PS BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF ilettrs W. Sage 1891 f\..a'^6is,g „ , , t\jTrii£_ 3777 Cornell University Library PS 1127.C5 Children of earth :a play of New England 3 1924 022 011 161 « Cornell University B Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 92402201 1 1 61 BOOKS BY ALICE BROWN My Love and I. The Secret of the Clan. Vanishing Points. Robin Hood's Barn. PUBLISHED BY THE MACMILLAN COMPANY CHILDREN OF EARTH ^ 9 '^'* o ■' THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO DALLAS • ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON ■ BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO Photograph by Alice Boughlon WARY ELLF.X Miss Effie Shannon CHILDREN OF EARTH A Play of New England BY ALICE BROWN iScto gorfe THE MACMILLAN COMPANY Copyright, igis. Bx WINTHROP AMES. All acting rights, professional and amateur, ^r? reserved by Winthrop Ames. CHILDREN OF EARTH THE AMERICAN PRIZE PLAY In 1913 a prize of $10,000 was offered by Winthrop Ames for the best play, to be sub- mitted anonymously, by an American author. Nearly seventeen hundred manuscripts were received; and in June, 1914, the judges, Augustus Thomas, Adolph Klauber and Winthrop Ames, awarded the prize to "Children of Earth" by Alice Brown. On January 12, 1915, Mr. Ames produced the play at The Booth Theatre, New York. PROGRAMME OF THE FIRST PERFORMANCE WINTHROP AMES PRESENTS CHILDREN OF EARTH A Play of New England By ALICE BROWN THE PEOPLE OF THE PLAY MARY ELLEN BARSTOW . . Miss Effie Shannon AARON BARSTOW (her brother) Mr. Herbert Relcey ANITA BARSTOW (Aaron's daughter) Miss Olive Wyndham PETER HALE Mr A. E. Anson JANE HALE (Peter's wife) . . Miss Gilda Varesi ADAM HALE (Peter's cousin) . Mr. Theodor von Eltz NATHAN BUELL Mr. Reginald BARLOVir UNCLE EPH GROUT .... Mr. Cecil Yapp CYNTHIA COLEMAN .... Mrs. Kate Jepson People of the Village THE scenes of THE PLAY ACT I. — Mary Ellen Barstow's Sitting Room. An Afternoon in Spring. ACT II. — The Hale Farm. The Same Afternoon. ACT III. — Pine Tree Spring. Daybreak the Next Morn- ing. ACT IV. — The Barstow Sitting Room. TuE Play Produced by Winthrop A?iIES WINTHROP AMES WHO "still betters what is done" IN PLAYS AND ACTING PERSONS AND SCENES OF THE PLAY MARY ELLEN BARSTOW. AARON BARSTOW, her brother. ANITA BARSTOW, Aaron's daughter. PETER HALE. JANE HALE, his wife. ADAM HALE, Peter's cousin. NATHAN BUELL. UNCLE EPH GROUT. CYNTHIA COLEMAN. ACT I. — MlD-AFTEENOON IN SPRINC. ThE BARSTOW SITTING Room. ACT II. — A Little Later the Same Afternoon. The DOORYARD OF MiLL RoAD FaRM. ACT III. — Daybreak the Next Morning. Pine Tree Spring. ACT IV. — The Same Morning a Little Later. The Barstow Sitting Room. ACT I CHILDREN OF EARTH ACT I Mid-afternoon of a spring day in the sitting room of a New England colonial house, furnished in keeping with excellent, though plain, old-fash- ioned furniture. There are two zvindoivs, with folding shutters, looking out on the front yard and the path that goes down to the road. There is a door opening into the front hall, a door into the passageway serving as a pantry, lead- ing into the kitchen, and a door into a bedroom. The room is wainscoted, and over the large lire- place, with its Hessian ftredogs, the wall is pan- eled, with two little cupboards above the mantel, one on each side. On the mantel are old brass candlesticks, a tall vase of lilacs, daguerreotypes, etc. Between the windows is an old-fashioned desk with secretary top (the shelves filled with books) and near it a small round table, on it a tall vase of spring flowers. Between the hall door and the door to the kitchen is a sideboard, and above it are shelves, the upper ones filled zvith china and the lowest with pewter. There are four chairs drawn up to the large square dining table in the middle of the room, and these, like I 2 CHILDREN OF EARTH the other chairs, are of a simple antique pattern. There is a grandfather clock, and, on the zvall, a colored print. There are braided rugs, and at the windows soft white curtains. Aaron Barstow, a man of fifty-tzvo, sits at the desk, rapidly examining papers, tearing them and toss- ing them into the waste-basket at his side. The papers are in neat packets, as if they had been carefully put azvay, but he tears them ruth- lessly, as one used to more im,portant work. He is a hard-featured, self-contained man, of a sharp, concentrated glance and a prompt, masterful manner. He is not a man of initiative who could govern new situations intuitively. He has learned to control one sort of business and put all his force in there, sometimes with the outlay of an inordinate amount of energy. For though he is a city manufacturer, he has never ceased to be a country man — the type you see passing the plate in a country meeting house — canny, not humorous, limited, and taking back every time to old ideas. Anita, carrying a pile of men's clothing, comes in from the front hall. She is a charming girl, with all the modern graces and a lovely warmth and simplicity of nature sometimes crossed by a streak of hardness ivhere she has been obliged to revolt against father and his ways. She wears a blue dress of a fashionable cut, though quite simple, as her sense of fitness has prescribed. She carries the clothes to the large table and drops them on it with a manifest air of distaste. CHILDREN OF EARTH AARON That you, Nita? ANITA Yes. Come, look at these. [As he pays no atten- tion. ] Father ! AARON [Looking round.] What ye got there ? ANITA Grandfather's clothes. AARON Well, they won't bite ye. ANITA I've caught it of Aunt Mary Ellen. She can't bear to touch them. AARON Say so ? ANITA No. But you can see. It's all been too much for her. He was sick so long. And then the funeral. And we let her go through it alone. AARON We couldn't ha' got here for the services if we'd sailed as soon as she cabled. 4 CHILDREN OF EARTH ANITA We needn't have stayed three weeks after. AARON I was more or less busy, you may remember. ANITA Buying rubber. AARON [With a dry jocularity.^ You were more or less busy yourself. ANITA Buying clothes. We were quitters, that's all. AARON Oh, come, come. ANITA We simply left Aunt Mary Ellen to take care of that helpless old man. I don't believe you've been down here once a year since mother died. I haven't. AARON Well, we're here now. ANITA Yes, and in the three hours we've been here, I can see we're too late to be any help. CHILDREN OF EARTH 5 AARON What you goin' to do with them ? ANITA Aunt Mary Ellen wants to know whether you can wear them. I suppose she thinks they're nice, poor dear. [She holds up a waistcoat to examine iV.] AARON Tell her to give 'em away. Godfrey! don't that look like father ! Threadbare 1 ANITA Are those his papers? AARON Yes. Worthless. Little picayune things. ANITA What are you in such a hurry for, to clear them out ? AARON Gettin' things to rights. So your aunt can go back with us. ANITA You don't mean — to live? 6 CHILDREN OF EARTH AARON Course I do. ANITA She wouldn't know what do with herself. AARON She'll be company for you. Do what your mother'd done, if she'd lived. ANITA She doesn't dream of leaving here. AARON No. I ain't told her yet. [Cynthia Coi.eman bursts in from the front hall. She is a large woman, between forty and fifty, of abounding good- nature and a perennial gush of words. She wears her best suit, the one she keeps "for nice".} CYNTHIA There! I bolted right in. Aaron Barstow, this ain't you? AARON Well, what d'ye think? CYNTHIA I see you drive by. Well, it's a kind of a sad home- comin', ain't it, your father passed away 'n' all. This your girl? CHILDREN OF EARTH 7 AARON Anita, this is Mis' Coleman, — Mis' Cynthy Cole- man. CYNTHIA [Shaking hands with Anita.] Favors your side, don't she ? She's the exact image o' Mary Ellen at her age. ANITA I'll call Aunt Mary Ellen. She's changing her dress. CYNTHIA Don't ye disturb her. I'm on my way home from the street, an' I stopped to put a question, that's all. What time's the exercises down to Mill Road Farm? AARON Exercises ? CYNTHIA Jane'll know. I see her through the kitchen winder. AARON Jane? Who's Jane? CYNTHIA Why, Jane Hale. Peter Hale's wife. 8 CHILDREN OF EARTH AARON What's she in the kitchen for? I didn't see any- body come in. CYNTHIA Why, she's been comin', ofif an' on, ever since your father had his stroke. Lately she's stayed nights an' got breakfast. I dunno what Mary Ellen'd done with- out her an' Peter. AARON Peter Hale? So he's got back here. He was the wanderin' one, wa'n't he ? CYNTHIA Yes. AARON Where'd he pick this woman up? Round here? CYNTHIA Law, no. She's a Portugee. But she's mad as fire if anybody says she ain't straight Yankee. [Amused.} Calls herself Jane. ANITA Peter Hale? Is that Adam Hale's cousin? CYNTHIA Yes. It's down to his farm we're goin' to bless the trees. Mill Road Farm. AARON Blessin' the trees? What kind o' folderol is that? CHILDREN OF EARTH CYNTHIA Oh, you come along an' see. Peter Hale's been learnin' us the songs, 'n' we're goin' to all turn out. Many's there is left of us. Mary Ellen's bought up so much o' the farm land round here she's kinder crowded us off the edge, an' we're movin' into the village. I'm packing up an' I expect to be off next week. [She calls in a clarion voice directed to the kitchen.^ Jane! AARON Well, I s'pose 'twas to your advantage to sell, or ye wouldn't ha' sold. CYNTHIA Law! I'm goin' to be proper pleased to move into the street amongst folks. I guess 'twas so with the rest. We're all gittin' along in years an' the young folks are possessed to be off bein' chauffers or climb- in' electric poles. [She calls again.] Jane! [To Aaron.] Much as I can do to get any- body to help me pack up. [Jane Hale comes in from the kitchen. She is a thin, pale, haggard woman, in the forties, of a tempestuous type, subdued to the demands of everyday life. Her black eyes, often veiled, are, in spite of her, hot with the tropical fire she is able, for the most part, to keep out of her manner. Although she is capable of lithe action, her ordinary movements are dull and peasant- like.] 10 CHILDREN OF EARTH JANE How de do, Mis' Coleman. CYNTHIA Make you acquainted with Mr. Aaron Barstow, from New York — Mary Ellen's brother. Miss Anita Barstow. ANITA [Coming forward with a pretty manner of being "nice" to JaneA Mrs. Coleman says you've been helping Aunt Mary Ellen, you and your husband. JANE Yes. I'm here more'n I am to home — now. He says she hadn't ought to be alone. CYNTHIA What time's the exercises down to the farm? JANE Four o'clock. CYNTHIA [Turning to go.] You come down, Aaron. Renew your youth. JANE Mis' Coleman, I've got a basket o' Mary Ellen's dishes she's goin' to lend us. Could you make room for it in the buggy? CHILDREN OF EARTH n CYNTHIA Certain I could. JANE Peter's goin' to call for it, but he'll have the colt an' I wouldn't resk it. [She goes out to the kitchen.] CYNTHIA Better by half come down, Aaron. We used to have proper good times down to Mill Road Farm. AARON Look here, Cynthy, I shall have to take that 6.20 to-morrer mornin', for New York. You don't s'pose you could carry me to the depot, do ye ? CYNTHIA Why, yes. Some of us'll be glad to. AARON That depot man's slower'n stockstill. CYNTHIA Right on hand, ain't you, Aaron, same's you always was? AARON Well, ye've got to be if you're goin' to git any- wheres. [Jane comes in from the kitchen with a large basket of china.] 