' THE 'leSf FRUIT OF TOIL IF7 1916 I Icopy 1 LILLIAN P. WILSON Class _XSiS53:S- Book.^ . - GopyiiglitiN" CfiPSRICHT DEPOSm THE FRUIT OF TOIL THE FRUIT OF TOIL And Other One- Act Plays LILLIAN P. WILSON E3 INDIANAPOLIS THE BOBBS-MERRILL COMPANY PUBLISHERS Copyright 1916 The Bobbs-Merrill Company PRESS OF BRAUNWORTH St CO. PRINTERS AND BOOKBINDERS 'BROOKLYN, N. Y. SEP -7 1916 ©GU4375S9 TO J. W. W. CONTENTS FAGB The Fruit of Toil 1 An Episode 17 Being the Fly 37 A Voice on the Stair 59 The Empty Shrine 79 The Weight ok Wings 99 This is Law 115 Living 131 THE FRUIT OF TOIL THE FRUIT OF TOIL Persons man child neighbor It is night. The room is the ordinary living- room of the poor, A door and one window open on the street. A door at left leads into kitchen and one at right into a sleeping-room. In the cen- ter is a table, on which are the dishes left from the evening meal; near the end is a lamp — burning low. An old man sleeps in a chair by the table. His eyes are not closed — his mouth is open, and he breathes heavily, as if his sleep were not a calm one. On the floor beside him is a crumpled newspaper. A child — a boy — of five years, enters in his night clothes. His eyes are wide — and he moves unsteadily, as if startled from a sound sleep. He goes close to the man, stares at him — then lays his hand on the old man's arm. 1 2 THE FRUIT OF TOIL CHILD Grandpop — ' MAN Startled, What's that — Go away — go — You — CHILD Grandpop — * Half afraid. It's me. MAN You ? — Oh ! Yes — you — Who wants me ? CHILD I do — when I reached, you weren't there. MAN Rubbing eyes. Then you got out of bed. CHILD And found you. MAN Sleeping out here. CHILD Was that sleeping? • THE FRUIT OF TOIL 3 MAN Didn't you see my eyes shut ? CHILD But they weren't shut. MAN What?— What's that— CHILD They were open — like daytime — and your mouth was — And it made that funny noise. MAN Shaking head. That, too — I wasn't old until this year. Are there other ways, boy? CHILD How do you mean? MAN Ways that I am — queer. CHILD Lots of ways, Grandpop. THE FRUIT OF TOIL MAN Like gray hairs — dotage has sneaked in — they both sneaked in — in the night. CHILD We don't lock up at night. MAN No matter, boy — not all the locks can keep the days and nights shut out — and that's what makes us old. CHILD Don't days and nights get old ? MAN Moving head. They're always young — they take our youtH— ^ and give us years and care. CHILD Were you ever young? MAN JJ^incing. Once — THE FRUIT OF TOIL 5 CHILD Wondering. Real young — even your hands? MAN Just like you — even the hands. CHILD Will I ever be old — with rusty hands ? Touching hands. MAX Unless your life is cut short. Feebly rises from chair, picks up news^ paper — thrusts it in stove. CHILD Will it seem long? MAN When you are there — it will seem but yester- day when you were here. CHILD Yawning. It seems so long since yesterday. The man walks up and down. 6 THE FRUIT OF TOIL MAN I don't know what's become of the birds. CHILD Getting in chair that man has left. Why, Grandpop? MAN It's time they were singing. Nervously going to windozv — looking out, CHILD Is it night? MAN No; it's morning. CHILD Going over to window. That's the moon. MAN Do you see the moon? CHILD That house is too close — I can never see the moon from home. JHE FRUIT OF TOIL 7. MAN It must be four o'clock. Looking at watch. Five past four. Both walk away from window. CHILD How did you know? MAN I am used to it. CHILD Hearing people passing. Where are all the people going? MAN Listening, yo the jail. CHILD What have they all done ? MAN They're going to see them hang a man. 8 THE FRUIT OF TOIL CHILD Why do they want to see them do that ? MAN Some folk Hke to look at necks broken — and hearts broken. CHILD Do they break hearts — when they hang people ? MAN Pours out cup of cold coffee — drinks it. Yes. CHILD Why do they hang people? MAN There's less sin in the world when they kill off some of the wicked. CHILD We don't know any wicked people, do we ? MAN No. THE FRUIT OF TQIL 9 CHILD Mother's up in Heaven — and Granny's up in Heaven — and — MAN Get your clothes on. CHILD Stops at sleeping-room door. Are we going to the hanging, too ? MAN No. CHILD I'm afraid, Grandpop. MAN Afraid of what? CHILD I don't know. MAN You'll get cold — go put your clothes on. Child goes. A knock at the door. 10 THE FRUIT OF TOIL MAN Come in. NEIGHBOR Enters awkwardly. You know, friend — why I am here — in heav- en's name — go to your son before he hangs. MAN I have no son. NEIGHBOR Do not refuse him again — My God, man! — He begs on his knees that you come — If you'll no words with him — he swears to silence — to kneel that you might lay your father hand upon his head and see his tears. MAN Go — Waving toward the door. NEIGHBOR Think not of the man — but of the little boy — who followed you on the farm — from house to barn — from barn to field — and back to the house THE FRUIT OF TOIL 11 again — who drove with you to town, in sun or rain — who — MAN Interrupting. Yes, the farm — - Shaking head. If I had the farm — it would be a place to hide. But it all went to learning. Went in his black- guard head. NEIGHBOR In the name of humanity — go — and then for- get. MAN With his child before me day by day? NEIGHBOR Send it away. MAN Shivering. Go — no more — go like the rest of friends — tell the world I have no heart. You're right — 12 THE FRUIT OF TOIL you're right — ^you're right! Oh, the weight of such a son — it crushes — slowly — Neighbor moves away — he tries to speak — words fail — he wipes his eyes < — passes out — solemnly closes the door after him. MAN Limp in body — and head bowed down. Where is pity — where is justice — where is God — that my life's toil in this base way — should take its leave ? Child comes into room — goes close to man — sees his head shaking up and down — watches him curiously. CHILD There — Grandpop — that's queer — your head is doing: this Showing with own head. 'fc> and your face looks so funny — Laughs aloud. Then seeing that it hasn't THE FRUIT OF TOIL 13 been the thing to do — kisses the man — looks in his face — says plaintively: I am not afraid now. If you want to go to the hanging, I'll go, too. Curtain AN EPISODE AN EPISODE Persons ANNE GARY RITA, a maid JULIA TRAVERS, 3. gucst in Gary home Anne Gary's boudoir. Spring evening; a win- dow at right is open. Anne sits in an armchair j near the window, reading. She is about thirty^ five, very sweet looking, yet not so young as hef years might suggest. Her mind is not altogether on her reading. She looks at the clock. It is ah most dark in the room. A double tap at the door. Rita, a wholesome woman — who has been a serv- ant in the family for years — comes in. RITA Miss Anne — may I come? ANNE Yes. Continuing to read. 17 18 THE FRUIT OF TOIL RITA Can I light up now ? All the while watching Anne with kind concern. ANNE Yes- —you may. RITA Reading. Are you sick, Miss Anne ? Lighting table light by Anne. ANNE N-o- — Looking up. What makes you ask ? RITA T guess for lack of something else to say. Shaking head, in zvorried way. Isn't too much books tiresome? ANNE Books are always interesting, Rita. AN EPISODE 19 N RITA I wish I liked books — and could forget — in them — ANNE It would be a great comfort — if you liked reading. RITA You can't forget in work — you have to keep thinking to make the work go well. Both are silent. Anne takes up her book again. RITA Watching Anne. I'd quit work — but I want to see you and Miss Mary — mated and nested — before I strike out. Silence. RITA You haven't fell out with Mr. Hadley, have you? ANNE With strained smile. No. What made you ask — that? 20 THE FRUIT OF TOIL RITA There's not much to talk about — and I just fell on to that. They say when folks get old they get curious. Silence, ANNE Are the girls back? , RITA Miss Mary and Mr. Wayne — got in an hour ago — but Miss Julia and Mr. Hadley — are late again. He's in his new car. ANNE You don't suppose they could have had an acci- dent! RITA Lord, no ! Not in this day — when we hear bad news — almost ahead of its happening. Silence. You and Mr. Hadley will have some fine rides this summer in the new car — if you don't take to AN JEPISODE 21 staying in your room too much — and let some one else get the habit of riding with him. Silence, Is Miss Julia going to