it if you can!

DANIEL

I don't deny it! I love you!

CLARE

Then take me!

DANIEL

I love the good in you ... the good you're trying so hard to kill! I love you because you're big enough to do what's right!

CLARE

What _is_ right?

DANIEL

Go back to your husband!

CLARE

I'd rather die!

DANIEL

I'd rather you died ... than _this_!

CLARE

Oh, you fanatic! You blind fanatic!

DANIEL

I love you!

CLARE

Love! You don't know what love means! You're only half a man!

DANIEL

And I'm praying to God, with all my strength, to save us from the other half!

CLARE

For what?

DANIEL

For you ... and HIM ... and for MY PEOPLE. [_Off R., very softly, as she goes down the hall_, MARY MARGARET _is heard singing "I'm a Pilgrim; I'm a Stranger."_] For the little girl out there.

CLARE

And for them you'd send me back to degradation?

DANIEL

That little girl's known degradation that you and I will never know. And she's singing. Her constant companions are poverty and pain. And she's singing. She's crippled. She may never walk again. And still she can say God's will be done. She believes in me. I can't disappoint her and the rest. I'm going on with my job, and you're going back to yours!

CLARE

You mean to Jerry?

DANIEL

Yes.

CLARE

You think _that's_ God's will?

DANIEL

I know it's your job. You took it with your eyes open. It's up to you to see it through.

CLARE

Must I go on forever paying for one mistake?

DANIEL

Somebody must pay for our mistakes. That it was wrong to make a bargain doesn't make it right to break the bargain when we get tired of it.

CLARE

I don't know what to do.

DANIEL

Play the game. Go back to that poor, mistaken man lying across the foot of your bed--his mind going and his health gone. Bear your punishment and help him to bear his. That's your duty!

CLARE

Duty! Duty!! What about happiness?

DANIEL

There _is_ no other happiness. Oh, don't you see, my dear, _that's_ been your _great_ mistake? You're always crying--you and the world--"I want to be happy!" Happiness is service! Happiness is clean-living, and clear-thinking, and self-forgetfulness, and self-respect!

CLARE

And love?

DANIEL

Love _isn't_ all. Not the love you mean. You said: "Take me, and we'll both forget." Could we have forgotten promises unkept, faith disappointed, aspirations unrealized? No, my dear, love isn't all; nor even happiness. There's something bigger, and better, and more important, and that something is ... DUTY!

CLARE

The world doesn't think that!

DANIEL

That's what's wrong with the world! [_A pause._]

CLARE

You want me to go back?

DANIEL

I want you to be right!

CLARE

Well, then ... I'm going through. I'm going back, and play the game ... with you in my heart always. You don't forbid that, do you?

DANIEL

You are in mine always.

CLARE

And this isn't good-bye. Sometime ... somewhere ... in this world ... or out of it ... there must be a moment ... and a place ... to retrieve mistakes.... Good-night.

[_She starts up. He passes her, and opens the door._]

DANIEL

Clare ... good-night. [_She takes his hand. Then she exits. The outer door slams. Then a cab door ... faintly. He sinks ... tired with the effort of renunciation. Afterward he comes down, slowly, and drops on the bench in front of the table._ MARY MARGARET _enters, singing "I'm a Pilgrim," in a higher key, to march tempo, keeping time with her crutches. She is down R. when she sees_ DANIEL.]

MARY MARGARET

Ain't you well, Mr. Gilchrist?

DANIEL

Just tired.

MARY MARGARET

Maybe you ain't believin' hard enough. [_He looks up._] It's 'most time for the meetin'. [GRUBBY _enters with a tray_.]

GRUBBY

I brung the sandwiches.

[MRS. MULLIGAN _enters. She is the worse for liquor, and
glad of a warm place to enjoy it. She slinks in rather
furtively, and sits R. end of table. She is followed on
by_ MR. _and_ MRS. HENCHLEY. _He is a middle-aged and
respectable locksmith. She is larger than he, and somewhat
formidable._]

MARY MARGARET

Good evening, Mrs. Mulligan.

MRS. MULLIGAN

[_With a hiccough_]: It is not!

GRUBBY

[_Aside to_ MARY MARGARET]: Bums ... like that ... ain't got no business here.

MR. HENCHLEY

Good evening, Mary Margaret. [_She nods._]

MRS. HENCHLEY

Good evening, Mr. Gilchrist.