12 CHILDREN OF EARTH CYNTHIA I'll help ye. Here, let me ketch hold. AARON I'd offer to take that for ye, but I dunno but you can manage it better by yourselves. [Cynthia and Jane carry out the china by the hall door.] [Aaron watches them out and then goes on with his "regulating".^ I don't like the looks' o' that Hale woman. ANITA So that's Peter Hale's wife. But she's been good to Aunt Mary Ellen. What's she so long about? [She goes to the bedroom door and knocks, calling.] Aunt Mary Ellen! MARY ELLEN [Answering from her bedroom.] Was that Cynthy? She gone? ANITA Yes. MARY ELLEN I guess I was kinder 'fraid o' lettin' her see me in this dress. I don't hardly know's I want you to. [She comes in, shy and hardly hoping for approval. She is a woman of perhaps forty-six, of a delicate loveliness overlaid by a look of pathetic endurance. She has been as warmly in love with life as Anita is now, but has CHILDREN OF EARTH 13 dumbly fought down in herself every emotion that rebels against the recognized system of things. She is dressed in a silk of an old-fashioned cut, exactly suited to her type of svoeet appealingness.] You see what you think. ANITA [Affectionately giving little caressing pats and rearranging touches to Mary Ellen's neckgear.] Now where did you ever come on a dress like this? MARY ELLEN Up attic. 'Twas mother's. Ain't it suitable? ANITA Sweet. Only it makes me feel as if I'd stepped into Godey's "Lady's Book". Are there any more ? MARY ELLEN Yes, one. Her weddin' dress. I never have wore 'em. Father kep' me in dark clo'es, but I kinder felt as if I wanted somethin' light — this afternoon. [lane comes in from the hall on her way to the kitchen.^ JANE I've took the china. MARY ELLEN That's right. JANE I'll clear up before I go. 14 CHILDREN OF EARTH MARY ELLEN No, no. You'll want to get home 'fore the folks come. JANE I've got plenty o' time. [She goes out to the kitchen.] AARON What's all this about blessin' trees? MARY ELLEN It's an ancient custom come from England. Old Gran'ther Hale used to tell about it. Don't you re- member? An' now Peter's come back an' hired the farm, he's possessed to keep up the old ways. ANITA [With quick interest.] Peter is the one Adam is so fond of ? AARON [Dryly.] Yes. An' that Jane there is Peter Hale's wife. Portugee! Anybody 't married into the family'd be marryin' her, too. ANITA Adam couldn't help that. CHILDREN OP EARTH 15 MARY ELLEN You think you could use any o' these? [She indicates the pile of clothes.] AARON No. Get rid of 'em. ANITA Let me. Haven't you an empty drawer? [She takes them and goes toward the bedroom door.] MARY ELLEN Don't put 'em in my room. ANITA Where shall I ? MARY ELLEN [Indicating a little table.] Put 'em there an' we'll see. ANITA Are these all? MARY ELLEN There's another pile o' shirts in the bureau, in the room you're in. Bring 'em here an' I'll look 'em over. ANITA [Leaving the clothes on the little table.] No. I'll look them over up there. You don't need to see them. [She goes out to the front hall and upstairs.] [Mary Ellen sits at the large table and begins to sew on n shirt she has taken from her work basket.] ii CHILDREN OP EARTH AARON [Rising and casually regarding her.] That his shirt? MARY ELLEN Second-best. AARON What you doin' to it? MARY ELLEN Jest ketchin' it round the collar. AARON What for? MARY ELLEN Father never could stand a brack in his clo'es. I had to darn an' darn. AARON Well, he's done with 'em now. [He goes to the Areplace and begins examining things on the mantel.'] MARY ELLEN I know it. But seems if I'd got to go on with it jest the same. Seems if, so long as they're here, he's here too. AARON He kep' a pretty tight hand on the rein, didn't he? To the last. CHILDREN OF EARTH 17 MARY ELLEN There 1 Le's not talk about it. AARON How soon can you get out o' here? MARY ELLEN [In alarm.'] Out o' this house? AARON Yes. You don't s'pose you're goin' to Hve on here alone, do ye? MARY ELLEN [Evasively.] For the present. AARON No. You're goin' with Nita an' me. MARY ELLEN [Defensively.] Oh, no, Aaron. I ain't planned it that way. AARON [His eye is caught by the pewter on the shelf.] What you intend to do with this? MARY ELLEN Why, that's gran'mother's pewter. iS CHILDREN OF EARTH AARON Well, you won't want to leave it behind ye. MARY ELLEN Aaron, I ain't goin' to New York. AARON [He begins to take the pewter down and set it on the tahlel] I'll reach it down an' by'n' by we'll pack it up. MARY ELLEN Aaron, I ain't goin' — AARON I should think you'd like to do somethin' for Nita. This last year she's needed somebody mighty bad. She told you about that affair o' hers? MARY ELLEN [Watching the pewter in distress.] No. [With a sudden rapt interest.] Has Nita fell in love? AARON Thinks she has. MARY ELLEN Who is it? CHILDREN OF EARTH AARON 19 Now I'll tell you who 'tis. It's one o' these same Hales that owned Mill Road Farm as long ago as you an' I can remember anything. MARY ELLEN Don't let Jane hear you. AARON If she's married one on 'em she knows 'em as well as I do. Worthless — MARY ELLEN You can't call 'em worthless. [She has followed every movement of his with the pewter in a nervous anxiety, and now, as if she couldn't possibly help it, takes a piece or two from the table, while he has turned to get another, and sets them back on the shelf again. As he takes down the pieces, she continues to set them back, though with no logical purpose, and he, absorbed in the Hales, doesn't find her out.] AARON No Hale ever made a dollar. If they come on one in the gutter they wouldn't ha' picked it up unless 'twas shiny. Crazy — MARY ELLEN No, Aaron. They wa'n't crazy. 20 CHILDREN OF EARTH AARON They were. 'Twas in the blood. There was old Gran'father Hale, old Apple Hale they called him. He was crazed about apples. Wherever he went he'd plant an apple seed. MARY ELLEN [Dreamily.^ How good his clo'es al'ays smelt ! I used to admire to have him take me up. AARON Then there was another that thought he'd got a stoneless plum. By George ! MARY ELLEN 'Twas pretty nigh that. Stone wa'n't no bigger'n a pea. AARON Well, that's all there was to it. He didn't know enough to get it on the market. Then there's this Peter, this friend o' yourn. He's a chip o' the old block. MARY ELLEN Peter. AARON An' there's another — kind of a cousin o' his, next generation. CHILDREN OF EARTH 2 1 MARY ELLEN Adam. AARON He's the one Nita's bewitched with. MARY ELLEN Ain't he a kind of a druggist? AARON Chemist. Agricultural chemistry. MARY ELLEN How'd he an' Nita get acquainted? AARON He come to me to git a job. Business. You wouldn't know if I told ye. Watch me givin' a Hale a job. MARY ELLEN So she's fell in love with Adam Hale. AARON Seems so. An' she can fall out ag'in. MARY ELLEN Aaron, you ain't come betwixt 'em? AARON Yes, I have. 22 CHILDREN OF EARTH MARY ELLEN D'you find he was wild or suthin'? AARON No! no! He's a Hale, that's all. Do you know what Nita's comin' into if she outlives me? MARY ELLEN Why, I never thought, but I s'pose you're worth a good many hunderds o' dollars. AARON [Laughing dryly.] Hunderds! Yes, I guess I be. Now, look here. I've got to the place where I expect my money to do me some good an' do Nita good, too. She's pretty an' she's smart. She's fitted to marry amongst folks that wouldn't speak to you or me. Do you s'pose I'm goin' to see her tie herself to Adam Hale? No, by Godfrey ! MARY ELLEN Well, I'm terrible sorry she's had to give him up. AARON I ain't. I hate a Hale as I hate the devil. MARY ELLEN You used to go down to Mill Road Farm a good deal, years ago. CHILDREN OF EARTH 23 AARON Yes, I did. An' what did it amount to? We'd set round the kitchen an' tell stories. MARY ELLEN An' sing. AARON Yes. 'Twas when you were goin' with Nate Buell. Whatever come betwixt you an' Nate ? MARY ELLEN Father did. AARON Well, the Buells wa'n't much. There was a crowd of us. We set round the kitchen an' grinned at one another as if grinnin' was the end o' man. MARY ELLEN 'Twas a proper nice place. There ain't been such times since. AARON D'you remember the night father come down an' ordered us home? MARY ELLEN I remember. AARON We slunk out o' that kitchen like two dogs comin' to heel. Nate Buell follered us out. 24 CHILDREN OF EARTH MARY ELLEN I know he did. AARON When father got us into the road he asked us if we thought we were growed up, singin' an' dancin' when there was corn to husk. Nate an' I were so mad we could ha' killed him. MARY ELLEN You were one on each side o' me an' Nate says to me, "Don't cry." AARON Next day Nate an' I got together an' we concluded father was right. MARY ELLEN Right I AARON Yes. 'Twas time for us to buckle down. An' we never stepped inside the door o' Mill Road Farm ag'in. MARY ELLEN [Dreamily.^ I dunno what't was about that place that made it so kinder homey an' pleasant. Mebbe 'twas because folks lived there that enjoyed themselves an' wanted other folks to. An' they were always tryin' to git some- thing out o' the earth, somethin' besides money. AARON Well, what's this Peter gittin' out of it? CHILDREN OF EARTH MARY ELLEN 25 He's prunin' up the trees, an' settin' out new, an' tryin' to coax Jane back to health. AARON What's the matter of her? MARY ELLEN I dunno's I can say. AARON [He goes to the mantel, opens one of the little cupboards over it, tries the other and finds it locked.] What's in here? MARY ELLEN [Getting a key from a book on the secretary shelf.] Oh, that's father's medicines. AARON What you got 'em locked up for? MARY ELLEN I thought best. AARON Where's the key? [She gives it to him.] I might as well be goin' over things while I'm standin' round. 