Mills and mill-work -- Management -- Drama; New England -- Drama; Veterans -- United States -- Drama; World War, 1914-1918 -- Drama
GEORGE. Trust is all right, but you've got to go to it, too, and use
your headpieces. We've got to sit down together and educate ourselves,
who are now employers and employees, get hold of all the facts, the
statistics,--and all the elements, the human nature side of it, from the
theorists, the students, whom we've despised.
RENCH. Well, it's a fact, I hadn't thought much of them intellectuals.
GEORGE. They're part of the game--their theories are the basis for an
intelligent practice. And what should we be able to do without their
figures? Look at what we've worked out in large scale production and
distribution in this war! That's a new world problem. Shall we be
pioneers here in Foxon Falls in the new experiment?
RENCH. An experiment in human chemicals, as the doctor would say.
Pioneers! I kind of like that word. You can put me in the wagon,
Captain.
GEORGE. It will be a Conestoga with the curtains rolled up, so that
everybody can see in. No secrets. And it will be a wagon with an
industrial constitution.
FERSEN. Excuse me, Captain,--but what's that?
(RENCH laughs.)
GEORGE (smiling). Hasn't it struck you, Fersen, that unless a man has a
voice and an interest in the industry in which he works his voice, and
interest in the government for which he votes is a mockery?
(FERSEN nods.)
RENCH. We'll have to give Larz a little education.
GEORGE. Oh, I guess he'll make a good industrial citizen. But that's
part of the bargain.
RENCH. That's fair. Human nature ain't so rotten, when you give it a
chance.
GEORGE. Well, then, are you willing to try it out, on the level?
RENCH. I cal'late we'll stick, Captain.
HILLMAN. We sure will.
FERSEN. We'll be pioneers!
GEORGE. That's good American, Fersen, not to be afraid of an ideal.
Shake! We'll sit down with it in a day or two.
(They all shake. The members of the committee file out of the room,
lower right. GEORGE is left alone for a brief interval, when
MINNIE, in the white costume of a nurse, enters, lower right,
with a glass of medicine in her hand.)
MINNIE (halting). You're all alone? Where's Dr. Jonathan?
GEORGE. He's gone off with dad.
MINNIE. It's nine o'clock.
(She hands him the glass, he drinks the contents and sets the glass
on the table. Then he takes her hands and draws her to him and
kisses her. She submits almost passively.)
Why are you doing this, George?
GEORGE. Because I love you, because I need you, because I'm going to
marry you.
MINNIE (shaking her head: slowly). No you're not.
GEORGE. Why not?
MINNIE. You know why not, as well as I do.
(She gazes up at him. He is still holding her in his arms.
Suddenly she kisses him passionately, breaks away from him and
starts to fly from the room, when she runs into DR. JONATHAN, who is
entering, lower right.)
DR. JONATHAN. Where are you going, Minnie?
(MINNIE halts, and is silent. DR. JONATHAN lays a detaining hand on
her arm, and looks from one to the other, comprehendingly.)
Public-domain text, read in full here on John Shaqi.
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