DANIEL

Good evening, and welcome.

MR. HENCHLEY

[_To_ DANIEL]: I guess we're early.

MRS. HENCHLEY

[_To_ DANIEL]: Yes. I wanted to speak to you ... about Mr. Henchley's pants.

DANIEL

Mr. Henchley's _what_?

MRS. HENCHLEY

Pants. I took out a spot ... with gasoline ... and hung 'em on the fire-escape that runs across from this house, and tonight they was gone, and I think you ought to look into your lodgers.

DANIEL

I will.

[_Enter_ MISS LEVINSON. _She is a Jewess--a
garment-worker; thoughtful, studious, spectacled._]

MISS LEVINSON

Good evening, everybody!

DANIEL

Good evening, Miss Levinson.

[_The others, too, acknowledge the greeting._]

MISS LEVINSON

I've brought back your book.

MRS. HENCHLEY

What've you been reading?

MISS LEVINSON

George Bernard Shaw.

MRS. HENCHLEY

I s'pose you ain't read "The Sheik"?

MISS LEVINSON

[_With justifiable pride_]: I've been reading "Cæsar and Cleopatra."

DANIEL

[_Taking the volume_]: That's where we got the quotation on the board. I've jumbled it a bit. [_Reads_] "And so, to the end of history, hate shall breed hate, murder shall breed murder, until the gods create a race that can understand."

MISS LEVINSON

That's it; isn't it? A race that can--

[_The door is opened violently, and enter_ PEARL HENNIG.]

PEARL

Mr. Gilchrist!

DANIEL

Oh, Pearl; I thought you'd gone.

PEARL

No; I've been watchin', an' I've got to speak to you ... _quick!_

DANIEL

In just a few minutes.

PEARL

_Now!_ Joe's out there!

MRS. MULLIGAN

Ah, shut up!

DANIEL

Mrs. Mulligan!... Pearl; you're interrupting!... You were saying, Miss Levinson?

MISS LEVINSON

We seem always to have hated everything different from ourselves ... in station, or race, or religion.

DANIEL

Yes. It's stupid ... and instinctive. I've noticed we're inclined to blame a man for a pug nose ... if ours is Roman. Some day we'll get over the idea that all who differ from us are villains, and that we should hate each other instead of trying to understand each other. It was on the battlefields that I came to believe a man's life might well be given to teaching and to preaching ... love! [_A solid half-brick crashes through a practical pane of glass in the window L. Everybody screams and rises._] Don't be alarmed. It's only some hoodlum!

PEARL

Mr. Gilchrist ... it's Joe! I seen him in front! That's why I couldn't get out! Somebody go get the police! [_A general movement._]

DANIEL

No!

PEARL

He's got other men with him! He'll kill you! _[The front door slams. Pearl hurls herself against the door R._] Here he comes! Don't let him in! Somebody help me hold this door! [_In spite of her, the door slowly opens._]

DANIEL

Pearl! Stand aside! [_Enter_ GOODKIND.] It's only Mr. Goodkind!

GOODKIND

Yes. And your neighbors are calling.

MR. HENCHLEY

What's the matter? [_Together_]

MRS. HENCHLEY

Is there any danger? [_Together_]

MARY MARGARET

I'll get the cops. [_Together_]

VOICES IN THE GANG

[_Off stage_]: The fake! The damned pimp! Drive him out! Come on.... Rush him!

[_Suddenly there is the noise of the oncoming._ PEARL
_throws herself before_ DAN. MARY MARGARET _is just behind
him. The others retreat to the platform. Headed by_ JOE
HENNIG ... _drunk_ ... _the rowdies enter_--JIMMIE CURRAN,
_a big dockman, his wife and half a dozen hangers-on of the
neighborhood_.]

JOE

[_En route_] Come on, fellows! We'll show this guy! We'll show--[_He confronts them_] By God! Caught in the act! [_To his gang_] That's my wife!

DANIEL

Caught in what act, Joe?

JOE

Why ... caught ... in the act....

DANIEL

Tell him what we're here for.... You, Grubby.

GRUBBY

[_Following the example of_ PETER]: I don' want to get in no trouble!

MARY MARGARET

I'll tell you.

DANIEL

No, Mary Margaret!

UMANSKI

[_Who has come through the crowd unobserved; claps his hand on_ JOE'S _shoulder, forcing him to his knees_]: I tell you!