26 CHILDREN OF EARTH MARY ELLEN When you git through you lock it up ag'in. AARON [Unlocking the door.] Why ? What ye got in there ? MARY ELLEN Brandy an' whisky. You sent him a bottle of each. AARON [He takes out two bottles, examines them and finds the seals unbroken.] Father never was no hand for liquor. I might as well take these back. MARY ELLEN Then you put 'em in your bag, last thing. Don t you leave 'em settin' round. AARON Why not? [He puts them back in the cupboard, locks the door and gives her the key.] MARY ELLEN I dunno's I'd ought to tell you. [Gravely and cautiously.] It's Jane. CHILDREN OF EARTH 27 AARON Jane ? Out there in the kitchen ? MARY ELLEN Jane Hale, Peter's wife. She's had a bad habit. AARON Drink? Sho! A man's a fool to marry a woman with that kind of a look, anyways. Gypsy trollope ! MARY ELLEN Well, I s'pose some men'd marry a woman to take care of her. AARON I s'pose a Hale might. D'he tell you so? MARY ELLEN Peter? No. He ain't that kind. Only sometimes seems if he an' Jane — well, you can't think of 'em as married folks. AARON You turn her out. I don't want a drinkin' woman round here. She might set the house afire. MARY ELLEN Oh, she ain't touched a drop for over a year. She's been terrible good. I dunno what I should ha' done if it hadn't been for her an' Peter. 28 CHILDREN OF EARTH AARON I told you to keep a girl. MARY ELLEN Father wouldn't hear to it. He said mother always done her work, an' I'd got to do the same. AARON Well, you wa'n't doin' it if this Hale woman was round every day. MARY ELLEN He never seemed to mind her. She an' Peter've been back an' forth till you'd think they'd got all wore out. An' over a month now Jane's stayed with me nights. I s'pose father thought seein' they were neighbors they wouldn't ask him nothin'. AARON I guess there's no danger of a Hale bringin' in a bill. The Hales always did manage to turn their neighbors' grindstones faster'n their own. MARY ELLEN Peter used to come in an' help move father in the bed. He'd even see to the kindlin', an' come over Mondays to empt' my tubs. I don't s'pose he an' Jane'd take any pay, but I thought mebbe you'd make her a handsome present. CHILDREN OF EARTH 29 AAUON Well! Well! We'll see. MARY ELLEN Aaron. AARON Well. MARY ELLEN About Adam an' Nita. If anything happened to you an' me, I should think you'd like to feel you wa'n't leavin' Nita alone. AARON I'd as soon leave her alone as leave her with a Hale. Why, there wa'n't a family in this town that lived so nigh the wind. MARY ELLEN They wa'n't any poorer'n we were. AARON Hojv long d'we stay poor? I was twenty-one when I went away an' got into rubber. An' I was twenty- six when I bought this house an' I put you an' father into it. An' if you've lacked for anything since, 'tain't my fault. MARY ELLEN Well, it all come through father, an' you know how it hurt him to take out his wallet. 30 CHILDREN OF EARTH AARON Father was an old-fashioned man, used to old- fashioned ways. You ain't laid that up ag'inst him ? MARY ELLEN [With sudden passion.] No, I ain't laid it up. I ain't laid it up. AARON Now what you want to cry for ? You didn't expect him to live, helpless as he was. What you takin' it so hard for? MARY ELLEN It ain't his death I'm takin' hard. It's because I can't mourn, Aaron. I can't mourn. AARON There ! There ! [Glancing from the window.] Who's that? MARY ELLEN Who's it look like ? AARON Well, if that ain't old Eph Grout I'll miss my guess. An' he's got on the same overalls he wore when I was a boy. An' he's hoppin' along jest the same gait. CHILDREN OF EARTH 31 MARY ELLEN Call him over. He al'ays likes a bite o' sweet trade. He'll come quick enough. [She goes to the sideboard, takes out a crock from below and puts cookies on a plate. Aaron opens the window and calls.] AARON Hey, Uncle Eph! Come over here! [To Mary Ellen.] He must be a hunderd an' ten. We boys used to foller him an' dare one another to ask him how he got cracked. Love-cracked, we used to say. Love-cracked ! [Mary Ellen opens wide the door into the hall and Eph Grout warily appears. He is an old man with thin shaggy beard and gray hair, and shrewd but wandering glance. His moveriicnts arc quick and jumpy, as if there were ill regulated springs in his legs. He wears oteralls much too large for him, and covered with overlapping patches, the resulting surface so worn and grimed as to look like earth and lichen and dead leaves. Mary Ellen, with little inviting words, offers him the cookies, holding the plate low, as one might reassure a timid animal. He ventures a nervous hand toward the plate, but by the time he has touched a cooky and been allowed to take it, he gathers confidence and takes them, one after another, his look of adoration for her, as he interrogates her face, deepening with every one.] EPH One — two — three — four — five — AARON [Making a sudden movement behind fcj'w.] Boo! [Eph jumps in alarm, and whirls about to face him.] 32 CHILDREN OF EARTH Look here, Uncle Eph. Look here. D'ye ever see me before ? EPH [Recovering his confidence at a pat and smile from Mary Ellen and questioning the empty plate.] Six? MARY ELLEN Not to-day, Uncle Eph. You slip down to Mill Road Farm, about four o'clock, an' you'll git some sweet trade there. EPH [At once reassured and hopeful] An' lemonade — an' lemonade — [He skips out at the hall door.] AARON Godfrey Dominy ! What's the use o' sich a creatur' as that cumberin' the ground? [He produces a map from his pocket and spreads it on the table.] Look here, Mary Ellen. Here's where we are now. You've picked up most o' the land, ain't ye? Five farms an' four wood lots. MARY ELLEN [Going to him.] What's that? AARON As you pulled in one farm after another, I had this colored accordin' to the deeds. CHILDREN OF EARTH 33 MARY ELLEN What is it here where the white runs int' the red? AARON That's Mill Road Farm. MARY ELLEN So 'tis. AARON It ought to be an unbroken sweep o' land from Bald Mountain to Sunset Pond. But now it's like a cake that's bit into. Why ain't you picked up Mill Road Farm? MARY ELLEN I couldn't. AARON What you done towards it ? MARY ELLEN Nothin'. AARON Why not? MARY ELLEN Why, Nathan Buell owns it. 'Twas mortgaged, you remember, an' come into his hands. An' I ain't seen him for twenty-six years this April. AAPON You could ha' written to him, couldn't ye? 34 CHILDREN OF EARTH MARY ELLEN I didn't feel to — about that. AARON Didn't you understand what I wanted? I told you to have the deeds made out in your name. An' I furnished the money. MARY ELLEN Well, there 'tis, acre upon acre. AARON All but Mill Road Farm. MARY ELLEN I can't meddle with Mill Road Farm. AARON Why not? MARY ELLEN Because Peter Hale's set his heart on buyin' it for himself. AARON [Keenly. 'I Think he's got an option on it? MARY ELLEN An option, brother? What's that? CHILDREN OF EARTH 35 AARON Nate Buell agree to sell? MARY ELLEN Yes. AARON You've let Peter Hale come in an' sneak it away under your nose, an' you wouldn't write to Buell? MARY ELLEN I have wrote. AARON What'd he say? MARY ELLEN I didn't write about the farm. AARON What'd you write for? MARY ELLEN I told him father'd passed away. AARON What'd he care about father? MARY ELLEN Be that as it may, I couldn't ask him to sell me the farm over Peter Hale's head. 36 CHILDREN OF EARTH AARON One farm's like another to Peter Hale. MARY ELLEN Oh, no, it ain't, Aaron. Peter's bewitched with his trees. An' he's graftin' 'em an' sprayin' 'em an' scrapin' out the rot, an' you never see a happier man nor a contenteder. AARON You write to Nate Buell within an hour an' tell him you'll give him a third more'n he can git from Peter Hale. MARY ELLEN Aaron, we've got land enough. That's what the neighbors say to me. "What you buy in' up so much land for?" they say. An' if I hadn't give you my word I wouldn't, I'd told 'em what you wrote. I'd said, "Because I've got a good brother, an' he's puttin' hunderds o' dollars into real estate for me, so's I sha'n't come to want." AARON You ain't repeated that to nobody? MARY ELLEN No. But I'd like to. I'd like to tell 'em my brother Aaron's lookin' out for my old age. AARON Your old age'll be all right. There ain't any papers passed betwixt Hale an' Buell, has there? CHILDREN OF EARTH 37 MARY ELLEN For the farm? AARON Buell ain't agreed to sell, nor Hale ain't paid down anything to bind the bargain? MARY ELLEN I dunno. AARON Then you write to Buell. MARY ELLEN He ain't in Toledo now. AARON Where is he? MARY ELLEN He's comin' here. AARON Comin' east? MARY ELLEN Yes. Soon's he got my letter sayin' father'd passed away, he sent me a dispatch. [She takes a telegram from her pocket, opens it and looks at it in almost terrified delight] It says, "Comin'. Arrive the fifth." Reads as if he wrote it in a hurry. Never stopped to git the worth of his ten words. 38 CHILDREN OF EARTH AARON The fifth? Why, that's to-day. MARY ELLEN Yes, to-night. The last train 'twould have to be. AARON [In sudden discovery.] You been puttin' that pewter back on the shelves ? MARY ELLEN Yes, I have, but I'll take it down ag'in. You can pack it up an' carry it off. AARON It'll be yours jest the same. I only want you to clear out everything of any value, so's I can let or sell. MARY ELLEN [She takes down the pewter and sets it on the table.