visit us very long? ANNE Perhaps. She and Miss Mary — are very close friends. RITA She has an awful sight of clothes — and hats — gracious ! ANNE Julia enjoys them — and being so pretty — they must enjoy her. Looking out window as the street lights come on. RITA T bet she has about her way — at home. ANNE We all rather like that — when it is possible — 22 THE FRUIT OF TOIL RITA But when a body is away from home ! ANNE When one is used to one's way — somehow the world yields. Aren't the street lights on early? RITA No, mam — it's getting late. 7^ occupied turning on the lights. The door quietly opens, Julia Travers peeps in. She is young, flushed with excitement — pretty. Julia carries a large hunch of pink roses. She starts in the room — hesitates' — takes one rose out of the bouquet, throws the others in the hall; rushes over to Anne, bends over her. JULIA In a sort of ecstasy gasps. Anne ! AN EPISODE 23 ANNE Startled, Oh ! you are back — and nothing happened — JULIA Oh ! yes, I am back. Glancing at Rita. Rita sees the look of disapproval which Julia gives her — leaves. Mr. Hadley is so interesting — so frank — and adorably romantic — he seems to know everything. How old is he? ANNE I think — forty- four — JULIA Oh! wonderful — that's what I call the age of reason. Anne's face lights with a peculiar smile. Jidia's enthusiasm grows. You know we ate up country at the Inn. It is perfect there. Oh! I am mad about spring — 24 THE FRUIT OF TOIL every year I like it better — there's something new — something I didn't see the season before. Listen how I chatter — and only a few minutes to dress for the theater. We're going to see 'Air Castles. I've never seen it, have you ? ANNE N-o — but they say it is quite good. JULIA It's Bobby's party — Seeing a strange play of expression on Anne's face. Isn't that awful Holding hand playfully over mouth. for me to call him Bobby? Of course I don't do it to his face — and he's forty-four — think of it — Mary and Wayne — are going, too ! ANNE Yoii haven't a great deal of time, have you? AN EPISODE 25 JULIA No; but if I had — I'd spend it all telling you the wonderful things he said about you. Handing Anne the pink rose. And he sent you this — and told me how you looked the first time he saw you. You wore a white frock — with a set of coral — and a bunch of pink roses. He said he would always like coral — and always like pink roses — ^he so admires you — ANNE Looking straight at Julia. Wouldn't you like Rita to help you dress ? JULIA No — no — it doesn't take me a minute — besides, I don't like your maid — she walks too quietly. ANNE She learned that during mother's long illness — she is very kind. 26 THE FRUIT OF TOIL JULIA Evasively. Here I am talking again. Taking Anne's Hand. I must go. Coming back from the door. Anne, mayn't I wear your pretty garden hat — ^the white one with the roses — it is stunning — and will be adorable with the little white frock of mine which you like. ANNE Surely. Gets the hat, a graceful one with pink roses. JULIA I just can't get over the enchanting country — the whole day has been perfect — the air so buoy- ant — the sky so blue. Do you know I just feel like I might fly, by trying to — just like a bird. Oh ! yes — birds — we saw all kinds — I never knew there were so many kinds — I learned the names — AN EPISODE 27 Hesitates. I'll tell you to-morrow- -I've — them all written down. Julia takes the hat. Let's try it . on. Goes to mirror. Of course it looks better on you, Anne — ANNE Apparently not hearing the remark. Tilt it a bit more — there — that's lovely — JULIA Exclaiming. Charming— I 7nust go; the minutes are flying — and so shall I. Stretching out arms and waving tJiem up and down as if they were wings. She goes. Anne is like a statue for an instant; she goes to the dressing- table, looks in the mirror — is dissat- isfied. Takes a jewel-box from the drawer — draws out, a strand of coral, 28 THE FRUIT OF TOIL clasps it about her throat, shakes her head meaningly, removes it. Re- places it in drawer, goes back to cJiair, picks up her book and the rose, RITA Enters with a vase full of pink roses, I thought I'd better put these In water. ANNE Seeing roses. Whose are they, Rita? RITA r guess they are yours — when I went out T found them outside your door. ANNE Sees they are like the one she has. They are Miss Julia's ; take them to her room. Let me put this one in — Puts one Julia has given her in vase. It will live longer there. Take them now — Miss Julia may want to wear them. AN EPISODE 29 Rita goes, Anne locks the door. She goes to a cedar chest. After mucli turning over of clothes, draws out a white dress. She smooths out the folds, goes to the mirror, runs her arms through the sleeves, holds the waist in close to her form, takes it off slowly — ■ disapprovingly. Goes hack to chest. Brings out photo- graphs, selects one, looks at it, then at dress — takes out a package wrapped in tissue-paper, unfolds it. It is a bouquet of dead roses. She folds them up again — carefully re- places all — closes the chest. Goes hack to the chair — and the hook. There is a knock at the door. Anne opens it. Julia enters — her face heaming. JULIA Making courtesy,. Am I quite all right? 30 JHE FRUIT OF TOIL ANNE Yes — ^you are lovely. JULIA There is just one thing I need ; something about my neck — > ANNE Perhaps that might be pretty — ^you have such beautiful things, Julia — I v^onder you do not v^ear them more. ;jULIA Peevishly. But I'm so tired of all I have — I've wondered — if you v^on't let me wear your coral. Clasping hands. Xnne A bit confused. Oh, yes^~of course — they are — here. Takes coral out of drawer. JULIA Good ! ^Eyes sparkling. Anne clasps the coral on Julia, pins on brooch. AN EPISODE 31 JULIA Before the mirror. That's just what I needed. She is flushed, stimulated with the con-' scioiisness of youth and beauty. Anne — you're a dear — • ANNE Here's a ring — JULIA I'll not need that with gloves — and yet — if I should just have to go for a bite after theater — Taking the ring — slipping it on. There ! I am ready for any emergency. Pats Anne on shoulder. Please don't read too late to-night — ^you look tired — * ANNE I shall not — to-night — JULIA At door. Nightie — night — Z2 THE FRUIT OF TOIL ANNE Good night. Julia goes. Again Anne looks in the mirror — hut this time — without ex- pectancy — without disappointment. She goes to the chair , wilts, as it were. Rita slips in with a tempting tray, RITA Miss Anne — please won't you eat a little some- thing? ANNE I must not, Rita. Food goes ill when one isn't hungry. RITA Sets tray down — as she talks she does a few unnecessary bits of tidying. Miss Julia did wear the roses — she had them all on when she went out. Silence. What you need is fresh air — you'll get puny too much indoors. AN EPISODE 33 Silence. Can't I do something for you. Miss Anne? ANNE Yes, Rita — my eyes are tired — turn out the lights — * RITA Before you undress? With show of surprise* Yes— That one, too ? Yes. ANNE RITA Turns out two lights. Indicating table lamp. ANNE RITA Miss Mary and Mr. Wayne are down on the porch — they'll be here all evening — if you want company. Studies Anne curiously — turns out last light. A faint glimmer from the 34 THE FRUIT OF TOIL street shows in on Anne. Rita goes close — is about to speak — presses her hands over her lips — as a mark of silence — goes — closes the door noise- lessly. Anne Realizing that she is alone. The dress — tHe coral — the roses — youth ! Her lips part in that half smile, half agony of despair. No — no — I can't — I can't be — getting old. She clasps her face in her hands. Her head droops lower — and lower. Curtain BEING THE FLY BEING THE FLY Persons reginald ellis MR. MILLS, a business adjuster MRS. ELLIS MRS. BLAIR, her mother MR. CLAYTON, a friend The office is^ not cozy, scarcely clean. Like many offices, it had been well furnished. There is a tone of disorder about the room. At right there are book shelves, in back at left a door into hall, on right of it a desk, at which is seated Mr. Reginald Ellis. In left wall a door leads into an adjoining room, a part of Mr. Ellis' suite. As the curtain rises the telephone bell rings. Mr, Ellis does not move; seems not to hear the bell. For an instant there is absolute quiet — the door opens — Mr. Eben Mills enters. For the first time, as Mr. Ellis turns to greet Mr. Mills, the 37 3.8 JHE FRUIX OF TOIL former's face is seen. He is, I should say, about thirty, of the wiry type of young business men. His face is set, his eyes keen, thotigh tired, and the far-away expression makes you wish to tell him to go home and rest. Mr. Mills is not young and wears the helmet of seasoned intercourse with the world. MILLS Good afternoon, Ellis. ELLIS Good afternoon, Mr. Mills. There is no pretense at ceremony. Mr. Mills takes the chair at the right of Ellis. MILLS I hope you realize the seriousness of this affair. ELLIS Face clouding with deep mental suffer- ing. I do, Mr. Mills — even to a greater extent than is wise. BEING THE FLY 39 MILLS I That is impossible. In the first place I am not sure With emphasis. that your affairs can be untangled. ELLIS Is it that bad? MILLS That serious. Ellis deliberately goes to the cabinet at right, takes from the drawer a re- volver, goes to the door leading into the adjoining room — has hand on knob. MILLS Why are you going in there ? ELLIS To avoid a disagreeable scene here. MILLS You mean to shoot yourself? 