JOE

Umanski!

UMANSKI

I tell you, Hennig! Mr. Gilchrist been friend to everybody! And now, when _he_ need friend, nobody knows nothing! Well, _I_ know! I know anybody hurt him gotta lick me!

DANIEL

No ... please ... Umanski!

JOE

Lickin' people ain't gonna hide facks!

UMANSKI

[_Threatening with his free fist_]: Shall I?

DANIEL

No ... no!

[UMANSKI _sets_ JOE _on his feet_. JOE _turns eloquently to
his gang_.]

JOE

I'll show you the kind of fake that's been foolin' you! He was a preacher, an' he got kicked out of his church!

VOICES IN THE GANG

Kicked out! They got onto you, did they? Caught him with the goods!

JOE

He was a spy for the people that live on labor, and he came to the mines, where we was on strike, and ran away with my wife!

VOICES IN THE GANG

The dirty bum! Maybe he didn't get much!

PEARL

It _wasn't_ him!

JOE

She says that 'cause she's stuck on him!

PEARL

I ain't!

JOE

Well, you're workin' for him, ain't you?

PEARL

No!

DANIEL

Your wife's working in a store uptown!

VOICES IN THE GANG

We know different! What's she doing here? That's a good one! What're you giving us? Everybody in the neighborhood knows what she's doing!

JOE

My wife's walking the streets!

DANIEL

That's a lie!

JOE

I heard from a pal she picked up las' night ... an' I _seen_ her comin' here!

JIMMIE

She's workin' Sixth Avenue!

MRS. MULLIGAN

I can't believe it! I can't believe it!

DANIEL

Pearl!!!... It _is_ a lie?

PEARL

Oh, no!... It's true. [_A momentary silence; the gang jeers; she turns on them; then a momentary defiance._] Well! Well, why wouldn't it be? I tried to live straight ... like you told me ... an' I _had_ a job ... but when the other girls got wise.... They ain't no better than I am! [_She slowly gives way before his calm, steady gaze._] Anyway ... I lied. I _am_ walkin' the streets. I ain't no good. I ain't fit to live. [_She starts to sink at his feet. He raises her._]

DANIEL

Pearl!

PEARL

For Christ's sake, ain't you done with me now?

DANIEL

For Christ's sake ... no! [_And he takes her in his arms._]

JOE

It's all fake! Ain't you fellows on? He's got every rotten woman in the neighborhood workin' for him. Your wives ain't safe! Your kids ain't safe! Ask Jimmie Curran! He knows what's goin' on here! [_Enter_ TONY MALDUCA.] Ask Tony Malduca!

A VOICE

Here's Tony!

TONY

Why you send for me? What do you want?

JOE

We want to know what happened to your kid! Did he bring her in here ... an' keep her ... against her will? Did he?

TONY

That's what he done!

VOICES IN THE GANG

You remember Teresa Malduca? You see! Sure; everybody knows that! She was here a week!

UMANSKI

You damned wop!

DANIEL

Umanski!

VOICES IN THE GANG

There ain't no woman safe! He's a damned fake! Beat him up! Kill him!

JOE

That's it! Don't let this big guy buffalo you! Come on! Drive him out! [_To_ DANIEL] I said I'd get you, an' I have! [_The gang presses closer, but_ UMANSKI'S _menacing bulk still holds them off_.]

MARY MARGARET

[_Kneeling on the platform L._]: Oh, dear God, please listen! [_And she begins the Lord's Prayer._]

PEARL

Get the police!

MISS LEVINSON

[_Crying out of the window L._]: Police! Police!

JIMMIE

[_To_ UMANSKI]: Get out of the way ... you!

A VOICE

Bust him in the jaw!

GOODKIND

[_Forcing his way through_]: Listen to me! No violence! You're dealing with a lunatic! Leave him alone! I've got a doctor coming in a few minutes! Leave him to me, and I give you my word I'll have this place closed tonight!

VOICES IN THE GANG

Yes, and he'll open another one! Sure he will! Of course he will! Ah-h-h! Beat him up!

GOODKIND

Leave him alone! You can't beat a crazy man!

PEARL

Mr. Gilchrist ain't crazy! He ain't a man! Ain't you seen what he just done to me?