} You shall have the pewter. But you mustn't think I'm goin' back with you. It ain't that I wouldn't do anything in the world for Nita or you either. But I can't. I ain't free. AARON Why ain't ye? MARY ELLEN Aaron, that's what I've been tryin' to tell you. Oh, I can't — here's Nita. [Nita comes in at the hall door.] CHILDREN OF EARTH ANITA 39 Why, there's your pewter. Then you arc going back with us. You dear! MARY ELLEN No, no ! I ain't goin', Aaron. [Wildly.] Don't you try to make me give way. I give way years ago, an' if I do it ag'in it'll kill me. AARON There, there! You'll feel different in the mornin'. You be ready to take the 6.20. Guess I'll go out an' poke 'round a spell. [He goes out by the hall door into the yard.] ANITA I wish he wouldn't hurry so. Why can't he take the day off? MARY ELLEN Business, I s'pose. [With a little wistful humor.] We shouldn't know if he told us. ANITA What were you two talking about? MARY ELLEN For one thing, your father spoke to me about you an' Adam Hale. 40 CHILDREN OF EARTH ANITA Now what's father told you? MARY ELLEN He's terrible set ag'inst the Hales. ANITA Poor people, weren't they? MARY ELLEN Middlin'. ANITA He hates to remember how he began. He hates the people that remember it. MARY ELLEN Don't seem as if he need to feel that way. ANITA He does. For the last year, since he's thought of retiring, he's simply advertised himself down here — library — iron fence round the graveyard — MARY ELLEN Now what's that for? He ain't comin' here to live? ANITA No, no. But he's begun to see he hasn't really made good, even if he is a rubber king. CHILDREN OF EARTH 41 MARY ELLEN Your father's a terrible smart man. [Distressed at the empty shelf where the pewter used to live she begins taking things from the mantel and putting them on the shelf.] If anybody's made as much of a place for himself as your father has — ANITA Ah, but the only place he's made is in rubber. I've no place either. MARY ELLEN Why, Nita, you must have made friends. ANITA I haven't been willing to run with people that wouldn't stand for father. And they can't. If he ever had a spark of interest in anything but money, he stamped it out years ago. MARY ELLEN [With a sad little smile.] When father ordered him home from Mill Road Farm. ANITA When was that? MARY ELLEN Oh, never mind, dear. I was only goin' back to old times. 4M CHILDREN OP EARTH ANITA Father and I are in the same box. He'd like to distinguish himself now when it's too late. I'd like to have him. MARY ELLEN Nita, I never heard a girl speak so about her father. ANITA Oh, I know father. You can't live with a person twenty years and not know him. Didn't you know grandfather ? MARY ELLEN Oh! ANITA Why don't you face things? Face grandfather's memory. You see the mistake was not having the sand to face grandfather himself. MARY ELLEN I wa'n't brought up that way. But, Nita, I want to say this. It was what I was tryin' to tell your father. I'm goin' to have a home o' my own. ANITA Aunt Mary Ellen! MARY ELLEN An' however things are betwixt you an' your father, you'll be dearly welcome to it. CHILDREN OF EARTH 43 ANITA Why, you're coming with us. /lARY ELLEN No, Nita. I'm goin' to be married. ANITA Married ! MARY ELLEN I guess that's what your father'd say — jest that same way. Well, I s'pose 'tis funny, a woman o' my years. ANITA Who is he? MARY ELLEN Nathan Buell. ANITA Does father know him? MARY ELLEN He used to. ANITA And you've told father? MARY ELLEN No, but I've got to. There's jest one thing that gives me courage — your father havin' me buy up all this land round here. I say to myself, "He's doin' everything he can to provide for me, an' if I want 44 CHILDREN OF EARTH to change my state he'll stan' by me in that." 'Twas buyin' the land that led me to hear from Nathan Buell. I had to send to him about a right o' way. An' Nathan wrote back an' he says, "Can't you con- clude to marry me?" ANITA What did you say? MARY ELLEN I showed the letter to father, an' he put it into an envelope an' sent it back without a word. ANITA So you didn't answer? MARY ELLEN Not till Nathan wrote ag'in. ANITA Did you show grandfather that? MARY ELLEN No. I thought best not. I wrote Nathan, "I can't leave father." But when father was gone, I wrote ag'in. See here. [She shows Anita the telegram.] ANITA The fifth. Why he might be here now. CHILDREN OP EARTH 45 MARY ELLEN It'll be the last train. [She draws out a ring hung by a chain about her neck.] Here's the ring he give me twenty-seven years ago this month. ANITA So he's coming. Are you glad? MARY ELLEN Sometimes when I think o' seein' him ag'in, seems if I couldn't live. All them times come back, spring with the laylocks in bloom, fall with the leaves a-turn- in' an the smell o' grapes. ANITA But he'll be changed. MARY ELLEN So I tell myself. I'm changed. So'll he be. But if he can bear the sight o' me I can — crave the sight o' him. ANITA Why, he'd be as old as father. MARY ELLEN Pretty near. ANITA Suppose he turned out just like father. 48 CHILDREN OF EARTH MARY ELLEN He wa'n't like your father, Nita. ANITA He never — married? MARY ELLEN He did marry. His wife died. ANITA You don't — feel any different — for that? MARY ELLEN I've thought it all out an' I couldn't blame him. He had to have a home, didn't he? ANITA I'm afraid you're going to be disappointed. MARY EIJ.EN Well, what if I be? Is he the same man he would ha' been if I'd married him? No, of course he ain't. An' that's what I've got to remember, every instant o' my life.. But I don't want you to travel the road I've traveled. I don't want you to give up your youth. It's like killin' somethin' that won't come alive. ANITA But it's come alive in you. CHILDREN OF EARTH 47 MARY ELLEN I've kep' it alive. I've fanned it when 'twas dyin', an' poured my blood into it till it seems if sometimes I hadn't enough left to keep my heart a-goin'. [Exultantly.^ But I have. My heart's kep' right on, an' I shall have my life yet. I want you to have your life, too. ANITA I shall have my life. If I don't have it with a man I shall have it by myself. MARY ELLEN You can't, Nita, you can't. Men an' women were made to live together, an' they ain't much of anything alone. ANITA You've learned to live alone. But now you're plan- ning to live with a perfectly strange man. You're the most daring woman I ever saw. MARY ELLEN You've got to be darin' in them things. Ain't mothers darin' when they bring their children into the world? If ye don't take no risk, where be ye? ANITA Suppose it goes wrong? 48 CHILDREN OF EARTH MARY ELLEN Goes wrong! [Scornfully.^ Your father said you were in love. I don't believe it. You wouldn't think it could go wrong. ANITA I don't know Adam Hale yet. MARY ELLEf^ Don't your heart tell ye? ANITA I know what my heart tells me. But my head tells me he's young, he's handsome. That's nature's game. MARY ELLEN No, you don't love him. ANITA Oh, I've got as drunk as you have. MARY ELLEN Anita ! ANITA On love music in operas, and things like that. But I wouldn't marry even Adam Hale if he didn't make good. And father's pretty well convinced me he won't. CHILDREN OF EARTH 49 MARY ELLEN Well, ain't you goin' to help him? ANITA Aunt Mary Ellen, do you know what it is to be ashamed? To be thrown with people who've got things to be proud of and know you've nothing your- self? A man must bring me what I haven't got — and can't get without him. MARY ELLEN Nita, you look at me. My life's been as bare as your hand, an' if I had it to live over ag'in I'd stan' up an' look father in the face — No, I couldn't. I couldn't. I was a little young thing, same's you be now. But you see where I be to-day, an' don't you give up the man you love because he's poor, nor be- cause he comes of plain folks, nor because your father tells you to. If Adam ain't got much to bring you — why, you make it up to him. No, you don't love him. ANITA Maybe not. MARY ELLEN [Watching the effect of her words.] Nita, d'you know Adam's here? ANITA [Startled.] Here? so CHILDREN OF EARTH MARY ELLEN Down to Mill Road Farm. ANITA What's he doing? MARY ELLEN He's goin' to live with Peter. They'll carry on the land. ANITA [Incredulously.] Down here? MARY ELLEN Within ten minutes' walk. ANITA [In a burst of delight.] I might have known. That's why I'm so happy here. I haven't been so happy — O Aimt Mary Ellen ! [She runs into Mary Ellen's ar)iis.] MARY ELLEN [Triumphantly.] You do like him. I guess you like him enough. There's Peter Hale drivin' up. [Humorously alive to her wet eyes.] I guess I need the roller towel. CHILDREN OF EARTH 51 ANITA Peter Hale? MARY ELLEN Adam's cousin. I guess you'd jest as soon talk to him for a minute. [She goes out into the kitchen.^ [Ani*a opens the door for Peter Hale, who enters carrying a birch log and a big bunch of apple blossoms. He is a lithe, quick-moving man of forty-nine or fifty-one or two, with a clean-shaven face, eloquent eyes, brilliant smile and great charm of ingenuous manner.] ANITA Mr. Hale ? I'm Anita Barstow. PETER Oh! [He gives her a spray of apple blossoms.] D'ye ever see anything prettier 'n that? ANITA Lovely! Aunt Mary Ellen will be right back, but before she comes I want to tell you I know how awfully good you've been to her. PETER Anybody'd be good to her. [He leaves the log by the hearth, takes the flowers from the vase on the little table, drops them in the waste basket and puts his apple blossoms in the vase.] 53 CHILDREN OF EARTH ANITA Mr. Hale. PETER Yes. ANITA You going home from here? PETER Yes. ANITA Couldn't you take these? {She indicates the pile of clothing.'] PETER Why, them ain't the old gentleman's clo'es? ANITA Yes. PETER [With involuntary distaste.] I don't believe I've got any use for 'em. ANITA Burn them. They make her nervous. I believe they frighten her. PETER I should think they would. Yes. We're goin' to burn a brush heap this afternoon. Part o' the exer- CHILDREN OF EARTH 53 cises. I'll lay 'em in under the edge, an' they shall return to the earth as they was. [He steps into the hall, leaves them there and comes back.] ANITA You're awfully kind. Could we — PETER What? ANITA Could we do anything — in return? PETER No. I've no bill ag'inst ye. ANITA Please! Let father buy you something — a plough or a mowing machine. PETER Or a harrer? There's one thing he can do. See t the harrer's lifted off Mary Ellen. ANITA Off Aunt Mary Ellen? PETER Don't ye know the sayin' — toad under a harrer? That's Mary Ellen. Time an' ag'in I've thought I'd got her out an' set her in the shade. By thunder! She hops right back into the furrer. 