ACT III.

Scene: "Overcoat Hall." New York.

This room—not too large—was the "front parlor" of a comfortable residence in down-town New York. Business, of the least attractive sort, and the slums long since have occupied the district. The building is a red-brick, low-stoop, English-basement house. The rear wall, which is the front of the dwelling, is pierced by two lofty windows, through which are seen the top of an iron railing, and a row of similar structures, fallen into decay, across the street. Between these windows, upon a low marble shelf, now holding a tray of cups and saucers, originally was a tall, gold-framed mirror. Over this hangs a blackboard, upon which has been chalked: "And so, to the end of history, hate shall breed hate, murder shall breed murder, until the gods create a race that can understand." Beneath the right window is a big radiator. Down stage R. are folding doors, partly open, or a large single door—whichever shall prove advisable. These—or this—lead to the main hall, and so to the basement, or upstairs, or to the front door, which slams solidly whenever it is closed. Left is a decrepit, white-marble mantel, with a "fake" fireplace. In front of this—in a jog, perhaps—a small platform, of the kind used in public schools. Upon this, a small table and a chair. Down stage of it, a geographical globe, suspended over which a wall-pad informing us that today is Wednesday. Above the mantel-shelf, another blackboard, upon which are some simple calculations, and the axiom, "Luck is work." In the center of the room is a long library table, with a brown cover, and with numerous kitchen chairs about it. On the table a reading lamp, a bowl of yellow, purple and brown chrysanthemums; and numerous books and magazines. Gilchrist has succeeded in making the old place comfortable and inviting. It is a combination of club, settlement house, school, reading room and lecture hall. Brown linoleum covers the floor, and there are brown denim curtains over the windows. A history chart hangs on the wall. There are book-shelves, and two or three big, comfortable chairs; a phonograph and, perhaps, even a motion picture machine.

At Rise: It is just after seven o'clock on a brisk evening in late October, 1920.

Grubby, seated down stage of the center table, is concealed behind a copy of "The Woman's Home Companion," which he has opened wide, and, holds in front of him.

Mack, a shabby ne'er-do-well, between thirty and forty years old, opens the doors R., and peers in uncertainly. Reassured by the character of the room, he enters, and looks about him curiously. Even from the rear, it is evident that Grubby is a person of no authority, so Mack dismisses him, temporarily, and warms his hands over the radiator. Next he inspects the quotation between the windows, pauses at the phonograph, and arrives in front of the platform L. The three words on this blackboard interest him. He reads them, turns away, turns back, and reads them again. At last, he sniffs contemptuously, and, completing his circuit, stops on the left of Grubby.

Mack

Hello ... you!

[Grubby lowers his paper, and reveals a sixty-year-old face, round, very red, and framed in a scraggly gray beard.]

Is this Overcoat Hall?

Grubby

Yes.

Mack

I'm looking for Mr. Gilchrist.

Grubby

He ain't in, but he will be.

Mack

Are you working here?

Grubby

No.

Mack

Is anybody working here?

Grubby

Mary Margaret.

Mack

Who's she?

Grubby

A girl.

Mack

What girl?

Grubby

The girl that cleans. A lame girl. Her mother's the janitor. Have a seat. Somebody'll be along in a minute.

[And he resumes his magazine ... never completely abandoned. Mack, thrown upon his own resources, picks up one periodical after another, but Fortune does not smile. They prove to be "The Atlantic Monthly" ... "The Review of Reviews" ... "The Scientific American."]

Mack

What are you reading?

Grubby

A piece about "Better Babies."

Mack

[Laughs]: Are you going into the baby business?

Grubby

No. I was a hansom driver.

Mack

Handsome! [The laugh becomes uproarious.]

Grubby

Ah ... hacks! I drove hacks ... man and boy ... forty years. Then taxis come in, and I went out!

Mack

What'd you do then?

Grubby

Took to drink.

Mack

Yeh; then drink went out.

Grubby

What's your job?

Mack

Well, I was in the movies. That is, I was going to be, but the fellow that was going to put up the money, his mother didn't die, after all.... Before that, I sold bricks ... a few weeks. I sold books, too. And life insurance. I never had any luck. Who wrote that, "Luck is Work"?

Grubby

Mr. Gilchrist.

Mack

Well, it isn't! I've worked at fifty things, and look at me! I figure the world owes me a living, and here I am, waiting for a bite of grub and an overcoat! Is it true the boss'll give you an overcoat?

Grubby

He will if he's got one.