A WOMAN

Hire a hall! [_All laugh._]

PEARL

Ain't you heard? I lied to him, an' he's give me another chance, an' _I'm gonna take it_! He ain't no man! He's a Saint! I tell you he's like God!

A VOICE

Where's his wings? [_All laugh._]

JOE

Like God!

JIMMIE

That's blasphemy!

JOE

That's what it is, an' that's what he's been tellin' 'em! Ain't it ... you ... Grubby? Didn't he tell you that, Jimmie? Didn't he tell you he was a Son of God?

VOICES IN THE GANG

Sure he did! That's right!

JOE

You see, that's what he's told 'em all! That's how he gets 'em! [_To_ DANIEL]: Didn't you tell 'em you was a Son of God? [_There is a momentary silence, broken only by_ MARY MARGARET'S _prayer_.]

DANIEL

I am!

VOICES IN THE GANG

He admits it! And I'm Mary Magdalene! Pipe Mary Magdalene! Son of God!

DANIEL

And so are we all! [_Jeers_] In you ... and me ... and all of us ... deep down ... is something of Him! We may try to hide it--[_Jeers_]--or kill it, but, in spite of ourselves, we _are_ Divine!

VOICES IN THE GANG

Chuck it! Hell! Cut the gab! He's crazy! Come on; smash the place!

TONY

[_Facing_ DANIEL]: If you're a Son of God ... save yourself! If you're ... what you say ... give us a sign!

JOE

Ah, hell! Come on!

[_Two men have climbed upon the table, and suddenly seize_
UMANSKI _from behind. Momentarily, they bear him down,
and this obstacle is removed. As they drag him up R., the
rest of the gang closes in from all sides, hiding Daniel,
who is forced up stage C. The table is overturned. Above
the struggling mass are seen fists striking down, various
improvised weapons in action. A Dockman, who, at_ JOE'S
_speech, has lifted the bench from behind_ DANIEL, _to
fell him with it, and whose weapon has been seized, from
the rear, by the_ HENCHLEYS, _pommels madly. Above the
pandemonium are distinguished voices_--PEARL: "_Help!_"
UMANSKI: "_I kill somebody!_" MISS LEVINSON: "_Police!_"
GOODKIND: "_Let him alone!_" _Suddenly_ UMANSKI _throws off
his captors, and, attacking the mob from in front, mows his
way through, tossing them to left and right. When a way is
cleared, he ... and we ... see_ DANIEL, _senseless, lying
in the overturned table, a tiny trickle of blood running
down his face, his head supported by the table-leg R._
UMANSKI _gives a deep groan of rage and pity. Hearing this
and divining that something dreadful has happened to her
hero_, MARY MARGARET, _who has ceased praying, and raised
herself to her feet by the aid of a neighboring chair,
walks down to L. C. Before she sees_ DANIEL, MISS LEVINSON
_sees_ her, _and emits a piercing scream_.]

MISS LEVINSON

Mary Margaret! Where are your crutches?

MARY MARGARET

[_Looking at her legs in tearful bewilderment_] I don't know! [_She tries them; then, in an hysterical cry_]: I kin walk! I kin walk! [_She looks for her benefactor ... to show him._] Mr. Gilchrist! Mr. Gilchrist! [_The crowd parts, and she sees the figure lying against the overturned table._] Oh, Mr. Gilchrist! [_She folds him in her arms._]

UMANSKI

[_Staring at_ MARY MARGARET, _and in a tone of hushed awe_]: You wanted a sign--LOOK! Down on your knees--you murderers! God's in this room! Down on your knees!

[_One by one and two by two, the frightened mob obeys._
JOE _is lying senseless, but his cohorts, crossing
themselves, have seen a miracle_.]