54 CHILDREN OF EARTH ANITA She sha'n't get into the furrow again. She's going to live with us. PETER [Startled.] Mary Ellen? ANITA Yes. With father and me. PETER Mary Ellen'U be missed. ANITA Oh, I can fancy the whole town missing her. PETER I wa'n't thinkin' about the town. I was thinkin' of the robins — they won't sing so loud — an' the apple trees — they won't bloom so pink. ANITA Why, Mr. Hale, you're a poet. PETER She's comin'. I know her step. [Anita, with a nod and one of her best smiles at him, goes out by the hall door, upstairs.] [Mary Ellen comes in from the kitchen, bringing a medium- sized basket for the pewter.] CHILDREN OF EARTH 55 MARY ELLEN Hullo, Peter. PETER [Giving her an apple spray.] Off "Hale's Favorite". That's the one we're goin' to bless last. So that's Anita Barstow. MARY ELLEN [Admiring the spray and putting it with the lilacs on the mantel.] D'you know there was anything between her an' Adam ? PETER Yes. That's what I've come to tell you. Adam see her drive by. Went wild. He's a still kind of a chap. Never'd opened his head if he hadn't seen her like that, all of a sudden. But I thought if she took a notion to come down to the farm this afternoon — -well, he's there an' she ought to be prepared. MARY ELLEN You think he's a good stiddy feller, don't you, Peter ? PETER I know he is. Got more ballast'n — some of us Hales. MARY ELLEN I hope Nita ain't goin' to be called on to — give him up for good. 56 CHILDREN OF EARTH PETER So do I. Well, he's down there. You keep her away if you think best. {Noticing the pewter on the table.] What's this? MARY ELLEN I've give the pewter to Aaron to take back with him. PETER Why, it's your pewter. Your mother left it to you. MARY ELLEN That don't make any odds. PETER Does, too. I'm goin' to set it right back where it belongs. By George! MARY ELLEN No, no! Nita'll have it in the end. She might as well have it now. [She begins wrapping it in the pieces of cloth she has brought in the basket.] PETER Give it here. I'll do it, if it's got to go. [He begins to wrap the pewter and put it in the basket.'] CHILDREN OF EARTH 57 MARY ELLEN I 'most hope Nita'll go down there. I hope Adam'll see her. PETER He's pretty sore. MARY ELLEN Thinks she ain't treated him right? PETER I dunno. MARY ELLEN I want to Stan' by Nita. 'Twon't do no good. But it'll be somethin' for her to know there's somebody standin' by. PETER What makes you say 'twon't do no good? MARY ELLEN Aaron's ag'inst it. PETER S'pose he is. MARY ELLEN Aaron's jest like father. What he wants he's goin' to have. PETER You couldn't stand up to your father, could you, Mary Ellen ? Years ago, I mean. S8 CHILDREN OP EARTH MARY ELLEN Who told you that? PETER I hadn't lived here a month 'fore Cynthy Coleman says to me : "Now there's Mary Ellen Barstow. She ain't had any more life of her own than if she never'd been born into the world. Her father broke up her marryin' Nate Buell, an' she never'd look at anybody else." MARY ELLEN You can't look at anybody else. PETER Somebody'd ought to made ye. Got right in be- twixt ye an' the light that dazzled ye an' said, "Here I be." [Involuntarily he straightens himself and looks at her com- mandingly.] MARY ELLEN [Passionately.] Don't you see, Peter? That's why I don't want Nita's youth to go by as mine has gone. You can't set back the clock. PETER [Taking out his watch.] Can't ye ? Why, you're fast. Look-a-here. [He sets back the clock hand.] CHILDREN OF EARTH 59 MARY ELLEN [In alarm.] Oh, father never wanted anybody to meddle with the hands. PETER Didn't he? MARY ELLEN He said 'twas bad for the works. PETER Look-a-here, Mary Ellen, wouldn't you ruther wear out the sooner if you knew you're goin' with the sun? MARY ELLEN [Raptly.] Goin' with the sun ! PETER I never see Nate Buell, but I bet ye he's a sharp hand at a trade. MARY ELLEN Sellin' you the farm? PETER Yes. He give me to understand he'd sell it, but 't was in such a way as to ketch me an' not bind him. MARY ELLEN Then he never meant it. Nathan Buell's a very re- ligious man. 6o CHILDREN OF EARTH PETER How'd you know that? MARY ELLEN He wrote me he'd give all he had to the Lord. PETER Wish I'd made my bargain through the Lord. When I asked for an option Buell wrote back, "I'll take"— MARY ELLEN [Quickly.^ No, don't you tell me. I don't want to know what he'll take. [ In a voice unconsciously moved and softened. \ He's comin' here. PETER Comin' here? What for? MARY ELLEN I can't tell you, Peter. Not — now. PETER He ain't comin' here after you? MARY ELLEN Peter — s'pos'n' he was? CHILDREN OF EARTH 6l PETER I won't have it. MARY ELLEN I s'pose you'd say I'm too old to think o' such things any more. [Jane comes into the pantry and stands, silent, by the open door.] PETER Old? You?— But— Nate Buell! Oh, I won't have it, Mary Ellen. I tell you I won't have it. JANE [Coming in from the pantry and speaking sharply.] Mary Ellen! See 'f you think the bread's done. I'm tired o' watchin' it. MARY ELLEN [Startled.] Oh, I forgot. [She goes out to the kitchen.] PETER [To Jane.] What d' you speak like that for? JANE To git her out o' the room. To stop your mouth. Don't you want her to git married? [Peter is silent.] Ain't she goin' to git married? 62 CHILDREN OF EARTH PETER How should I know? JANE She goin' away to live? PETER I dunno, I tell ye. JANE If she goes away, you won't work an' slave for her any more. PETER [Out of his musing.] I ain't done anything — to speak of. JANE An' I sha'n't work — to make things easy for her. PETER Ain't you wanted to help Mary Ellen? JANE What do you care whether I wanted to or not? Anyways, we sha'n't do it no more, either of us. PETER [Hearing Mary Ellen's step.'] Stop right there. [Mary Ellen comes in. She looks from one to the other in concern.] CHILDREN OF EARTH 63 PETER [To Jane.] Well, we might as well be goin'. You ready? JANE I ain't goin'. MARY ELLEN Why, Jane, why not? JANE I've got everything ready down there. The table's set an' the lemonade's coolin'. But I ain't goin' to dance an' sing with folks laughin' behind my back an' whisperin', "Look at Peter Hale's wife — Portugee!" [To Peter.] An' they'll laugh behind your back, too, because you married me. MARY ELLEN No, Jane. They wouldn't. They're nice folks. JANE [Sullenly.] I s'pose I've got to go. I don't want to ride. I'll go by the short cut. I'll be back in the mornin' an' git breakfast. [She goes out at the hall door.] MARY ELLEN You don't s'pose she feels a cravin' ? 64 CHILDREN OF EARTH PETER No. MARY ELLEN She ain't touched a drop for over a year now. Some- times 't seems too good to be true. But to-day, it's as if she thought somethin' was goin' to happen. She can't foretell, Peter? Course she can't! PETER Uneasy, that's all. It's her foreign blood, I s'pose. MARY ELLEN It's been a kind of a hard day, gittin' ready for the folks down there. An' comin' on top of all she's done for me these last months. Why, Peter, think how you've both run back an' forth all through fath- er's sickness, an' how she's stayed nights with me since I've been alone. PETER I never thought Jane done more'n she wanted to. MARY ELLEN No. She's been the best neighbor anybody ever had. So've you, Peter. [Aaron comes in at the hall door.] MARY ELLEN Mr. Hale, brother. CHILDREN OF EARTH 65 AARON [With a grudging nod.] Oh ! Livin' down to the farm ? PETER Mill Road Farm. AARON What set you out to come back here an' settle down? PETER Well, 't was the trees. AARON Trees ? PETER There's always been somethin' terrible precious to me about New England apples. AARON I shouldn't want to put labor into a farm 't wa'n't my own. PETER I'm goin' to buy Mill Road Farm. You know what my folks were. AARON Yes. I know 'em. Egg an' bird. PETER They were brainy folks — 66 CHILDREN OF EARTH AARON [Amazed.^ Hey? PETER But they never got anywheres. Always aimin' at the stars an' stubbin' their toes while they looked. Now I feel as if I owed somethin' to them. I want folks when they ride by to p'int out Mill Road Farm an' say, "That's the old Hale place. A Hale owns it now. There ain't a better farm in the state." Why, I should feel as if all the dead an' gone Hales would rise up in bloom time in a kind o' pink an' white pro- cession an' say, "Go ahead. We sowed an' you may reap." AARON Why don't ye buy land that's got some peth left in it? PETER That ain't the kind o' land I want. I want to take some perishin' thing that ain't but jest got the breath o' life an' breathe in new. I'd ruther prune an old apple tree than set out a dozen seedlin's. AARON [Carelessly.^ Ain't bought the farm yet? PETER It amounts to that. I've got the option. CHILDREN OF EARTH 67 AARON What's Buell asked ye? PETER Twelve hundred. ANITA [Running in from the hall, calling.] Aunt Mary Ellen ! Aunt Mary Ellen 1 AARON What's the matter? ANITA Somebody's come. AARON [Looking from the window.] Some kind of a peddler. Bag^ in his hand. ANITA Aunt Mary Ellen, don't you know? MARY ELLEN [Wondering.] Why, no. ANITA Think! Think! [To Aaron, who is about to open the door.] Don't ! Let her open the door. [She takes the spray of apple blossoms from her dress and tucks it in Aunt Mary Ellen's.] Now open the door. 68 CHILDREN OF EARTH MARY ELLEN Why, I dunno who 't is. [It comes to her, and with a cry she buries her face in her hands.] Oh, I can't ! I can't ! [Anita opens the door.] [Nathan Buell comes in. He is a thin, dried man, something over fifty, keen, nosing, Pharisaical, always looking out for the main chance and so eager for it that he can ill conceal his purpose.] NATHAN [Speaking to Anita, whom he sees first.] Mary Ellen! ANITA [Calling gently.] Aunt Mary Ellen ! NATHAN [Still to Anita.] You ain't changed a hair. You dress gayer 'n you used to. [She shakes her head at him. He stares at her doubtfully.] It is Mary Ellen, ain't it ? Aunt Mary Ellen! ANITA [Softly.] MARY ELLEN [Advancing slowly.] You ain't Nathan Buell ? CHILDREN OF EARTH 69 NATHAN [Now he sees her, comes toward her, and they face each other.] You ain't Mary Ellen Barstow? MAKY ELLEN They tell me Nita does favor me some as I was. NATHAN [Tritely.] A good many seasons have rolled by. ANITA [Significantly.] Father, Mr. Hale is going. AARON 'Rovf are ye, Nate ? Number o' years sence we went barefoot together. NATHAN That you, Aaron? I guess we've all changed some. [Nathan and Aaron shake hands in a perfunctory way.] But the Lord's looked out for me. I don't feel my age. ANITA Father ! Come ! NATHAN [Glancing at Peter.] This one o' the old neighbors? I don't seem to recollect— 70 .CHILDREN OF EARTH AARON Peter Hale. [He goes out at the hall door.] NATHAN [To Peter.] Oh, you're that wanderin' Hale. PETER Well, I ain't wanderin' now. I'm livin' on your farm. When can I have a talk with you? NATHAN Oh, I s'pose you're all for whippin' up a trade. Well, I might as well tell ye I ain't in any hurry to sell. PETER You remember I asked for an option. ANITA [Insistently.] Come, Mr. Hale. PETER Yes. They're waitin' for me down there. Good- bye, Mary Ellen. [He goes out, and Anita, with a sad look at Mary Ellen, goes with him.] NATHAN Well, Mary Ellen, ye got my telegram, didn't ye? CHILDREN OF EARTH 71 MARY ELLEN Yes. NATHAN So you expected me. MARY ELLEN I dunno what I expected. NATHAN Kind of upset ye, ain't it? Want I should git ye a tumbler of water? MARY ELLEN No. {In a dazed way trying to account for her be- wilderment.] I didn't think you'd come till seven. NATHAN Found I could save three hours by gittin' out at the junction. An' look here, I sent the team back. That's all right, wa'n't it? MARY ELLEN The team? NATHAN Hired him to bring me over. Cost me a dollar. Guess ye can keep me overnight. MARY ELLEN We're kind of up in arms — house cleanin' an' all. But Cynthy'd keep you — Cynthy Coleman. -JZ CHILDREN OF EARTH NATHAN It's terrible costly gittin' round unless ye've got friends to put ye up. Well, you know what I come on here for? MARY ELLEN [Wildly.] Oh, I thought I did. Now you're here it seems like nothin' but a dream. NATHAN When I wrote ye I hadn't changed a hair, I meant it. MARY ELLEN I guess we've all changed. NATHAN So we have. So we have. Fur's our looks go. But I'd ha' known ye. MARY ELLEN My looks ain't nothin' to brag of. NATHAN They're good enough for me. "Favor is deceitful an' beauty is vain", the Scriptur' says. Mary Ellen, we've got to come to an understandin'. MARY ELLEN Not to-day, Nathan. Oh, not to-day. CHILDREN OF EARTH 73 NATHAN Why ain't to-day as good as any? MARY ELLEN You've took me by surprise. I wanted you to come, an' now you're here — why, you're a stranger to me. NATHAN We'll marry fust an' do our courtin' afterwards. I don't want no talk about it till it's done. I won't have Aaron commandin' ye nor the girl persuadin' ye. I want ye to set the day an' set it now. MARY ELLEN [Shrinking as he advances.