40 THE FRUIT OF TOIL ELLIS Yes, sir. MILLS Now that would be a damned fool thing to do, when you are the one man who has the informa- tion necessary to straighten out this muddle. ELLIS But you say that you are not sure — MILLS I've treated you as a man. I have been frank. I repeat, I am not sure. With you dead, I am sure. What is to become of your wife? ELLIS At the mention of wife, Ellis' hearing changes. He hands the gun to Mr. Mills. Please, Mr. Mills, take this thing and try to revive your faith in me. My courage is not dead — but deeply wounded. I am more ashamed of this — than — than — it hurts so to say — failure! I had such hopes — and Gloria such faith in me. BEING THE FLY 41 MILLS I am sure Mrs. Ellis' faith is unshaken. You've made good once — do it again. Many people reach the dizzy heights — looking always up — but the big thing is to be able to come down and climb again — knowing the peril. ELLIS This is not the struggle of a day or a month. For two years my brain has been afire. It has seemed that Fate was weaving itself about me without m/ercy. That everything was converging to crush me. But I am going to fight now — With new hope. I am going to beat the game. Clasping Mills' hand. MILLS That's the kind of gun to use. ELLIS You've been such a help. Thank you. 42 THE FRUIT OF TOIL MILLS Looking at watch. We'll take those papers down — if they are ready. ELLIS Takes several folios from desk, puts on hat, coat — helps Mr, Mills with his — without speaking they leave through hall door. As they go, Mrs. Ellis and Mrs, Blair — her mother — come in from, the adjoining room. Mrs. Ellis is very pretty, fashionably dressed, and spoilt. Mrs. Blair is dressed in good taste — her manner is simple and lady-like. MRS. ELLIS Pouting. The boy said he was here. MRS. BLAIR He may have stepped in another office for a minute. BEING THE FLY 43 MRS. ELLIS Dropping on the couch. If those boys knew anything — they wouldn't be running elevators. MRS. BLAIR We all make mistakes, dear. MRS. ELLIS Twisting and untwisting her gold mesh- hag. But I hate to wait. And of late Reggie is so uncertain. He's nothing like he used to be — ^he's even cranky and stingy — MRS. BLAIR Don't, dear — don't talk like that — MRS ELLIS But he is. Well, I'm going to get that silver fox — or — MRS. BLAIR Gloria ! 44 THE FRUIT OF TOIL MRS. ELLIS What's the use — of waiting — I'll get old — and then some one will run off with all my money, just as they did with yours. Reggie can afford it — or I shouldn't buy things — MRS. BLAIR But, dear — MRS. ELLIS I may be dead in another year. Nervously patting her foot on the floor. He said I couldn't have the limousine — or the new house — but we have them ! MRS. BLAIR Dear — I don't like to hear you talk like this. Reginald is so good to you. MRS. ELLIS Of course he is good — I never said he w^asn't — Vou are such an old fogy — lady. Can't you un- BEING THE FLY 45 derstand that we live differently than you and Dad used to? MRS. BLAIR We had time to enjoy the last thing — before we were on to the next one. MRS. ELLIS Nervously. Oh, well — we can't wait here all day. Let's go peep at those pieces of old satinwood. Mr. Bell said they were wonderful. Now — don't look like that ; Fm not going to buy them. Mrs. Blair rises slowly — goes unwill- ingly with her daughter. As they pass out into the hall they meet Hugh Clayton entering. They exchange greetings. Clayton seats himself. An- swers the telephone, saying Mr. Ellis is not in. Takes a paper from his pocket, glances at head-lines, throws it aside. Walks up and down. He is not in a happy frame of mind. Ellis returns. The men face each other. 46 THE FRUIT OF TOIL! ELLIS You needn't say it, old boy; defeat is written all over your face. He clouds again. It's coming from all directions. Shaking head. It's weaving about me — God ! I can't throw it off. It's bigger than I am. My legs are already stiff, and my hands are tied. I tell you I am lost — CLAYTON Going close. Look here — this man Myers is not the only one who can help you out of this mess. ELLIS Myers seemed the only one left when I asked you to see him. CLAYTON I have seen "Condon and Jones." They are going to talk over the situation and let me know within an hour, here at the office. Somehow I feel sure they will do something. They gave me BEING THE FLY 47 substantial encouragement. Condon — and my father — The telephone interrupts htm, ELLIS Answer that Clayton — say I'm not in. CLAYTON Answering. This is Mr. Ellis' office ; Mr. Clayton is speak- ing — Oh, yes — you are sure you have given the matter plenty of thought. Very well, Mr. Con- don — yes, so am I — you will not reconsider? — ,ELLIS Let it go, Clayton — CLAYTON I iarri sorry — good-by — ^ Interrupting. Continuing. Turning to Ellis. Now get yourself together. What the devil does this one firm amount to in a big world? 48 THE FRUIT OF TOIL ELLIS I tell you I am lost. Think of It — all these years of hope, struggle, privation, and built noth- ing. I've been piling sand on the beach — and the tide's got me ! Looking straight ahead. CLAYTON Nonsense! You're young. If v^orse comes to vv;orse there's nothing criminal — and with a mere closing of the fist you have a grip on life. ELLIS Something has its grip on me — I am in the meshes — I can see his big glassy eyes every time I close my own. CLAYTON Be a man — come out of this — ' Making ready to leave, I've another idea — and when I come back I want you to greet me with a new front. A fellow^s BEING THE FLY 49 face is half his security — put up a sure one — have confidence in yourself. Patting him on the back, Clayton opens the door to leave. As he does Mrs. Blair and Mrs. Ellis return. Ellis' face immediately changes. He smiles — assumes an air half hoy, half aban- don. Clayton again greets the ladies. CLAYTON We meet again on the threshold. MRS. ELLIS Must you be going? CLAYTON Already I am late for my appointment. ELLIS Phone me, old man — CLAYTON ni do it. Mrs. Blair and Ellis exchange greetings. Mrs. Ellis takes her place on the 50 THE FRUIT OF TOIL couch — resumes her pouting. Mrs. Blair is disturbed. ELLIS To wife. Aren't you going to greet me, *'Pet" ? MRS. ELLIS I am here, if you want to — • Ellis goes — kisses her. ELLIS In coaxing voice. I am afraid youVe a little spoilt girl. Patting her hand. MRS. ELLIS Turning roguishly on him. You'll scold, of course — but I bought that satinwood — Seeing change in Ellis' face. There — I told mother you would do that — or sigh— BEING THE FLY 51 ELLIS You know I want you to have everything — but— MRS. ELLLS It's always but — but — but — ELLIS Please have a little confidence in me — MRS. ELLIS That's what you always say. ELLIS Sorely grieved. But you seem not to have — and that — MRS. ELLIS Interrupting. I haven't so much as I used to — ELLIS Turns very pale. I knew — Falls into his desk chair. 