THE CURTAIN FALLS

_ACT IV._

SCENE: _Gilchrist's Room--"Upstairs." Two months later._

_The room is cheerful. That is its chief aspect. Cheerful, and comfortable, and homelike. Such a room ... in the rear of the fourth story ... might be had anywhere for seven dollars a week, and its contents duplicated for a couple of hundred, yet no one should be able to look in without envying the occupant. Before the warm glow of a fireplace down R. is a big, brown leather-covered armchair. An electric lamp stands on a table stage left of the chair and squarely opposite the fireplace. There are books on the table, too, and writing things, and another chair on its left. Above the grate a picture of Christ in the Temple. Conspicuous in the flat, and visible from all parts of the house, a big studio window. There are cream-colored outside curtains, and brown denim inside curtains, drawn now, but when they are pulled aside, one sees chimney-pots, and roof-tops, and a blue night-sky, with one particularly bright star. Up L., a curtained arch into a hall bedroom, and down L. a door. The walls, covered with old-gold grass-cloth, are hidden, to a height of six feet, by roughly-built bookcases, filled with much-used books. A sofa, against the wall L., now holds numerous packages. There is a brown-and-tan grass rug on the floor, and there may be a window seat, with brown cushions, beneath the window. The furniture is all old ... probably second-hand ... but, as aforesaid, the room suggests comfort and peace._

AT RISE: _It is just after eight o'clock, Christmas Eve, 1920._ DANIEL _is discovered, dreaming, in the armchair R., a pipe in his mouth and his face to the fire. He has not lighted the desk lamp, and, except for the glow of the embers, the room is in darkness. Hanging over the left arm of the chair_, DANIEL'S _hand holds a magazine, but he has not begun reading. After a pause long enough for the audience to take in his surroundings, there is a light tap at the door and, without waiting for a response_, MARY MARGARET _enters. She walks without crutches--quite briskly--but plainly is on some secret business. Daniel is lost in the darkness. A package in her hand_, MARY MARGARET _crosses quickly to the table, and turns on one and then the other of the two lights in the lamp. Instantly, of course, she sees the figure in the chair, and conceals the package beneath her apron._

MARY MARGARET

Mr. Gilchrist? [_He shows himself_] Goo'ness, how you scared me! I thought you went out!

DANIEL

No; I just slipped up here to read a while before we put our gifts on the tree.... Where's Grubby?

MARY MARGARET

[_Contemptuously_]: Grubby!

DANIEL

He promised to help with the packages.

MARY MARGARET

Grubby's all swelled up with his new taxicab. Christmas Eve's the big night in his business, but he says don't worry ... he'll be here in time for the sandwiches. Am I interruptin' your readin'?

DANIEL

Oh, no! What have you there?

MARY MARGARET

Where?

DANIEL

Under your apron.

MARY MARGARET

Oh!

[_She reveals the parcel_] I was gonna surprise you. It's your Christmas present.

DANIEL

From you?

MARY MARGARET

[_Handing it across the table_]: Yes. It ain't much ... _you_ know ... an' I didn't want it on the tree ... before everybody. I wanted to give it to you myself. Open it now. [_He does so. The package contains a framed picture._]

DANIEL

Mary Margaret!

MARY MARGARET

The name's on the back! [_He turns it around, revealing to the audience a cheap and highly-colored chromo_] See ... "Mama's Treasure."

DANIEL

It's just what I wanted.

MARY MARGARET

[_Delighted_]: Is it ... honest?... Let's put it in place of that one over the mantel-piece! That's an awful pretty pitcher, but mine's got colors in it!

DANIEL

Why not in place of the Venus who fell on her nose?

MARY MARGARET

Oh, yes! [_She stands "Mama's Treasure" atop a bookcase L._] It looks good, don't it?

DANIEL

Beautiful. I can't thank you enough. [_Takes her hand_] I can't really.

MARY MARGARET

_You_ can't thank _me_! You that's give me--[_She looks down at her legs, and up again with eyes full of tears_] Oh, Mr. Gilchrist!

DANIEL

Now! Now! Now! We mustn't cry on Christmas!

MARY MARGARET

What're you going to do if you're happy?

DANIEL

Try laughing. [_She does_] Anyway, if I'm having my Christmas now, you must have yours. Suppose you rummage on the sofa.

MARY MARGARET

Oh! [_She runs to obey, and holds up a parcel inquiringly._]

DANIEL

That's a book for Miss Levinson.

MARY MARGARET

[_Reads from another bundle_]: Mrs. Henchley. [_Takes up a third_] This one ain't marked.

DANIEL

Gloves for Mack. I wanted to show I appreciated his bringing back that coat.

MARY MARGARET

[_Reading from two packages_]: Peter ... Paul....

DANIEL

For your brothers.

MARY MARGARET

[_With a fourth_]: And ... Mary Margaret!

DANIEL

Open it now.