Mack

That's what a fellow told me. He said that's why they call this Overcoat Hall.

Grubby

Yes.

Mack

I suppose a hard-luck story's the proper spiel.

Grubby

You don't get no chance for a spiel. He don't ask you nothing. You just come, and help yourself, and talk things over ... if you want to. Coffee and sandwiches every night—and suppers and sermons on Wednesdays.

Mack

Preaching! [Looks at the wall pad, and reaches for his hat.] Wednesday. I'll be back Thursday.

Grubby

Not regular preaching! Just talks! Sometimes they's a picture show ... but the pictures is rotten! No shooting, or nothing! But you can always sneak a little snooze 'til you get to the hand-out!

[Mary Margaret enters through the open door R. Her two crutches are rubber-tipped, so her invasion is noiseless. She occupies herself with the cups and saucers C. Mary Margaret is fifteen, and pathetically pretty. The conspicuous feature of her costume is a pair of soiled gold slippers that once set off a ball gown.]

Mack

Don't he try to reform you?

Grubby

Naw! The way he talks, you'd think you was as good as him. He says to me, the other night, he says, "You're a good man yet, Grubby," he says. "You're strong and healthy," he says, "and, if you learned to drive a taxi, all the best people in New York would be telephoning for your cab. I'll lend you the money," he says. Gee; he almost had me started!

Mack

What's the catch?

Grubby

I don't know.

Mack

There must be graft in it somewhere.

Grubby

If you ask me, I think the poor gent's got a few nuts in his nose-bag. A little bit batty. That's what I say!

Mary Margaret

[Turning down]: And that's what you got no right to say, Grubby!

Grubby

[To Mack]: Mary Margaret.

Mary Margaret

He's been good to you, ain't he?

Grubby

That's why we think he's nutty. What's he do it for?

Mary Margaret

'Cause he loves you.

Grubby

What for?

Mary Margaret

God knows! [She has brought down a cup and saucer, with other utensils, and is clearing and setting a place at one end of the table. With this exclamation, she locates the cup somewhat forcibly.] After seven o'clock now, and the meeting in half an hour, and he ain't had a bite since morning!

Mack

Where is he?

Mary Margaret

He went to see a man that killed himself. [Mack laughs] I mean ... tried to. It was in the papers this afternoon, and Mr. Gilchrist says: "I want to talk to that man." [Mack's interposition has brought his words to her mind, and reflecting on them, she explodes.] Graft!! Why he didn't have the rent money yesterday, and he was desprit! He ain't had money to get himself a pair of shoes, and nobody helps him, or comes near him, but you bums that roast him behind his back! [Goodkind appears in the doorway R.]

Grubby

I didn't roast him. I just said he was crazy.

Goodkind

[Crisply]: Mr. Gilchrist?

Mary Margaret

He'll be here any minute. Won't you come in?

Goodkind

Thanks.

[He comes forward a few steps, and looks at Grubby, who, after an instant, takes refuge behind his Home Companion. Goodkind crosses to Mack, who turns up stage. He surveys the blackboard. Mary Margaret finishes her task.]

Mary Margaret

[Offering a periodical to Goodkind]: Take a magazine, and sit down. [With a nod, he accepts.] I got to go make the coffee. [To Grubby] You can come and carry it up in about fifteen minutes. [She turns and catches Mack filching a loaf of sugar.] Graft!! ... Well, you ought to know! [She exits R., singing "I'm a Pilgrim." By now, Goodkind is reading in a big chair L. Mack glances at him, and comes down to Grubby.]

Mack

Think she'll tell him?

Grubby

Naw! Anyway, he don't care! He says we're all brothers in God.

Mack

Gee!

Grubby

That's what he told Jimmie Curran—brothers in God—and Jimmie just up for pinchin' a guy's pants. Jimmie lives across from his room upstairs, and Jimmie says he's clean loco. [Goodkind notes name and address on the margin of his magazine.] Guess what he's got in the back yard!

Mack

What?

Grubby

Tennis. And handball games for children. And, in the other two houses, he's got flats ... with bathtubs ... and the rents ain't what they ask now for stalling a horse. Why wouldn't I say he was crazy? Everybody says so but Mary Margaret!

[Daniel enters R. He is shabby, but beaming. He carries two books, which he lays on some piece of furniture up R.; after which he removes his overcoat, and hangs it over an old umbrella already suspended from a wall-rack down stage of the door.]