52 THE FRUIT OF TOIL MRS. BLAIR Gloria ! Mrs. Ellis is unrelenting. Sits pounding her foot upon the floor. Ellis leans with both arms upon the desk. Then slowly turns with a wild stare — raises his arm as if defending himself. ELLIS There — Crouching in chair. see — the big glassy eyes — the poison fangs — It*s the spicier — . Don't let it come — MRS. BLAIR It Is nothing, Reginald — ELLIS It Is the spider — he's after me — . He's been waiting — Throwing out arms. unfasten me — . Kill him — Gloria — Voice weakening. BEING THE FLY 53 untangle me — • Mrs. Ellis moves closer to her mother, MRS. BLAIR Child, there is nothing — ELLIS Pleading. Don't let him wrap me again. How can you watch him mangle me? Stop him — ! The women are terrified. I am so weak. Voice trembling. My blood — gulp it down, you monster ! Wilting. And let me die — . He falls to the floor. MRS. BLAIR Stay, child — while I run into Doctor Dyer's office. Mrs. Ellis tremblingly follows her mother to the door — stands witH hand on knob. Seeing that her huS' 54 THE FRUIT OF TOIL band does not move, Mrs, Ellis goes to him. Bends over his body, MRS. ELLIS Reggie, poor boy. Patting him. You'll be all right when the Doctor comes. Don't stare like that! It's Gloria talking to you — blink your eyes I Lifts his arm; it falls with a thud; shakes him; feels his head, his pulse, his heart. Reggie ! She faints, Mr:. Hair and Doctor enter. Mrs. Blair is quiet in her grief. She helps her daughter to a chair and cares for her while the Doctor gets Mr. Ellis on the couch. DOCTOR DYER Examining the body. He IS dead. BEING THE FLY 55 MRS. ELLIS To mother zvJio is bending over her. Have you closed his eyes? MRS. BLAIR Doctor will tend to everything. DOCTOR DYER Taking Mrs. Ellis' arm. I'll help you to your car. MRS. ELLIS Hysterically, I never knczv he was so afraid of spiders! MRS. BLAIR Taking Mrs. Ellis' other arm. Come, dear — • When the two ladies are in the hall, ^Doctor Dyer changes the key, from the inside to the outside of the door. Locks it. The dead man is not dis- turbed by the telephone which rings impatiently as the curtain lowers. Curtain A VOICE ON THE STAIR A VOICE ON THE STAIR Characters eleanor joyce WENDELL JOYCE, her husband DEAN JOYCE, her son EVA, a maid The room is tastefully and cosily furnished, 'At right there is a fireplace with burning fire. In center of end wall, a door leads into hall, at left of this there is a large alcove window, A piano and desk help to furnish the left side. The room is not brightly, but warmly lighted, Eleanor Joyce sits at the piano. Her hands skim over th^ keys. She seems only to touch them with the tips of her fingers. She is absorbed in the framed picture of a man which is on the piano. Dean Joyce, a child of six, slips up behind his mother, playfully makes a grunting noise. Eleanor turns, is startled. Dean laughs heartily, 59 60 THE FRUIT OF TOIL ELEANOR Smiling. Why haven't you gone to roost — like all the other little birdies? DEAN Isn't he gone? Half afraid. ELEANOR Who? DEAN Father. ELEANOR The train doesn't go until ten, and the station IS very near. DEAN Will he scold me again when he comes down? ELEANOR Tenderly. Father was tired, dear — ^you see, he works all (lay. DEAN But he is always tired — • A VOICE ON THE STAIR 61 ELEANOR Glancing at picture. Because he always works. DEAN It is better sometimes to play — isn't it? ELEANOR Taking him in her arms. We play a great deal, don't we? DEAN Crawling on her lap. Yes. Looking in her face in an adoring way. We do. Pointing to the picture on the piano. Have I ever seen that gentleman? ELEANOR Wincing. No, you have never seen him. DEAN He looks like he knows how to play. Studying the picture. 62 THE FRUIT OF TOIL ELEANOR Vacantly, Do you think so? DEAN Earnestly, I wish he was my Daddy. ELEANOR Kissing him. Little boys must love their ozvn Daddies. DEAN Even if they're tired, all the time? ELEANOR yes— Staring into a somewhere. DEAN Observing his mother's preoccupied gaze. What are you thinking about ? ELEANOR Starting, with forced smile. Nothing — A VOICE ON THE STAIR 63 DEAN JVith teasing smile. But you are — you were looking too straight. What is the gentleman's name? ELEANOR Edward. DEAN I wish I was named Edward — I don't like "Dean." ELEANOR But that was mother's name before it was *7oyce." DEAN But I don't like it. ELEANOR Shall we go to bed? It is late for mother's little bird to be out of his nest. DEAN Laughing. What kind of a little bird am I? ELEANOR To-night, you are a little nightingale. 64 J'HE FRUIT OF JOIL BEAN JVith happy laugh. Yes — a nightingale ! The door opens and Wendell Joyce ap- pears. He is an ordinary sort of per^ son with sharp unsympathetic eyes, thin lips, and in no way impresses you as being straightforward. When he sees the child, his face shrinks with some ugly emotion. Eleanor ami Dean instinctively draw closer to- gether. JOYCE Young man, isn't this past your bedtime? ELEANOR He has just slipped in to — ' JOYCE Interrupting. Let him answer — when his father speaks to him. Did you understand me, sir? Dean snuggles closer to his mother. Cries. A VOICE ON THE STAIR 65 JOYCE I hope you see that you are turning this child against his father. ELEANOR The child is sleepy and tired, Wendell — your manner has frightened him. JOYCE With sarcasm. Then send him to bed — are you so afraid of spending a minute alone with your husband — that you can't let the child sleep? ELEANOR With pleading voice, Wendell — please don't start again — the serv- ants are in the house. JOYCE Servants be damned. ELEANOR To Dean. Come, dear, mother will take you to bed. Starts out zvith child. 66 THE FRUIT OF TOIL JOYCE I want to speak to you before I go. It is now almost train time. ELEANOR I'll be gone but a few minutes. JOYCE yVha,i are the servants for? ELEANOR With eyes flashing. Not to take the place of mothers. JOYCE With shrug of shoulders. Ilm-. When they arc gone Joyce goes to the piano — stares with terrible hate at the picture. Eva, the maid, rather sneaks info the room. EVA Is Aladam here, sir? A VOICE ON THE STAIR 67 JOYCE As if expecting her. No — come in. With wave of head. Now quickly — < Drawing a roll of money from his pocket and handing a part of it to Ez-a. Take this and remember — I want the names of every one who calls in my absence — men and women — and if that person — Pointing to the picture on the piano. ever sets foot in my house, and you fail to tell me — ■ With threatening gesture. EVA Nervously. He's never been here, sir — I swear — JOYCE You'd know him? Still threatening her. 6S THE FRUIT OF TOIL EVA He couldn't fool me dead, sir — I'd know tim laid out. JOYCE Motioning that he hears Eleanor re- turning » No — Mrs. Joyce is not down here. Eleanor returns. EVA Eva is embarrassed in the over-solici- tous voice of the deceiver, I came to see if Master Dean was ready to retire. ELEANOR Calmly. He has retired — you may sit with him while I speak with Mr. Joyce. Eva goes. Eleanor turns toward her husband. Well, Wendell? A VOICE ON THE STAIR 69 JOYCE There are several things I desire to speak of — but as your child takes all your time — I have space only to say that when I return — I want that damned picture off of the piano and out of this house. You're full of cunning — you are. You won't have to dust — or straighten it so many times a day ! Eleanor is petrified — she does not an- swer, J ELEANOR Will you return to-morrow? JOYCE I'll return when I please — just remember what I've said. Without looking at her he leaves in a rage. The inner and the outer doors slam, Eleanor is stunned. EVA Enters with the quiet cunning of a Cdi. Master Dean is asleep. 