^ I can't. NATHAN Don't ye say that. Ye've thought "can't" all your life ever sence your father come betwixt us. MARY ELLEN You've got to give me time, Nathan. You've got to give me time. NATHAN What for? MARY ELLEN I don't feel as if I knew you. 74 CHILDREN OF EARTH NATHAN You knew me twenty-five or thirty year ago. MARY ELLEN Oh, yes. I knew you then. I thought I did. NATHAN Well, don't I tell ye I ain't changed? Except I've found the Lord. MARY ELLEN You look — changed. Your talk is changed. NATHAN Well, le's git to business. All that land you been buyin' up stan's in your name, don't it? MARY ELLEN Yes. NATHAN Aaron backed ye, didn't he? MARY ELLEN Backed me? NATHAN Give ye the money to buy. [She breaks down, laughing wildly.] What you laughin' at? CHILDREN OF EARTH 75 MARY ELLEN Oh, I can't help laughin'. It's spring and Peter Hale's bringin' in apple blooms an' Nita stickin' 'em in my dress — an' you comin' back — an' our talkin' about money an' land. NATHAN I guess you're beat out. The old gentleman's sick- ness kinder told on ye, didn't it? Look here, Mary Ellen, long's Aaron's been buyin' up land adjoinin', why didn't he buy Mill Road Farm? MARY ELLEN It ain't in the market. NATHAN Oh, yes, 't is. I'd ought to know. It's mine. MARY ELLEN You've as good as sold it to Peter Hale. NATHAN There ain't no papers passed. MARY ELLEN That's what Aaron asked me. NATHAN He did, did he? Aaron's got his eye on it. 76 CHILDREN OF EARTH MARY ELLEN What do you mean by papers passed? NATHAN [He takes a paper from his wallet and shows it to her.] Why, if I'd wanted to bind Peter Hale I'd ha' give him a paper Hke this. See? I promise to sell, an' he pays me a sum o' money down. MARY ELLEN A sum o' money down. [She goes to the secretary drawer and takes out her purse.] NATHAN What ye got there? MARY ELLEN It's my pocket-book. It's all the money I've got in the world, twelve dollars an' eighty-five cents. NATHAN Land poor, ain't ye? Look here, Mary Ellen, you promise me. MARY ELLEN Promise what? NATHAN There ain't but one kind o' promise betwixt a man an' a woman. CHILDREN OF EARTH y; MARY ELLEN I can't. I can't. [Aaron and Anita come in.] AARON [With meaning, to Mary Ellen.] You had any talk with Buell about — you know? MARY ELLEN No, Aaron, not what you mean. AARON Look here, Nathan, you don't want to get rid o' Mill Road Farm, do ye? MARY ELLEN Brother ! AARON I understand you'd sell. NATHAN I dunno but I would an' I dunno as I would. MARY ELLEN Brother, the farm's as good as sold to Peter Hale. NATHAN That's all talk. AARON I'm prepared to make ye an offer. 78 CHILDREN OP EARTH NATHAN I dunno's I'll sell. MARY ELLEN Nathan, would you take that farm away from Peter Hale, an' sell it to my brother ? NATHAN I dunno but I would an' I dunno as I would. MARY ELLEN I tell you, you can't do it. Peter Hale's got all his apple trees in order, an' the Hale's Favorite is bloomed full. You can't ask him to go away an' leave that tree. ANITA No! AAEON I'll offer ye a third more'n you were goin' to git from Hale. NATHAN Le's see — how much'd I tell Hale he could have it for? AARON Twelve hunderd. So he said. NATHAN A third o' twelve is four an' twelve an' four's sixteen — CHILDREN OF EARTH MARY ELLEN 79 Look here, Nathan. Don't you sell that farm to Aaron. You sell it to me. NATHAN [Indulgently.]^ I guess you better let Aaron an' me dicker a spell. AARON It's business, Mary Ellen. You stay out on't now. MARY ELLEN Wa'n't it business when I bought up all the land round here? Wa'n't it business when you beseeched me to buy Mill Road Farm? Well, I'm buyin' it. Nathan, I want Mill Road Farm. NATHAN I guess 'twill be full as well if you let Aaron an' me talk it over together. MARY ELLEN [To Nathan, with a sudden breathless resolution.] You remember that promise you jest asked me for? NATHAN I thought you'd come to it. 8o CHILDREN OF EARTH MARY ELLEN If you'll sell me Mill Road Farm — ANITA Aunt Mary Ellen! Don't! MARY ELLEN You sell me Mill Road Farm, an' I'll agree to marry you. An' I'll pay you your price. Only you give me time to do it in. You give me a month. ANITA Aunt Mary Ellen! AARON Marry him? You're a born fool. The man don't vi^ant ye. NATHAN Aaron, you keep out. This is a little understandin' betwixt Mary Ellen an' me. [He turns to Mary Ellen.] I'll sell ye the farm. AARON You've heard I'm well off, an' you want to feather your nest. NATHAN [With an effect of placating Aaron.] The question before the house is now, sellin' that farm. CHILDREN OF EARTH 8l MARY ELLEN [She brings pen and ink from the desk to the table.'] I want papers passed between us. I want it fair an' square. Where's that paper? [He produces it.] Write my name instead o' Peter Hale's. [She puts money on the table.] An' there's ten dollars. That's "money down". NATHAN [Writing.] Consid'able of a business woman, ain't ye? I ex- pect to be proud o' ye. MARY ELLEN [Reading over his shoulder.] "In consideration of" — That's right, I guess, Aaron, ain't it right? AARON [Reading.] That's right. MARY ELLEN Nita, you be the witness. ANITA I won't. MARY ELLEN Aaron, you witness. [Aaron signs.] 82 CHILDREN OF EARTH ANITA Tear the paper up. AARON Mary Ellen, I'll keep it for ye. MARY ELLEN [Snatching the paper from under Aaron's hand.] No. I've got it an' I'll keep it. Then I shall know where I be. Now I'm goin'. ANITA Where are you going? MARY ELLEN Down to Mill Road Farm. To tell Peter Hale we've got ahead of him. He had faith in another man, so he didn't ask for papers signed an' money down. That's how we could git ahead of him. We're so ter- rible knowin' we pay money down. You can come an' see the trees blessed, them trees you were goin' to buy from under Peter Hale's hand. But you ain't going to tell him we've got ahead of him. That's mine to do. [She runs out, leaving them amazed.] CURTAIN ACT II The same afternoon, a little later. The dooryard of Mill Road Farm. There is an open shed connect- ing the end of the house with the barn. In each end of the shed — the one next the house and the one next the ham — are odd assortments of things having to do with farm life: a pile of wood, a chopping block, saw horse, tools, etc., near the house, and at the other end, old barrels, a work- bench, harness hung from pegs, etc. Near the house is the Hale's Favorite tree, and just be- yond the yard an orchard thick with bloom. As the curtain goes up voices are heard in the dis- tance singing "Summer Is Icumen In", presently dying quite away. Adam is doing the last clipping of grass round the Hale's Favorite. He is a fine, upstanding young fellow with a frank, free look. Jane comes out from the house. JANE Many of 'em come? ADAM Yes, a dozen or so. Down in the lower orchard. 83 84 CHILDREN OF EARTH JANE Where's Peter? ADAM Right here. [Jane takes up the basket of china Cynthia Coleman has left by the door and carries it off to the tables behind the house. Peter comes in from the road. He carries "Barstow's clo'es", and lays them on a covered barrel at the end of the shed.] PETER Well, Adam? ADAM Thought I'd mow round Hale's Favorite. PETER Yes. ADAM Going to have the first dance round it, aren't you? PETER No, the last. That brings us up here for the end. ADAM What you got there? PETER Old Barstow's clo'es. ADAM What for? CHILDREN OF EARTH 85 PETER A young lady asked me to cart 'em away so's they shouldn't scare her Aunt Mary Ellen. ADAM [With sudden, vivid interest.'] You've seen her then? PETER Mary Ellen? ADAM Have you seen Nita Barstow? PETER Yes. ADAM How'd she look? PETER You want to know whether she's frettin' for you? I don't believe anybody'd find that out in a hurry. ADAM You didn't mention my name? PETER Not to her. I did to Mary Ellen. Barstow's told her about you an' the girl. ADAM What's he told her? m CHILDREN OF EARTH PETER I dunno. But Mary Ellen's up in arms, ready to Stan' by you an' Nita. Adam, what parted ye? ADAM Shut up, Pete. PETER Hadn't you got ahead enough? ADAM Not to satisfy Barstow. PETER Well, what's he got to do with it anyway, if you suited his girl? ADAM That's it. PETER Didn't she — like you, Adam? ADAM Would you marry a girl that could be turned against you? PETER By George! I'd twitch her round an' turn her back ag'in. ADAM She's ambitious as the devil. CHILDREN OP EARTH 87 PETER She don't look like that kind of a girl. ADAM [Grimly.] Well, she's a very good working model of that kind. PETER She's young. She don't know what she wants. You tell her. ADAM A woman that wants me'U know without telling. PETER She madded ye, didn't she, an' you laid back your ears an' stopped pullin'. ADAM I stopped talking. PETER See here, Adam. You look at the birds an' the other matin' things. What are they doin' this spring weather ? ADAM Getting a monopoly of hair and string. PETER They're charmin' their mates. 