MARY MARGARET

[_Breathless, she comes to him C. Hesitates, and
then, removing the wrapping, reveals a child's set in
beaver--muff and neckpiece_]: Oh, Mr. Gilchrist! [_She
tries them_] Oh, Mr. Gilchrist; you oughtn't! [_Looks
about for a mirror_] They're beautiful! They're the most
beautifulest furs I ever seen! I've wanted a set like this
always! You've made me so happy! I never was so happy
before in my life! [_And she begins to cry again._]

DANIEL

Now! [_She remembers, and laughs._]

MARY MARGARET

I don't know how to thank you.

DANIEL

Don't try.

MARY MARGARET

I never expected no such a Christmas! [_Starts for door_] I gotta show mother!

DANIEL

[_Turning R._]: Take down a few of the packages!

MARY MARGARET

I'll be back in a minute! [_She opens the door, disclosing_ GOODKIND. _Seriously alarmed_] Oh!... Mr. Gilchrist!

DANIEL

[_Turning L._]: Well ... Mr. Goodkind!

GOODKIND

May I come in?

DANIEL

Of course! [_He enters. Dan indicates chair L. of table R._] Sit down!

GOODKIND

I've only a moment. Jerry's waiting for me in the car.

DANIEL

How is Jerry? [MARY MARGARET _arranges the chair_.]

GOODKIND

[_Shakes his head despairingly. Looks at_ MARY MARGARET]: I wish you could perform a miracle on _him_.

DANIEL

I wish I could.

GOODKIND

[_To_ MARY MARGARET]: You seem to walk all right.

MARY MARGARET

Oh, yes!

GOODKIND

[_To_ DAN]: Had a doctor look her over?

DANIEL

Three of 'em.

GOODKIND

Any opinion?

DANIEL

Three opinions.

MARY MARGARET

They said _he_ didn't do it, and you seen him!

DANIEL

[_Holds up a warning finger_]: _Ssh!_ [_Then to_ GOODKIND] They all say she suffered from hysterical paraplegia. [GOODKIND _puzzled_] Hysterical paralysis. One says she was cured by shock--you know; the riot. Another says it was suggestion ... believing ... which is another way of saying faith, isn't it? The important thing is that she's cured!

MARY MARGARET

God did it--God and Mr. Gilchrist!

DANIEL

[_Hushing her again_]: Take down an armful of those packages ... like a good girl!

MARY MARGARET

I will. [_She gathers them up, and, returning L. C., looks apprehensively at_ GOODKIND] You call ... if you want me! [_Exits_]

GOODKIND

[_Hesitates. Doesn't know how to begin. Takes cigars from his pocket_]: Smoke?

DANIEL

Thanks. [_Showing his pipe_] I'll stick to my old friend. [_He sits._]

GOODKIND

How are things with you?

DANIEL

[_Enthusiastically_]: Fine!

GOODKIND

Happy?

DANIEL

[_Radiantly_]: Yes!... And you?

GOODKIND

No. Everything's ... all wrong. My boy's very ill. Clare's wonderful to him. I can't explain it--she's like a different woman. And _she_ seems happy. But Jerry's had to give up work, and there's more trouble in Black River, and that's what brought me!

DANIEL

You don't want _my_ advice?

GOODKIND

I want _you_ ... as general manager. These strikes are such utter damned waste! We had a working compromise on your agreement, and everything was all right, but we began figuring we could make more money ... and the men walked out, and flooded the mines. I'd like you to take charge, Daniel.

DANIEL

I can't.

GOODKIND

Name your own salary.

DANIEL

My work is here.

GOODKIND

You can have anything you want.

DANIEL

I don't want anything.

GOODKIND

You want to see the men get their rights.

DANIEL

They'll get 'em. Nothing can stop that.

GOODKIND

You're not going to turn down fifty thousand dollars a year?

DANIEL

What can I buy with it that I haven't got?

GOODKIND

What can you buy with fifty----

DANIEL

What have _you_ bought?

GOODKIND

I've got one of the finest houses in New York!

DANIEL

Is it any more comfortable than this?

GOODKIND

This one little room!

DANIEL

How many rooms do you live in at the same time?

GOODKIND

I've got half a dozen cars!

DANIEL

I've two legs, and I walk, and keep well.

GOODKIND

I've twenty servants----

DANIEL

Don't tell me you enjoy that!

GOODKIND

And the respect of people about me----

DANIEL

So have I!

GOODKIND

And, what's most important of all, I'm a success!