70 THE FRUIT OF TOIL ELEANOR Very well. EVA Isn't there something, Madam, that I might do for you ? ELEANOR Nothing, Eva. EVA Wouldn't you like a glass of hot milk? ELEANOR Not to-night. EVA Awkwardly. Mr. Joyce is in a very bad temper this evening. ELEANOR Serenely — yet with wounded pride. Is that so? You should be careful not to cross him in future — when he is tired. Eva, ashamed of her failure to engage Eleanor in conversation, sneaks to- ward the door — passes out — leaving A VOICE ON THE STAIR 71 the door open. Eleanor goes to the piano, reaches back into the sound- box, draws out several letters tied in bundle. From among them she takes a part of an old newspaper. She looks longingly at the picture in the paper. Reads one of the letters. Gazes at the picture on the piano. Takes it in her hands and studies it lovingly. The curtain moves at the door. Wendell Joyce reappears. Eleanor is absorbed ' — hears nothing — sees only the pic- ture. She kisses it passionately. Joyce rushes toward her — grabs the picture, picks up a letter which has dropped to the floor as Eleanor rises. He rushes toward the grate, is about to, throw the picture in the fire. ELEANOR If you do- If I do? JOYCE With picture in raised hand. 72 JHE FRUIT OF TOIL In a cowardly manner tosses the picture on the floor. Eleanor moves back. Joyce moves also and is between her and the door. He opens the letter — reads. Joyce, reading — Dearest — Looking at her with unbridled fierce- ness, continuing to read. without you — living is not life. I am grateful that you have been mine in part, but to know that in a few days you are to come to me entire — to be mine forever — Crumbling the letter in his hand — crouching like an animal. Then this accounts for the child's unnatural feel- ing for your husband — ELEANOR I swear — < With raised hand — backs toward tUe window alcove. A VOICE ON THE STAIR 1Z JOYCE Moving stealthily toward Her. Put down your paw — ELEANOR Terrified. Wendell, what are you going to do ? JOYCE With a sort of snarl springs at her throat — chokes her. He drags the dead body to the window embrasure. That's what I'm going to do. Draws the curtain. Goes trembling to the front of room. Wipes brow. Eva comes into the room. EVA Is Madam here ? JOYCE Picking up newspaper article whicH El- eanor dropped. Read this — for me. 74 :rHE FRUIT OF TOIL EVA Did you miss your train, sir? JOYCE Still trembling. Read this — • Handing paper. EVA Looks at the picture in the paper. This is the gentleman, sir. Looks on the piano for picture — sees it on floor — compares the two pictures. I said I'd know him. JOYCE Read what it says — EVA Reading. Tragic death of Mr. Edward Marvin — en- gaged to Miss Eleanor Dean — > JOYCE Tightening his fists, and with a wild ex- pression. A VOICE ON THE STAIR 75 Eleanor Dean? EVA It says that, sir. Wasn't that Madam's name? JOYCE Give me the paper — go, Eva. Waving her away. She goes. He looks at the paper. Staggers to the desk, leans on it — buries his face in his arm. Off in the distance — from the stair- way — comes the plaintive voice of the child, who has awakened. DEAN Half crying, as if disturbed from a dream. Moth-er, Moth-er — Curtain THE EMPTY SHRINE THE EMPTY SHRINE Characters david bray MRS. JENNY BRAY, his mother GRETA, a friend It is before a little cottage which is placed diag- onally in the far right corner of the stage. On both sides of the cottage is a lovely old-fashioned flower garden. In front, leading from the quaint stoop to the gate, is a flagstone walk. 'A small portion of the sidewalk can be seen outside the fence. The sidewalk is also diagonal, with the front left corner of stage. David Bray, a man of thirty, is sitting on the doorstep. His face is Handsome. A cane is beside him. Mrs. Jennie Bray, his mother, is in the garden gathering flow- ers. Her hair is white, her features delicate, every movement gentle. She seems to have grown n 80 THE FRUIT OF TOIL with the flowers. She comes toward her son. Stops in front of him. MOTHER With sympathetic but natural voice. Son, these are lovely. Extending flowers, SON Not raising head, reaches for flowers, takes them — tenderly handles each one. What color is the hollyhock? MOTHER Deep red. Sees that he touches a gladiolus. That is rose. SON Pleased that he knows what it is. It is a gladiolus. MOTHER Smiling. Yes. JHE EMPTY SHRINE 81 SON And here is larkspur, ragged robin, sticky Rubbing fingers. calendulas, cosmos, shasta daisy. Touching a yellow galardia. forget-me-not. Handling a poppy doubtfully. And this? MOTHER It is a poppy. SON Feeling the flower with assurance. Why of course — poppies always make one for- get. Smelling flowers. They are lovely — and doubly so, because they come from our garden. May I have a spray of forget-me-not for Greta? Feeling for it, MOTHER That is a pretty spray you have in your hand. 82 THE FRUIT OF TOIL Smiling. It IS sweet and frail like Greta. SON Isn't it time she was here ? MOTHER She may have duties at home — she is older than she was last year. Tenderly patting son, SON She has been my little eyes so long that I am spoiled. Lifting head in happy way. What a good world this is. How full of compen- sations, how rich in friends — and best of all — you — ' Reaching hand for mother, MOTHER Changing the trend of thought. Here's your old wooden wife, son. THE EMPTY SHRINE 83 Handing him the cane, which had fallen dozvn. She was trying to get away. SON Playfully questioning the cane. Deserting your old man ? MOTHER I'll put the flowers in water — and see to the supper. SON It's nearly five — for the postman passed — and the train bell rang — and the children long ago came from school. MOTHER Yes— but she will come. SON With blind hope. I know she will come, but I wait all day for my walk. Waiting hours gather time as they go — with the last ones always heaviest. 84 THE FRUIT OF TOIL MOTHER Pressing his hand. How well I know! SON WeVe known together, haven't we ? MOTHER Yes-^ SON Yet life is so sweet — to me — > MOTHER I am glad you have Greta — SON Next to you — she is my good angel. Her voice ! it is so soothing. Smiling. I never thought of it before — but is Greta pretty? MOTHER Face lighting. Ah ! yes — and lovely hair — SON I've felt the hair — when she was a little girl [THE EMPTY SHRINE 85 and lived next door. She would have me feel its length. Since she is older has it lost its light ? MOTHER No — it still is like the sunshine. SON Which suits her well. And is she tall? MOTHER About my height — which goes with seventeen — SON Do you think she'd mind — to let me feel, her face — that I might have some form of her to foster? MOTHER She is your friend — and she will tell you if §he minds. SON Face lighting. Ah! she is coming — hear! I knew she would come, but a foolish fear tormented me. 86 THE FRUIT OF JOIL MOTHER Moving near gate to see if it is Greta. Yes, it is she — Waving hand, happy — smiling — She unfastens the gate. GRETA ^A girl of seventeen, with a frank, beau- tiful face, blooming youth, and a wealth of golden hair — kisses the mother. I am not late by choice. MOTHER Gently laying arm on Greta. Love teaches us impatience. Releasing arm. I'll close the gate — the dogs abuse our flowers when it is left unfastened. THE EMPTY SHRINE 87 GRETA Presses son's hand in both of hers. He is standing. You knew I'd come? SON Face beaming. Yes— ^I knew — • Taking long breath. But even in knowing — a sort of misty gasping fear took hold of me. GRETA It grieves me to have troubled you — but as I come to be more useful in my home — I may be late to pleasure. SON T am selfish — GRETA And I — for I have ceased to smile at tasks — - that crowd my hour with you. MOTHER With hand on each. 88 THE FRUIT OF TOIL God bless you both — who are so dear to me. Goes, SON Giving forget-me-not to Greta. This is for you. GRETA It is sweet — thank you — T am pinning it right where the heart beats loudest. Fastens it on. Shall we go? Takes his arm in gentle accustomed way. SON May I ask another favor? GRETA You favor me by asking. SON Would you mind — to let me touch your fea- tures with my fingers — to feel your face — that I may have a figure for my shrine. THE EMPTY SHRINE 89 GRETA Bending face near to him. Here is my face — close — SON Yes — I feel it. I can tell always when your face is near. Your spirit breathes on me — ah, Greta — I am flesh and blood — I only lack the eyes. GRETA A hit hurt. You do not want to feel my face ? SON Giving her his hand. When we return — I have you now. GRETA What makes you tremble ? SON It is the stirring of fancy. The dreamy flutter of a wingless bird who climbs to mountain tops, who hovers in the sky, yet keeps his feet on earth — knowing he can not fly. . 