88 CHILDREN OF EARTH ADAM I ain't long on birds. PETER Don't take much stock in the spring, do ye? ADAM No. PETER Didn't ye take stock in it last year? ADAM Oh, last year ! I felt different then. PETER Yes. You'd found your mate. But you hadn't the sense to coax her into the nest. O you fool! With the sun shinin' overhead an' the sap mountin' upwards an' the apple trees in bloom! If I was young, an' there was somebody that set her eyes by me no further away than Barstow's house up there — ADAM Look here, Pete. When it comes to the actual busi- ness of life, why are the Hales among the also-rans? It's because they live by that kind of moonshine you're talking. PETER Is it moonshine? CHILDREN OF EARTH 89 ADAM For all practical purposes. Pete, I've hardened my- self. I'm a Hale all right, but I'm not going to let it keep me soft as it's kept you. PETER I sha'n't take no less care o' the apple trees for git- tin' kinder crazy over their blooms. If that girl comes here to-day — ADAM [Quickly.] Is she coming ? PETER If she comes, you tell her how 'tis with ye. Pull her into the dancin' ring an' let her know you're Adam — an' she's Eve. ADAM Hypnotism? No, thank you. I tell you a woman's got to believe in me. PETER Mary Ellen does. ADAM She took your word. PETER Like a shot. Mary Ellen's warm-blooded. Dif- ferent species from you young shell-fish. [His face darkens.] Buell's come. 90 CHILDREN OF EARTH ADAM Nate Buell? PETER Yes. ADAM Then you'll conclude your sale. PETER Yes. But that ain't what he's here for. He's court- in' Mary Ellen. ADAM Why, she's an old — ■ PETER No, by George! She ain't so old as I am, not by five years. ADAM How old's Buell? PETER That ain't the question. He's after Mary Ellen. An' if what I think of Buell's half true, he's after her for her money. ADAM Oho? She's the one that's been raking in farms. PETER An' Buell's onto it. [The fiddlers are heard in the distance, "bowing and scrap- ing" an invitation to the dance. The "neighbors'" , Cyn- thia among them, run in, romping and laughing. The CHILDREN OF EARTH 91 children are wild with excitement in a good-natured baiting of Uncle Eph, who makes futile darts at them, whereupon they escape, shrieking in delight.] CHILDREN Uncle Eph! Uncle Eph! CYNTHIA [To another woman.] He's right on hand. 'Specially if there's any sweet trade goin'. YOUNG MAN [Wonderingly, to a young girl.] Love-cracked ! ain't it queer ! GIRL [Coquettishly.] I don't see why anybody need to care so much if anybody wouldn't marry 'em. YOUNG MAN / should. GIRL Oh, you ! I guess so. CHILDREN [Breaking out again.] Uncle Eph I Uncle Eph! fg CHILDREN OF EARTH EPH Ha! ye little devils! Ye dassent touch me. Ye wouldn't come buzzin' round unless there's folks to uphold ye in it. CHILDREN Preach a sermon ! Preach a sermon ! CYNTHIA [To a man.] Won't you stop them boys hectorin' that poor soul ? MAN Oh, they don't mean no harm. He's as pleased as they be. CHILDREN Give us a blessin'. CYNTHIA [Reprovingly.] No! No! CHILDREN Preach to us! Preach to us! EPH [Mounting an old broken chair.] Ladies an' gentlemen — no, no — bretheren an' — no, no— feller sinners— You will find my text in the — [He grows vague and tries to collect himself.] 93 CHILDREN OF EARTH BOYS Forty-'leventh chapter. Forty-'leventh chapter. EPH We are gethered together — CYNTHIA There ! You step down. You've gone fur enough. EPH [With great importance.] Don't you meddle with me. Unless you'd ruther pronounce the blessin'. If ye don't, I will. BOY Uncle Eph! how 'bout that time you got married? EPH Where'd ye git hold o' that? CHILDREN Tell us 'bout your gittin' married. EPH There was two on 'em — my fust trollope an' my second trollope — an' there wa'n't a hair to choose be- twixt 'em. Two trollopes. An' bad was the best. 94 CHILDREN OF EARTH CHILDREN What'd they do ? What'd they do? EPH One on 'em was as close as the bark to a tree. {He bends down confidentially.] Look-a-here. Don't ye let it go no further. She'd make one-two-three- four cake an' never put in no CHILDREN Which one was that? EPH Black-hair, that's what she was, my black-haired trollope. [With the air of telling something of great value.] She'd mix up sawdust an' feed it out to the hens. [The children laugh. He goes delightedly on.] My fust trollope an' my last trollope an' my fust hens an' my last hens — MAN How 'bout your t'other wife, Uncle Eph ? EPH That's my red-haired trollope. How'd ye know? She'd throw the soap grease to the pigs. D'ye ever hear o' such a thing as that? An' she took my good money an' bought her a green rep sofy — [Jane returns, and goes to him.] CHILDREN OF EARTH 95 JANE Come, you git down off there. [To the crowd.] I s'pose you think you're smart, badgerin' a poor thing like that. [To Eph.] You git down. [Eph gets down and approaches her.] EPH [To lane.] Here ! Le's you an' me git married. [He touches her sleeve persuasively."] JANE Don't you lay your hand on me. [She goes toward the house and he follows her.] EPH You ain't like other folks. I ain't like other folks. Le's you an' me git married. JANE [Turning upon him from the steps.] Don't you foller me one step further. [She goes quickly in and shuts the door in his face. He looks at it, grieved for a moment, and then, with his childish laugh, turns hack to the crowd.] 96 CHILDREN OF EARTH CHILDREN [Dancing round him.} You marry us. You marry us. [Cynthia goes away to the tables.] A BOY [Dragging a girl up to Eph.] Here! You marry us. THE GIRL [Fighting him with vigor.] Hen Blaisdell, I should think you'd be ashamed. BOY Walk right up to the dough dish. GIRL I won't do no such thing. BOY Might's well fust as last. [They struggle and the crowd jeers: "Shame! Shame!"] CHILDREN [Singing.] Henry Blaisdell, so they say, Goes a-courtin' night an' day. CHILDREN OF EARTH gy Sword an' pistol by his side : Lulie Bell shall be his bride. EPH {More and more excited over the topic of "getting married", he runs to the couple and exhorts them wildly.] You keep away from one another. Don't ye git married. Don't ye touch one another with a ten-foot pole. You better be biled in ile. Don't none o' ye git married. [Cynthia comes in with a half-glass of lemonade which she imbibes with relish.'] CYNTHIA [To Eph.] Ye poor soul, ye've got all het up, carryin' on so. You come out to the table an' I'll give ye some lemon- ade. EPH Lemonade ! Lemonade ! [He hops out, and the croivd runs after, singing "Summer Is Icumen In", the music fading away in the distance.] ADAM [To Peter.] We'd better go along, too, an' start 'em off. PETER They're started all right. Yes, I s'pose we might as well. [As they turn Mary Ellen comes in, breathless.] 98 CHILDREN OF EARTH MARY ELLEN Peter! Peter! PETER Mary Ellen ! MARY ELLEN Adam, that you? Peter, I've come to tell you what I've done. PETER [Bringing forward the chair.] Sit down. You're all beat out. MARY ELLEN I want to be the first to tell you. I've got ahead of you. I've bought the farm. PETER What farm? MARY ELLEN This. This that you wanted more'n your life. PETER Why, I've got an option on it. MARY ELLEN You thought you'd got it, but I'm ahead of you, Peter. The farm's mine. PETER Don't you say another word till you git your breath. CHILDREN OF EARTH 99 MARY ELLEN You don't believe it. But it's true. I've bought Mill Road Farm. PETER There, there, Mary Ellen ! Course you ain't bought this farm over my head. MARY ELLEN I tell you I have. PETER Well, if you want me to believe you've done it, tell me what ye done it for. MARY ELLEN Don't ask me that, Peter. PETER If it's true, I ain't likely to ask you twice. If you could do it, that's enough. MARY ELLEN Don't you go to Nate Buell about it. PETER If it's so, it's his place to come to me. MARY ELLEN Oh, he'll come. He won't risk no slip-up through you. Don't you speak a word. They'll be down here lOO CHILDREN OF EARTH soon's they've talked it over. They'll git ahead o' me now, if there's a cent to be made. Don't you open your lips. Not till the deed is passed. PETER If the deed ain't passed, you ain't bought the farm. If you've got nothin' but Buell's vi^ord — MARY ELLEN [Thrusting the agreement at him.] Look here. PETER [Taking it.] Adam, you look. MARY ELLEN An' what do you s'pose I've paid for it? PETER I don't want to know what ye paid. ADAM [Reading from the paper.] Ten dollars down and fifteen hundred and ninety in one month. MARY ELLEN The paper don't tell all. CHILDREN OF EARTH loi PETER I don't understand ye. You could do that. You could take the farm away from me- — MARY ELLEN I've got to do more than that. I've got to ask ye for money to pay for it. PETER [Giving her the paper.} I don't know ye, Mary Ellen. MARY ELLEN [Taking the paper.] Can't you trust me? PETER Yes. In spite of this. MARY ELLEN Ain't you got the sixteen hunderd dollars, Peter? PETER Yes. I've got it. MARY ELLEN Wouldn't you have paid that much if Nathan'd asked it, an' you see there wa'n't no other way? I02 CHILDREN OF EARTH PETER Yes. Or two thousand either. An' that's every cent I've got in the world. MARY ELLEN Then you let me have that sixteen hunderd. You let me have it, Peter. PETER Ain't your brother backin' ye? MARY ELLEN Don't you question me. You promise me that money now 'fore they come. I ain't got a cent, Peter, not a cent, except what's in my purse. PETER Then what'd ye promise it for? MARY ELLEN I promised everything I had. I promised to marry Nathan Buell. PETER That's no more'n ye meant to do. Ye said as much. MARY ELLEN That was before I'd seen him. CHILDREN OF EARTH 103 PETER But you have seen him. An' still you're goin' to marry him. MARY ELLEN He's promised me Mill Road Farm an' I've prom- ised him that. He's written his promise in this paper, an' I s'pose mine is wrote above. PETER You're welcome to the money. MARY ELLEN An' they ain't to know it. Remember that. I've got to hold the deed in my hand an' then they shall know the whole. So shall you, Peter. You can think hard o' me till then, if you must. I can bear that too. PETER I don't think hard o' you. Aaron's your brother. I s'pose you'd rob a church — for him. MARY ELLEN Oh, no, I wouldn't. Not for him. Hush, hear 'em talkin' — ^Aaron an' Nathan. PETER Comin' to see how cold the sheep is sence . they sheared him. [Aaron, Nathan and Anita come in from the road. A snatch of singing, to "Come, Lasses and Lads", in the distance."] 104 CHILDREN OF EARTH NATHAN Well, how fur ye got talkin' on't over? AARON [To Peter.] Pretty full blow this year. PETER Yes. Full blow. ADAM How are you, Nita? ANITA [As if pleasantly surprised.'] How are you, Adam? AARON [As if unpleasantly surprised. To Adam.] How are ye, Hale? Didn't know you were here. I guess I'll step into the old kitchen. See if things look as they used to. Come, Nita. PETER I guess things ain't much altered. ANITA I'm not going, father. I want to — ^bless the trees, CHILDREN OP EARTH 105 ADAM [In incredulous happiness.