(_He stands staring at the door_)

MRS. EGERTON.

(_Wonderingly_)

It wasn't our son! It wasn't our son!

(_The cannon are heard in volley upon volley as of a town giving itself up to celebration_)

EGERTON.

(_Calls into the room, left_)

Tell him to go right down, that probably There'll be an attack upon it.

GLADYS EGERTON.

(_Shaken with sobs_)

Think of it!

MRS. EGERTON.

(_As before_)

That gleam about his brow! And now he's gone!

(_She wanders back in the hall as in a dream_)

EGERTON.

And to see Chadbourne----Are you listening?

VOICE OF GEORGE.

Yes.

EGERTON.

To Chadbourne that he has authority from me-- From Egerton, to treat them all alike.

MRS. EGERTON.

(_Vacantly, to her husband_)

What have you done, Donald!

EGERTON.

That I expect The mill defended, let it cost what may.

GLADYS EGERTON.

I hate him, O I hate him!

MRS. EGERTON.

(_Who has come forward and stands facing him_)

What have you done!

ACT IV

THE LIVING MILL

_Scene: Inside the mill, showing in front a sort of half storeroom, half office shut in from the main body of the mill by a railing in the centre of which is a gate that swings in and out. Far back in this main body of the mill one sees a number of great gang saws from which off-carriers, with freshly sawed slabs and lumber upon their rollers, branch right from the main line that runs the full length of the mill. Through an opening in the far end, whence the logs are drawn up an incline to the saws, one sees as through a telescope a portion of the river and of the mountains on the opposite bank. Up toward the front, left, in this main body of the mill is a wide door that opens outside. In the foreground, within the s.p.a.ce part.i.tioned off by the railing, a pair of stairs, evidently connecting with the outdoors on the ground floor, comes up rear left. Centre, against this left wall, a pole six or eight inches in diameter, and to all appearances only recently set, goes up through a hole in the roof. Upon the floor at the foot of the pole, from which two long ropes hang down, lies a large American flag partially strung upon the rope. Forward from the pole is a door which apparently is no longer in use, a strip being nailed across it. About this end of the enclosure are piles of window sash and kegs of nails. Centre rear, at right angles to the side walls, so that one sitting upon a stool may look back into the mill, is a long checkers' desk with two or three stools before it and with the usual litter of papers, books, and a telephone upon it. In the right wall, rear, where one coming up the stairs may walk straight on and enter, is a door connecting with the main office._

_As the Scene opens, something very important seems to be going on in this main office. A crowd of men, workmen and militiamen together, are packed about the door, intent upon whatever it is that is transpiring inside. Forward, away from the crowd, a small group, mostly of militiamen, is gathered about two guards with rifles in their hands, who have evidently just come in. Back, beyond the railing and close to the crowd, a group of workmen about Wes Dicey is engaged in a heated argument. And farther back in the mill, especially about the large door, left, are bodies of men talking together. As the Scene opens, and for a few minutes afterwards, some one up the pole is heard singing._

_Time: Sat.u.r.day afternoon the week following the preceding Act._

A WORKMAN.

(_Comes from the crowd to the militiamen_)

Servin' the papers on the mine, you think?

MILITIAMAN.

He's too d.a.m.n proud to play the constable.

SECOND MILITIAMAN.

Maybe it's terms from Egerton.

THIRD MILITIAMAN.

(_To Fourth Militiaman, who has just come up the stairs with his shoulders hung with knapsacks_)

Chadbourne's here.

SECOND WORKMAN.

Egerton makes no terms till he's on top.