90 THE FRUIT OF TOIL Sighing. Yet life is lovely — lovely. Sometimes I weep be- cause it is so sweet. GRETA My heart would be lighter — if your spirit would linger with me a while. I see — much that is sordid and sinful. SON But / am blind ! GRETA To be able to look on life as you do — one would be willing not to see. SON You have never talked as this — some sorrow has crippled your wings. And you hide it because I am — GRETA Interrupting. Don't. Please don't say it! I shall be gay — and naughty — and play tricks on you as I used to do. ,THE EMPTY SHRINE 91 SON Smiling. It seems only yesterday — when you would start walking with me and hide — or jump at me — or take my cane. GRETA Taking his arm. We are talking our walk away. Let us go. They go down the walk — out of the gate — and away. Leaving the gate open, Greta returns, fastens the gate. Looks across the street. Don't cross — I am coming — I only wanted to fasten the gate. Don't ! Rushes away. There is the sound of a passing motor-car — then the voice of the Son. SON Greta ! can't you fasten it ? Greta ! He enters, finding his way with his cane — at the gate. 92 THE FRUIT OF TOIL Ah ! you fastened it — where are you ? Smiling, You are looking at me — and laughing — Grasping in space. Playing tricks. Come, Greta. What's the noise about ? Murmur in the street. Feeling about with cane. Come, I'll lay my hands upon your face — if you're willing — and we shall walk to-morrow. Take my hand — Reaching. And tell me why they make the noise. Louder murmuring. man's voice Move back — SECOND VOICE Make way for the dead — woman's voice What wonderful hair ! Don't let it trail on the ground. ,THE EMPTY SHRINE 93 SON Supporting himself on cane. It is she. Oh ! God, how dark it is of a sudden. He feels his way to house. MOTHER 'At door. What is it. Son ? SON It is Greta ! And they went right on — MOTHER Heavenly Father! It is — it is — oh! my Son, your other eyes are gone — With right hand pressing against cheek — and left grasping her drawn-up apron. ^ SON With tremor in his voice. I still have you ! MOTHER Her arm about Mffi. 94 JHE FRUIT OF TOIL You have a waning moon — child — but oh ! you so need sunshine. Voices in street are less distinct. SON They are taking her away? MOTHER Drying her eyes. Taking her away — SON Gasping. Her face — Mother. I have no form of it to foster — MOTHER My poor — forlorn boy — SON ' Standing alone. But her voice — it is mine forever. With face upturned. And the hair ! Stretching out hands, and moving fin- gers as if in her hair. Oh ! death — you can not take the feel away. THE EMPTY SHRINE 95 MOTHER Come — Taking his arm. SON I go — but sit with me a while — in silence — In the evening light they go into the cot- tage, he with blind awkwardness, she faltering with grief and its reflec- tions. Curtain THE WEIGHT OF WINGS THE WEIGHT OF WINGS Persons ELVA SADIE, Elva's sister UNCLE ENos, their father's brother LITTLE ELVA, Elva's child The room is the one which adjoins the parlor in the average farmhouse, plainly yet comfortably furnished. At right is an open way topped with fret work, leading into the parlor. Farther hack on same- side is entrance to bedroom. In center wall is door into hall. At left a double window. By the window is a large-armed rocking chair. Stacked against the wall are a number of pine folding chairs. A lamp burns in the far corner. The early morning light lends a dismal some- thing to the scene. By the table in the center of the room two women sleep. One is leaning on the table, one uncomfortably crumpled in her chair. Elva stirs — lifts her head from the table — sighs. 99 100 THE FRUIT OF TOIL ELVA Looks in parlor — shows concern. Sadie ! SADIE Half awake. Does he want something? Rubbing eyes — waking. Oh! — I was dreaming. ELVA The candles are out. SADIE Turns, looks in parlor. Did you fall asleep, too ? ELVA Yes. Gets two fresh candles — lights them — goes into parlor. Sadie blows out lamp — goes to window — stares out vacantly. Elva returns with two can- dle ends. Sighs. THE WEIGHT OF WINGS 101 ELVA Pie looks so natural. SADIE I can't bear to lay him away. ELVA But he's with Ma now. SADIE Wherever they are — whatever they have — they're sharing it. ELVA Drying eyes. It hurts to lose such a father — but Sadie — ■ we've had him. SADIE And we were good to him. ELVA Poor old Uncle Enos. It had better been him. Nobody would have cared. SADIE How can Reba treat her father that way ? 102 JHE FRUIT OF TOIL ELVA And to think he's Pa's twhi. My, how they look ahke ! Even their backs are bent about the same. SADIE Uncle Enos'Il hardly pull the summer through. ELVA Shaking head. Hardly. He gets about now like there's just a drib of life in him. But it was a long way for him to come — poorly as he is. SADIE When Uncle Enos lies dead, his empty body will throw off curses that only Reba's ears will hear. And pennies won't stop her ears either. ELVA T reckon he's better off feeble-minded as he is — then he don't mind her so much. SADIE Maybe to-day — he'll be able to tell where fie is — THE WEIGHT OF WINGS 103 ELVA He kept asking for Reba's little girl Annie. He must have thought he was home. SADIE It's little Elva — that made him think of Annie. They're about one age. ELVA Little Elva was asleep last night when he came. SADIE That's right. Silence. We'd better get a bit of sleep ourselves. ELVA Yes. We've a long day ahead of us. Elva goes in parlor. Sadie follows. Both return drying eyes. Elva goes out of hall door. Sadie to the win- dow — ga.zes out mournfully. Runs her hand tenderly, caressingly over back of large chair. Sighs. 104 THE FRUIT OF TOIL SADIE And ever the silver cord be loosed — the golden bowl be broken. Puts handkerchief to face. The bed- room door opens, Uncle Enos enters. He is old, stooped and pitiably feeble. Feels his way with cane. Seems ^dazed. SADIE Sees Uncle Enos. Good morning — UNCLE ENOS Childishly. Why, Reba — your voice sounds like Ma — SADIE It's Sadie — Uncle Enos. Goes close to him. UNCLE ENOS Sadie ? Yes — yes — r SADIE I am going to get a little sleep — ^you make THE WEIGHT OF WINGS 105 yourself comfortable. Take Pa's chair there by the window. UNCLE ENOS Nods head. Yes — yes. Sadie leaves. Uncle Enos goes to chair, holding his hack. Sits in large rock- ing chair. Leans forward on cane. Little Eha, a child of five years, starts in room. Observes the man. Hesitates — goes closer — half curious — half afraid — stands a little way from him. Looks in parlor — then at Uncle Enos. UNCLE ENOS Lifts head — sees cKld. Why — what are you standing so far away for — come here to Pap. LITTLE ELVA Intent on man. You'd better get back in your box ! Folds hands behind her. 106 THE FRUIT OF TOIL UNCLE ENOS Got no good-morning kiss for Pap? LITTLE ELVA You'd better get back in your box ! UNCLE ENOS Box? LITTLE ELVA In where the candles are — - UNCLE ENDS Looking about in hezmldcred zmy. Where am I ? LITTLE ELVA You're dead ! Eyes him in curious way. UNCLE ENOS Dead? Taking deep breath. LITTLE ELVA Can you fly, Grandpap? UNCLE ENOS Fly? THE WEIGHT OF WINGS 107 LITTLE ELVA You have wings, how- uncle ENDS Is that what's so heavy — I thought we left the burdens there. Rubbing back. little ELVA We're going to bury you — and put flowers on - — and cry — Hke we did for Ma — Nodding head emphatically — face light- ing with knowing smile. UNCLE ENOS Moving head in disapproving way. No — no — let the flowers hve- — LITTLE ELVA Flowers are pretty out there. UNCLE ENOS But dead eyes do not see. Come closer here — to Grandpap. 108 :niE FRUIT of: JOIL LITTLE ELVA Goes closer. UNCLE ENOS Pats her tenderly, feebly. I hoped — I'd get new eyes — but these are the same old blurred ones. Tell them not to cry — not to cry — LITTLE ELVA! Why don't you get back in your box? UNCLE ENOS Do they iwant me there? LITTLE ELVA Yes-H UNCLE ENOS Nodding head. Pap was in the way — in the way. That's why she looked so hard at me — and Reba was our baby — ' Weeps — dries eyes, I thought death gave us shelter — and no tears — but it seems it gives us tears and no shelter. THE WEIGHT OF WINGS 109 Wiping face with handkerchief. They said it would be peaceful — in death — and Pap was most afraid to come — but now that there are heartaches — I feel at home. LITTLE ELVA What made you cry? Staring with wide eyes. UNCLE ENOS Because Pappy lived too long. LITTLE ELVA Smiling. But you're dead now ! Gazing wonderingly. UNCLE ENDS Even my dead eyes see your mommy's frown, and her voice frets my dead ears. Old eyes wear sharp to little slights — and old hearts bruise — ^but the tongue grows still with years. LITTLE ELVA I'll help you back — Takes his hand. no THE FRUIT OF TOIL UNCLE ENOS Back? LITTLE ELVA Back to your box — ' UNCLE ENOS Yes — yes — out of the way. Eh! Sissie? LITTLE ELVA Yes^ Tries