Daniel

Hello, Grubby! You're early! And you've brought a friend! That's fine! [He shakes hands with Mack.] You're very welcome! [Sees and crosses to Goodkind] And Mr. Goodkind! Well! You're welcome, too! [Shakes hands] Have you come down to look us over?

Goodkind

[His eyes indicating the others]: I've come down on personal business.

Daniel

Oh, yes! [Turns] Grubby, there's a box of books in the hall. How would you and your friend like to——

Grubby

I promised to help with the coffee.

Daniel

I see. [Grubby exits. To Mack, who has been stealing surreptitious glances at the overcoat] And you?

Mack

I just wanted to speak to you a minute.

Daniel

All right. After the meeting.

Mack

I wanted to ask you——

Daniel

After the meeting! [Turns back to Goodkind] Sit down.

Goodkind

[Sitting]: Thanks.

[Mack—resentful, unobserved, uncertain of getting the coat honestly—is sorely tempted. One pull, one step, and he is safe from work and denial. During the following, standing almost in the doorway, he is drawing the garment toward him.]

Daniel

[To Goodkind]: I'm glad you dropped in tonight, because I've been intending to call on you, but there's so much to do here—[The coat comes off the rack, and with it, the umbrella, which falls with a crash. Both men rise, discovering Mack, coat in hand.] Hello! I thought you'd gone.

Mack

No; I—I—wanted——

Daniel

You wanted my coat.

Mack

[Advancing with a glad smile of pretended relief that Daniel has found the simple explanation]: Yes ... that's what I wanted to ask you.

Daniel

I'm so glad you said so. [Mack shows surprise.] Because, if you hadn't and I hadn't understood, you might have been tempted to take it without asking—and then you'd've been so sorry and ashamed. A man couldn't come into another man's house, and be welcomed, and then take the other man's coat, without losing his self-respect ... could he? And, of course, if we're going to pull ourselves together, and get out of a hole, we must keep our self-respect.

Mack

I wouldn't steal——

Daniel

You couldn't.... It's your coat.... You asked for it, and I gave it to you.... When you've worn it ... into a good job ... come back and help me give another to someone who needs it as you do.

Mack

I will.

Daniel

Of course you will. [Helps him into the coat, and then shakes his hand.] Good-night.

Mack

[Hesitates, amazed]: Good-night. [Daniel turns L., and with a gesture expressive of the conviction that this man is mad, Mack exits.]

Goodkind

Well, I'll be damned! [Daniel laughs] He won't come back! Not one in ten would come back!

Daniel

All right!... That coat cost twenty dollars. If one in ten does come back, we've made a man for two hundred dollars. Isn't it worth the price?

Goodkind

Maybe ... if a man's got the price! Have you?

Daniel

Like our friend ... that's what I wanted to ask you.

Goodkind

It's not what I wanted to ask you.

Daniel

I'm rather badly in need of money, and my father——

Goodkind

Your father understood you well enough to leave you only an income. I foolishly turned over some of the principal, and, in three months, you threw away twenty thousand dollars. You could have had a big salary, and you threw that away. You're an utter damned waster—if you're no worse!

Daniel

What do you mean ... worse?

Goodkind

You'll soon find out what I mean! You've had my son's wife down here, haven't you?

Daniel

Once or twice.

Goodkind

Or three times ... or a dozen! He knows!

Daniel

I've asked her not to come again.

Goodkind

And he's asked her ... but she's coming when she likes. She says so. Because she's in love with you.... God knows what women see in your kind of man! There was Pearl Hennig——

Daniel

Please!

Goodkind

Oh, my son told me! And I hear ... in the neighborhood ... that you've worse women than that running here! Women of the streets!

Daniel

Not many. They're welcome, but they don't come.

Goodkind

Well, that's your business! And if your neighbors get sick of having a resort of this kind in their midst, and drive you out, that's your business! But my son's wife——

Daniel

Is her business!

Goodkind

And his! Only Jerry's in no condition to settle the matter! He's broken down from worry and overwork, and you're partly responsible, and that puts it up to me! You can take this as a final warning! If you see Clare again, I'll act, and I'll act quick! That's all! Good-night! [He gathers up his coat and hat, and crosses to the door.]

Daniel

[Waking from a reverie, and turning R.] Oh! Mr. Goodkind!

Goodkind

[Expecting capitulation. Comes down R.]: Yes?

Daniel

How about the money?

Goodkind

You've had what's coming to you!