DANIEL

Are you?

GOODKIND

Huh?

DANIEL

Are you? What is success? Money? Yes; that's what our civilization tells us. Money! But where has that brought us? Only to the elevation of the unfit ... the merely shrewd and predatory. All around us we see men of wealth who have nothing else ... neither health nor happiness nor love nor respect. Men who can get no joy out of books, or pictures, or music, or even themselves. Tired, worried men who are afraid to quit because they have no resource except to make money--money with which to buy vulgar excitement for their own debased souls. Why, Mr. Goodkind, I have an income that you wouldn't suggest to your bookkeeper, but I have peace, and health, and friends, and time to read, and think, and dream, and help. Which of us is the rich man?

GOODKIND

But if everybody lived your way, what would become of the world's work?

DANIEL

Living that way is my contribution to the world's work. Another man's might be selling shoes, or writing plays, or digging ditches. Doing his job doesn't prevent any man from doing his bit. "From every man according to his ability, to every man according to his needs." And every man who gives his best must find his happiness.

GOODKIND

I'm afraid there wouldn't be much progress ... living your way.

DANIEL

That's the second time you've spoken of my way. It isn't _my_ way. It's the sum total of all that has been learned and taught. You, and Jerry, and the others have called me eccentric, and a fool, because I'm trying to walk a path trod hard by countless feet. Was Christ eccentric? Was Confucius a fool? And how about Buddha and Mohammed? What of St. Bernard, and St. Teresa, and St. Francis of Assisi--of Plato, and Zeno, and Lincoln, and Emerson, and Florence Nightingale, and Father Damien, and Octavia Hill, and all the saints and scientists, and poets and philosophers, who have lived and died in complete forgetfulness of self? Were they fools, or were they wise men and women who had found the way to peace and happiness? Were they failures, or were they the great successes of all Time and all Eternity?

GOODKIND

God knows!

[JERRY _enters ... a dying man. He drags his legs
with difficulty, and his speech is thick, but he is still
cynical and defiant._]

JERRY

Well, you've been the devil of a time! I came up to see what was keeping you!

GOODKIND

[_Rising_]: Mr. Gilchrist.

JERRY

Hello, Gilchrist!

DANIEL

[_Crossing to C._]: How are you, Jerry?

JERRY

Not so damned well! But I'll be all right in the Spring! Clare's looking after me. Clare's a good sport. What I need now's a run down to Palm Beach! [_Looks around_] So you're reduced to this, are you?

DANIEL

Yes.

JERRY

Going to take my job?

DANIEL

No.

JERRY

Why not?

DANIEL

Your father understands.

JERRY

Yes ... so do I! Didn't I always say you were a nut? That's it; a nut! [_He laughs with a laugh that begins to get the better of him._]

GOODKIND

[_Crossing rapidly to the door_]: Come, Jerry!

[_A light rap_; GOODKIND _opens. Enter_ MARY MARGARET. _She
glances at him and crosses to upper L. C._ JERRY _looks at
her, and turns back to_ DAN.]

JERRY

Who's the girl?

DANIEL

Your father's waiting.

JERRY

A' right!... [_Crosses L._] Some failure _you've_ made out of life! [_Turns back and leers at_ MARY MARGARET. _In the doorway, looks at_ DAN.] Wheels ... by God! Wheels! [_He laughs, and exits._]

GOODKIND

[_Goes to_ DAN _and takes his hand_]: I wonder if _you're_ the failure, after all. [_Returns to the door._] Good-night! [_He exits._]

[DAN _takes his pipe from his pocket and puts it
in his mouth. Some chimes, in the distance, begin the
anthem "Hark the Herald Angels Sing."_ DANIEL
_goes up, draws back the curtains, and throws open the
window_. MARY MARGARET, _feeling the fresh
air, draws her furs about her, happily. She turns up._
DANIEL _is standing with his left arm akimbo_.
MARY MARGARET _slips her head through it, and
nestles to him. They ... and we ... see the chimney pots,
and the blue night sky, and one bright star._]

MARY MARGARET

Mr. Gilchrist! Is that the Star of Bethlehem?

DANIEL

I wonder. [_The chimes swell out, and_

THE CURTAIN FALLS

* * * * *

Transcriber's Notes

Pages 73, 150: Original book used multi-line braces to indicate [_Together_] lines.