to draw him up, UNCLE ENOS You Iea3 the way — Pap will follow — With difficulty gets up, LITTLE ELVA Takes his hand — leads him toward the parlor. See — there — where the candles are — UNCLE ENOS Moving feebly. The load — It's still on Grandpap's back — THE WEIGHT OF WINGS 111 LITTLE ELVA Smiling, No — Grandpap — that's wings — With the young hand clasping the Ifem- hling old one, they pass into the par- lor. There is a moment of awful stillness. Curtain THIS IS LAW THIS IS LAW Persons officer man prisoner lawyer TURNKEY The scene is in a county jail. At left is a barred door into the sheriff's corridor, through which can he seen the turnkey — reading. In hack wall are several doors into cells. In the far right one a prisoner stands at the door. His hands clasp the bars, he is unshaven, and brutal looking. In his cowering form there is something very ani- mal-like. He rolls his eyes in the direction of the turnkey. PRISONER Whining. Please, sir — please do not let them kill an inno- cent man — I swear — Pressing his face against the bars like a 115 116 THE FRUIT OF TOIL caged bcasf. The Turnkey seems not to hear. PRISONER Sir — it will be too late — God will bless you — I will be your servant for life — oh, my — oh, my — TURNKEY Abruptly. Shut up! There are people who need quiet around here. PRISONER How will I make them know? Heaven can cave in on me — but it's never my crime. TURNKEY I say be still. The Prisoner makes a hideous grimace at the Turnkey. I PRISONER Wailing cozvardly. I didn't— I didn't— I didn't— There is the sound of approaching foot- steps. The Prisoner listens. The THIS IS LAW 117 Turnkey rises. He unfastens the door. An Officer, a Lawyer and a Man wearing handcuffs enter. They approach the door of the Prisoner's cell. When his door is opened he slinks out trembling, like a dog which drags himself from cold zvater. OFFICER Addressing Alan. Is this the man ? PRISONER Interrupting. I swear — oh ! my God, I swear — OFFICER Silence ! Is this the man? MAN It is. PRISONER Grabbing his neck as if to loosen the noose. He's lying it on to me — he did it his-self. 118 JHE FRUIT OF TOIL OFFICER To Prisoner. Have you ever seen this man ? PRISONER No — no — I swear — he's — OFFICER Answer the questions. To the Man. You committed this crime? MAN I did. Calmly returning the searching look of the Officer. PRISONER Eyes bulging zvildly — with hideous ex- pression. It was you, was it? I said it wasn't me — I said — • OFFICER Silence ! Unwrapping a hook which he carries. Have you seen this book before? THIS IS LAW 119 PRISONER Observing the book. It's m'own Bible — I reckon I seen it. OFFICER Are you quite sure? PRISONER opening book. Why, them's the strings Hetty — that's my woman — put in for place-markers. Turning pages. And there's Freda's wrilin'. Placing finger on writing. There's her own name — I can't make it — but I can figure it out. OFFICER Who is Freda? PRISONER Why — she's the one — OFFICER What do you mean? 120 THE FRUIT OF TOIL PRISONER Viciously pointing to the Man. The one he — he killed. LAWYER You are quite sure that is her writing? PRISONER She was the only one of us know'd writing. She — she was after books — till her Ma had to call her off o' them. She set up nights using oil — OFFICER Bluntly. To Man. Answer the questions. And you connniited this crime? MAN I did. OFFICER You give yourself up? MAN I am not the sort to let even him suffer for me. THIS IS LAW 121 OFFICER yet you could murder this woman ? MAN She got my pity, sir — she begged me to. PRISONER You lie — you villain — Trembling. OFFICER Silence ! LAWYER To Man. Now that we are in this man's presence — tell how you first saw this woman. MAN I had been in his room Indicating Prisoner. stealing. PRISONER Starting toward the Man, hut is with^ held by Officer. It*s you what got the harvest money — Ugh ! Clenching fist 122 THE FRUIT PF] JOIL MAN Continuing — zvitJiout noticing the Pris- oner. From his room I climbed to the porch — there was one shutter to pass — to get down the back. So I went quietly. As I passed I heard a queer sound. It was like a wounded animal. I was sure it was no man or woman. I didn't want to stop, but sometimes your hand will do what your head tells you not to — and — well — the shutter was open. It was dark in there, except what the moon lighted up — but I could see the heap, where the sound was starting from, writhing and moan- ing. PRISONER Liar — stop him — ' Officer shakes Prisoner. MAN It crawled over by the window. It had been a woman. The hair w^as matted — the face dirty — the body half dressed — and it was cold that night. She was like a beast, but more pitiful. I've seen THIS IS LAW 123 a lot o' things — and Fve been in bad places — but that drib of a woman touched me. She knew what I was there for — Ijy my mask. OFFICER Was she afraid? • MAN No, sir. She fell on her knees and begged me to kill her. PRISONER If hell would only gulp him down! MAN I told her I didn't work that way. Then she prayed at me — cried — put out her scrawny hands Instinctively drain's hack as if still see- ing them, • — said she would write it all down how it Hap- pened. Well, somehow she touched me, and for ending her misery I am here to begin mine. OFFICER You have this written statement? 124 THE FRUIT OF TOIL MAN Motioning to Lawyer. This gentleman has it. PRISONER Hell is too good for him — the liar — ■ OFFICER You have this writing, sir? To Lawyer. LAWYER Taking paper from large envelope, passes it to the Officer. You may read it yourself. OFFICER Compares the zvriting with that in the Bible. The writing is the same — there can be no ques- tion. You have read this ? To Lawyer. LAWYER I have. THIS IS LAW 125 OFFICER With a distrustful glance at Prisoner, Then perhaps it will be easier for you to read it again. LAWYER Takes paper — commences to read. This gentleman did not want to take my life. In so doing he is the only person who has been kind to me. My father has always been cruel. PRISONER Oh, the hussy ! LAWYER Reading. He would curse when I would steal away and study — he burned my books. After my mother died he was worse — and sent the little ones away. When he found me with another book he was so enraged that he struck me. The gentleman will tell you — I see but on one side — so cruel a blow he struck. I threatened to tell. Then it was he locked me in this place. 126 JHE FRUIT OF JOIL PRISONER The wench was mad. LAWYER Continuing. One day I tried to escape. This crippled side is the answer. The leg went badly together — for no one could hear me call. OFFICER The monster! LAWYER Continuing. Let the gentleman tell you about my hands — my face — my body. You will say — why didn't he tell the law — I begged him not to. The fear of my father — and the dread of daylight — I am almost blind — I am lame — wasted — hideous ! Yet I have the feel of a woman! Where is there a place for me? There is but one. It is death. Save this gentleman — he has answered my prayer — and Heaven would not. I swear — The men for an instant seemed dazed. They exchange puzzled glances. THIS IS LAW 127 OFFICER That is the end ? LAWYER It is — but for the signature — which is the same as in the book which we have seen. PRISONER Cowering. She was mad — that's why she was there — To Man. OFFICER You did kill this woman? MAN I did, sir. OFFICER There is nothing else — MAN Indicating the cell that the Prisoner has come from. Shall I go there? OFFICER Yes— 128 THE FRUIT OF TOIL Then, with consideration, to the Turn- key. Come, put the man in here. That cell is unfit. Indicating another cell. ' The Turnkey opens the next door — the Man passes in without looking hack. The Turn.