Daniel

But that's nothing! I pay half that for these crazy houses! And I've gone terribly in debt fitting them up!

Goodkind

With bath tubs and tennis courts!

Daniel

People must have baths.

Goodkind

These dirty immigrants!

Daniel

The dirtier they are, the worse they need 'em. I want to show them how to live, and I want to show other people that you don't have to make a pigpen to make a profit!

Goodkind

Are you making a profit?

Daniel

Enormous! And, to go on, I've got to have twenty-two thousand dollars.

Goodkind

Oh, is that all? Twenty-two thousand dollars to go on making a fool of yourself! Well, you won't get it!

Daniel

Not even as an advance?

Goodkind

Not a penny!

Daniel

Don't drive me to——

Goodkind

To what?

Daniel

[Rather at a loss]: To ask for an accounting!

Goodkind

[Hardly believing his own ears]: To ask for ... WHAT? [This is the last straw.] Now listen to me! I've stood all I'm going to stand! You've run amuck! You've become dangerous to yourself ... and me ... and the neighborhood! You're going to stop it, and you're going to stop now!

Daniel

That's your mistake.

Goodkind

Is it? A year ago you gave me twenty-four hours to sign a paper, and I did it, and it cost me two million dollars! Tonight I give you thirty minutes to shut up this place, and quit seeing my daughter, and if you don't do it——

Daniel

As I won't!

Goodkind

I'll be here inside of half an hour with a doctor!

Daniel

And then?

Goodkind

Then we'll file a petition to have you declared incompetent! [He starts R.]

Daniel

Mr. Goodkind, you don't, mean that! You don't mean that because I'm trying to help——

Goodkind

Help ... whom? Strikers, and street women, and general riff-raff! And you don't even help them ... because nobody can! And, if you could, and did, how in the name of God would that help the Community? If I find you're still crazy in half an hour, I'll say you're crazy, and I'll prove it! [He goes to the door.] Think it over! [As he is about to exit, he narrowly escapes collision with a neatly-dressed, capable-looking man, who apologizes, in nearly correct English, and, with a contemptuous glance, crosses to up C.]

The Man

Excuse me!

Goodkind

All right! [He follows the man back into the room.] Haven't I seen you somewhere before?

The Man

Yes, sir. My name's Umanski.

Goodkind

Umanski? [He remembers] You're not the Pole who came to my house last year with a delegation?

Umanski

Yes.

Goodkind

Well, I'll be——[Daniel fills his pipe from a jar on the mantelpiece L.]

Umanski

Mr. Gilchrist tell me stay in New York. He's teach me English, and find me good job. I'm work now eight hours on the docks, and six on myself. [Goodkind again starts to go.]

Daniel

Mr. Goodkind! [Goodkind turns] Umanski's got an invention. If you'll see it——

Goodkind

I'll see you in ... half an hour! [He exits.]

Umanski

What's he doing down here, Mr. Gilchrist?

Daniel

He says I'm crazy, and he's going to shut up this place. Of course, he won't. [He opens a book.]

Umanski

Don't be too sure.

Daniel

Nonsense! [He sits] I made him angry. [He marks a passage.] And somebody's told him a lot of lies!

Umanski

Somebody's told a good many people lies! Yesterday I heard a man say you run this house to ... to ... [He hesitates. Dan looks up.] ... to get women!

Daniel

Who said that?

Umanski

A wop named Malduca.

Daniel

Oh, yes! I took his daughter in here once ... for a week ... until he got sober.

Umanski

They's a good many like that.

Daniel

Oh, not a good many!

Umanski

Enough to make trouble. Why not you carry a pistol?

Daniel

It's generally men with pistols that get shot.

Umanski

One of them fellows get you——[Enter Mary Margaret.]

Daniel

[Warning him]: Sh!

Mary Margaret

I s'pose you ain't had any supper.

Daniel

Not yet. [Grubby enters with a tray, from which Mary Margaret transfers dishes to the table.]

Umanski

I brought you some money.

Daniel

Money?

Umanski

My boss he give me another raise. He gonna make me boss after while. So I like to begin pay back what you lend me. [Takes out bills.]

Daniel

Wait 'til you've sent for your family.

Umanski

I'm gonna send now. My big boy I'm gonna send school ... college, maybe. That pump I make she goes fine. I show my boss ... like you say ... because he know about coal mines ... and he say if she work she save whole lots of lives and money. She work, all right! [He has put down the bills, and brought forth an English grammar.] How about I go upstairs and study?

Daniel

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