- key locks the door, walks to the corri- dor door, stands with the keys in the lock. The Lawyer follows. OFFICER To the Father, zvith a look of contempt. Pass. The Father, like a hunted animal, goes ahead of the Officer. Their footsteps can he heard down the hall. The Turnkey locks the door — resumes his reading. Curtain LIVING LIVING In Three Parts the ending the glimpses the beginning The Ending The lighting of the stage is uncertain and mys' terious. In the far right corner there is the sug- gestion of a tomb. Nothing is distinct. From the direction of the tomb, becoming more definite as she nears the front of the stage, moves a zvoman. She is not young. On the right and left of her, about middle of stage, stand two winged spirits, motionless. At the right, the Spirit of Time (old), at the left, the Spirit of Eternity (young). Each guards the entrance to a strange way of light. The woman is dazed — she finds herself — gazes from right to left — moves to the right. She is about to pass the Spirit of Time. 131 132 JHE FRUIT OF TOIL SPIRIT OF TIME In gentle voice. Whither goest thou ? WOMAN Into death. SPIRIT OF TIME Thou hast passed through death. WOMAN Slowly. Yes. Now I remember — • SPIRIT OF TIME There lies thy way. Waving her toward the Spirit of Eter- nity. WOMAN Moving near Spirit of Eternity. And you, what have you for me ? SPIRIT OF ETERNITY Woman — yonder is the way of Life — there lies Eternity — Divinity — LIVING 133 SPIRIT OF TIME And here — is the way of Death — of Temporal Living — Humanity — WOMAN Turning tozvard the Spirit of Time. Of men, and women, do you speak? SPIRIT OF TIME Yes. SPIRIT OF ETERNITY Dost thou not crave Eternal Life? WOMAN With deep emotion, T do. Yet do I hunger for men and women. For bodies with real blood in them. Touches the hand of the Spirit of Eter- nity. How cold you are. Drawing away, SPIRIT OF ETERNITY Thou knowest not Eternal Life. 134 THE FRUIT OF JOIL WOMAN All ! but I do know — men and women ! SPIRIT OF TIME Wouldst thou back to Temporal Living go ? WOMAN Turning hungrily. Yes— Hesitating. and no — for now I see wherein I failed — the mis- takes I made — the sorrow — oh! could I live again and know the all I know ! SPIRIT OF ETERNITY If thou goest into Eternity all thy memories thou canst with me unburden. Hearts are human ills. WOMAN And the sorrow which is left with thee? SPIRIT OF ETERNITY As the rain goeth into the sky and back to the Earth again — so grief maketh its way to man. LIVING 135 There is no new sorrow. All heartaches are as old as time. And as they are unshackled here they fall to Earth again. WOMAN Alas ! for him — whose sorrows fell to me. SPIRIT OF ETERNITY Thou hast but a stride or two — between thy sorrow — and forgetting. Wilt thou pass? WOMAN And with the bitter — must all the sweet go, too ? SPIRIT OF ETERNITY "All or none ! SPIRIT OF TIME Thou canst go back — WOMAN Moving toward the Spirit of Time. But all thy ways, it seems they lead to woe. SPIRIT OF TIME If thou return — thou canst remember all the 136 THE FRUIT OF TOIL living thou hast clone. And when thou comest to a way of sorrow — divert thy path. WOMAN Gasping — with wide eyes. Speak — again — SPIRIT OF TIME If a child — if a love — if a friend — cause thee mortal grief in thy new human sphere — have none of it. WOMAN Thou hast said it ! Then shall I follow thee. The children I shall forego. FU none of love — and for my friends — Fll curb my fondness. SPIRIT OF TIME All thy griefs thou canst eliminate — by closing tip the ways which lead to them. WOMAN Let us go. And only the sweets of life I shall touch — for now I know the taste! Turning to Spirit of Eternity. And thou? SPIRIT OF ETERNITY I am eternal — LIVING 137 WOMAN yill the color has returned to her face — ■ she smiles as she presses her heart. My heart again is throbbing — that same heart which struggled so against being stilled. The Spirit of Time passes out — she fol- lows — radiantly. SPIRIT OF ETERNITY Motionless. What dost thy small void hold which makes ye humans know such pangs of hunger? The Glimpses FIRST glimpse The stage is dark at the curtain rise. Gradually the light reveals the woman, who is now young; she is resting. The Spirit of Time is waiting. THE SPIRIT OF TIME Shall we press our way? 138 JIIE FRUIT OF JOIL WOMAN Not SO — fast — TIME But I am Time— ^ WOMAN I am willing — ■ Rising. another phase. TJie hack of stage lights slowly. There is a suggestion of a garden — a hand- some youth is on a bench reading. As in each of the glimpses the soft light inakes a frame for the picture. WOMAN Forgetting all, rushes toward the youtJi. Realizing — she stops short. No — no — Going hack to the Spirit of Time. He, too, brought me heartaches. Built my Tem- ple of Love — then shattered the columns — and crushed me in the ruins. Oh ! LIVING 139. TIME Thou hast but to turn— WOMAN Love thou art mightier than death. Struggling. It is upon me again — • Seeing that the youth is moving away. Stop him— let me but touch his hand— but hear his voice. Speak! TIME All — or none! The youth turns — the woman stands he- fore him with a mad rapture of love ^Jie takes her in his arms. "All goes dark. SECOND GLIMPSE The light comes on, disclosing a cozy fireplace. Time and the Woman are seated on either side. From an adjoining room comes the sound of lovely music. 140 JHE FRUIT OF TOIL TIME Life offers the genius. Go — fill thy soul with music— and play thy way to happiness. WOMAN Full well I know the way — I have already played my way to sorrow. Even now I burn with stifled music. TIME Then we will away — WOMAN Only listen — there — there — I've lived all that — hear. Oh! the joy of it — I played it on the night — the night — TIME Let us go — i WOMAN Just for that night again — let me live free of it forever — but just that one sweet — TIME All— or— LIVING 141- WOMAN Moving toward the niiisic, in a sort of mystic intoxication. Give me all — all- Time stands motionless — the woman staggers into the room from whence the music comes. The lights go dark. THIRD GLIMPSE The lights show a pretty flower garden. Time and the Woman wander in through the beds of flowers. In a bed of roses is a tiny baby. They see it. TIME Wilt thou? Motioning to the baby. WOMAN No — -children I must forego. Looking longingly at the child. It was the first — and she died. 142 JHE FRUIT OF TOIL TIME Let us to another phase — WOMAN Her eyes were so bkie — the lashes — ■ Smiling. Then with dark tragedy spreading over her face. But the feel of the tiny dead fingers — there's nothing like it. The hopelessness of young moth- erhood — left childless. Going to Time, pleading. Take me — away. He leads her from the child. It is mine — it is part of me — > Drawing away her hand and rushing hack to the child, bends fondly over it. Takes it in her arms — presses it close. Call — me mother! The shadow of Time falls heavily upon the zvoman and child as he moves Qivay. The stage goes dark. LIVING 143 FOURTH GLIMPSE As the darkness goes, we see a little boy of five pressing his face against an iron gate. The woman and Time are close by. WOMAN Do not stop — he was not bom to me—* TIME Didst thou not mother him for twenty years? WOMAN Speak not of it — nor of the thousand years of grief he put into a month of days for me. Pass on — I am done with humanity. They move away. As they pass the child looks at them, extends his arms beseechingly. And so he did the day I took him fronl the place before. TIME Thou didst love him? 144 JHE FRUIT OF TOIL WOMAN Even as my own. TIME As thou wilt. WOMAN Those little arms have never known a mother — let him clasp me once and satisfy his longing. TIME All or none ! ' WOMAN Going to the gate, the child opens it, stands with his little arms extended. Come! The child clasps her frantically as the lights wear low. FIFTH GLIMPSE In the darkness there is the sound of a hell toll- ing. Then in the dusk the figure Death emerges. When he is face to face with Time and the Woman he stands still. The Woman turns to LIVING 145 Time and they exchange a strange look of under^ standing. TIME Thou knowest him ! WOMAN Yes. TIME Wilt thou struggle again with him? WOMAN Smiling, I shall not struggle. TIME Dost thou not shrink from him? WOMAN Willingly — I go — for in Death they loved me the most! With her arms extended she goes to 'Death, He takes both of her hana^ m his, hows his head down, gives^her the "cold kiss" as the lights go out 146 THE FRUIT OF TOIL The Beginning Again the stage is set as in the "Ending" The Spirit of Eternity and the Spirit of Time stand motionless. The Woman issues from the direc- tion of the tomb. She moves to center of stage — hesitates — then goes toward the Spirit of Eter- nity. He takes her hand. As he docs she starts. She turns, casts a lingering, longing look back to the Spirit of Time and passes out, with her face still turned toward Temporal Living and Hu- manity. CURTAIN ABR/^R^. OF C ONGRESS 018 482 460 7