^ Will you do it with me? ANITA Is it singing? ADAM Yes. And dancing. ANITA I'll dance round just four trees. Those four out there. [They suddenly take hands and run off to the orchard.^ AARON [Calling.} Nita, you wait. [To Mary Ellen.] Did she know he was here? MARY ELLEN I told her. AARON Then she'd no business to come down here. Mary Ellen, you run after 'em. Keep 'em from havin' any words together. You're light on your feet. You run. MARY ELLEN I ain't light enough for that. Io6 CHILDREN OP EARTH NATHAN Look here, Hale. I s'pose Mary Ellen's told ye I've made a little change in disposin' o' this farm? PETER Yes. NATHAN I said if everything went as I expected, mebbe I'd give ye a chance to buy. PETER That ain't exactly as I recall it. But it's all one. NATHAN But here was Mary Ellen took a notion to the farm, an' nothin'd do but she must have it. You know what women folks be. So seein' she'd set her heart on it, I up an" told her she should have it. PETER So i hear. AARON [To Peter.] I won't hurry ye off. PETER What have you got to do with it ? CHILDREN OF EARTH 107 AARON Buell's tellin' ye. He's signed an agreement to sell us the farm. MARY ELLEN It ain't you, brother. It's me. AARON Well! well! It's all one. NATHAN Speak up, Mary Ellen. MARY ELLEN Don't you push me, Nathan. AARON Hale, you won't feel so sore if I tell ye I had my reasons for buyin' this place. NATHAN It's Mary Ellen that's bought it. AARON I've been pickin' up land round here for quite a while. NATHAN It's Mary Ellen that done it. 108 CHILDREN OF EARTH AARON I bought in her name. MARY ELLEN In my name? AARON You'll transfer to me later. MARY ELLEN Then it ain't my land? NATHAN Yes, 'tis. Yes, 'tis. PETER It is, Mary Ellen. AARON Course 'tis, legally. But don't you know that's all one? You acted for me. MARY ELLEN You didn't tell me I was actin' for you. AARON I wanted ye to act in good faith. NATHAN Well, so long as Mary Ellen acted in good faith, the land's hern. CHILDREN OF EARTH log AARON When I tell her how I'm goin' to dispose of it, she'll be glad an' thankful to sign it over. That land's to be a deed o' gift to the state, for use as a Public Park known as the Barstow Reservation. MARY ELLEN The state? AARON Yes, sir. The state. My native state. NATHAN [Skeptically.'] You've bought up a third o' this township to give it away? MARY ELLEN Brother, you ain't used me for a tool ? I bought the land. It all stan's in my name. AARON Yes. So fur. MARY ELLEN An' now I'm to make it over to you? AARON Course ye be. MARY ELLEN Then I tell you in so many words, I won't do it. no CHILDREN OF EARTH NATHAN Good for you, Mary Ellen. MARY ELLEN It ain't the worth o' the land. But you let me be- lieve you were thinkin' o' me, an' you never were, not for one instant. An' I tell you this. The land stan's in my name. An' I won't give it up. So help me, God. NATHAN Course ye won't. Don't you back down. He can't make ye. AARON Le's consider how we stan'. You've made an agree- ment to buy this farm. MARY ELLEN An' I've paid money down. AARON How ye goin' to pay the rest? MARY ELLEN I'm goin' to borrer it. AARON Where's your security? CHILDREN OF EARTH m NATHAN You've got plenty o' time, Mary Ellen. 'Tain't for a month. But ye'll have to pay up then. An' I expect ye to pay for the deed. AARON Yes. Over fifteen hunderd. Where you goin' to git it? MARY ELLEN It'll be provided. NATHAN I guess you'll advance her the money, Aaron. AARON [To Mary Ellen.] You ain't got a dollar to your name. Ye don't own the clo'es ye stan' up in. MARY ELLEN [With a childlike simplicity.'] It's mother's dress. [In a sudden dazed understanding.] But I don't s'pose I do own my clo'es. I bought 'em out o' the money you sent father. Yes, 'twas your money — an' his. AARON Don't be a fool, Mary Ellen. I only want ye to realize where ye stan'. 112 CHILDREN OF EARTH MARY ELLEN [In a tremulous hopefulness^] Nathan, I ain't got anything to bring you. Mebbe you won't want me now. PETER {Turning aside.] My God A'mighty ! NATHAN Ye've got all the land ye had a minute ago, if ye'll only hang on to it. MARY ELLEN Don't you prize me without the land? NATHAN What's the use o' talkin' that way ? You've got the land. MARY ELLEN [Wildly.] My promise ! Give me back my promise. PETER Don't ask him for it. Break it. NATHAN A bargain's a bargain. CHILDREN OP EARTH 113 MARY ELLEN A bargain. It's all bargains, then. Well, I'm done. AARON Now what d'ye mean by that ? MARY ELLEN I'm sold up. Bankrupt. I had my youth. I'd ought to spent it as God meant a woman should. Keepin' my house. Bringin' up my children. AARON Pretty talk for a good modest woman. MARY ELLEN An' how'd I spend my youth? Livin' out my sen- tence in that house up there — AARON You were takin' care o' father. MARY ELLEN Settin' at his table because he thought I'd ought to set there, an' bakin' his bread because he thought I'd ought to bake it. AARON You could ha' had a hired girl. 114 CHILDREN OF EARTH MARY ELLEN But all the time I lived in a dream. {Pointing to Nathan.} About that man. An' did he dream o' me ? No. I s'pose I never once come into his head till he heard I was buyin' up land. Then he thought I was a good investment, an' he come on here after me. NATHAN Mary Ellen, it's enough to make anybody stop an' think, hearin' a woman talk like that. MARY ELLEN One after another you've traded in me, same's if I was a slave. I shouldn't ha' minded if you'd told me I was a slave. But you were always actin' as if I'd ought to be thankful for your showin' me how to put the spoon to my mouth. AARON I should think you were crazed. Git hold o' your- self. MARY ELLEN An' now I've had enough of it, an' I want to be free. [A snatch of singing in the distance, "Early One Morning".} CHILDREN OF EARTH 115 PETER Yes, an' before another day's gone over our heads, you shall be. NATHAN You ve made a bindin' promise. [Adam and Anita come running in, he determined, she gay and breathless.^ AARON Come, Nita. Come, Mary Ellen. We better be gittin' along home. ADAM [To Aaron.] Mr. Barstow, give me a minute, will you ? I've got something to say to you, and I want to say it right here. NATHAN [Disgustedly.] This's no place to talk business. [He goes off, with the effect of washing his hands of "fol- derol", to the road.] ADAM I won't be long. ANITA What is it, Adam? ADAM Mr. Barstow, I want a new deal. n6 CHILDREN OF EARTH AARON I dunno what ye mean. Come, Nita. ADAM I thought I never should say another word to Nita, nor to you. But now I want to say it right here in this town where you began yourself. AAEON That's a good many years ago. Things have changed consid'able. ADAM But I want you to remember where you began. And I want Nita to see with her own eyes how I'm begin- ning. I've gone into partnership with Pete. AARON Well, I hope ye'll get on. Come, Nita. ANITA Tell us, Adam. ADAM If Pete's got to give up this place he'll begin some- where else and I shall begin with him. But Anita can look round here, right here, and see what kind of a life she'd lead with me. AARON Yes. She can. CHILDREN OF EARTH 117 ANITA Father ! ADAM [To Anita.'] This is the last word I've got to say. Will you marry me? ANITA [Hopeless over this species of love-making.] Adam! ADAM Perhaps live in a place just such as this. Get your hands dirty and your face burnt and — do your part. AARON Live in some God-forsaken hole — ADAM Maybe. I tell you it's no cinch marrying me. You've got to take me as I am. ANITA But you don't care for things other people care for. AARON There never vt&s a Hale that did. ANITA You're so clever, Adam. You could put yourself anywhere. Il8 CHILDREN OF EARTH ADAM Nita, I'm showing you the worst you'd ever have to bear. If I can better it for you, don't you think I will? But I won't bribe you. ANITA That's not — caring. ADAM Oh, I've heard the receipt for making love. But that's not my way. The girl that marries me has got to begin by believing in me. Your father's told you what you can expect of a Hale. Now I'll tell you. A Hale — of this generation — can stiffen his backbone just about the time you think he hasn't got any. And when he's talked about so much — to no good — he can shut his mouth. ANITA You don't care for anything but — yourself and the Hales. ADAM That settles it. [He turns away and strides off behind the house.] ANITA [Miserably.] Come, father, let's go home. AARON Come, Mary Ellen. [Singing, "Come, Lasses and Lads", in the distance.] CHILDREN OF.. EARTH 119 ANITA [To Mary Ellen.] Are you going to stay? MARY ELLEN I dunno. I dunno where I can stay. You go with him, Nita. Git him away from here, [Anita and Aaron go off to the road.] Peter, I dunno what I've said to 'em nor what I ain't. But whatever 'twas, I had to say it. PETER You've let out more this one day than all the time I've known ye. MARY ELLEN It's been locked up in me, an' now it's come out. Peter, I've set with father twenty-six years, at the table, in the evenin' by the lamp, an' I might ha' been a dumb woman for all I said to him or all he wanted me to say. PETER You've been jailed. MARY ELLEN Yes. My thoughts were prisoners. An' now they're comin' out like the swallows out o' that barn. See 'em circle. O my God ! I don't hardly know the shape o' my thoughts now I see 'em, But they're flyin' out. I20 CHILDREN OF EARTH PETER My thoughts, too. They've been locked up. I don't know's they'd ever got their wings if you hadn't told me you're goin' to marry Buell. MARY ELLEN You can't stop it. Nor I can't. PETER You an' I've got to speak the truth. Isly thoughts are flyin' out, same as yours. It's the spring day that set 'em free. MARY ELLEN [IVonderingly.] Is it the spring day? PETER Yes. Everything's breakin' bounds. MARY ELLEN [Dazed and passing her hand before her cyesJ] Seems as if there was a mist. The apple blooms look dim. [The singing ceases.^ PETER Yes. There is a mist. But we've got to see clear, I tell you. We've got to see clear, CHILDREN OP EARTH 121 MARY ELLEN Then you help me. PETER How'm I goin' to, when all I see is a picture? Not you an' Nate Buell married an' goin' off together — MARY ELLEN Together I PETER I can't see you an' him. I see you sittin' here by right. You'd be my wife. MARY ELLEN We never met then. When we were young. PETER Ain't you seen I loved you? MARY ELLEN You've been terrible kind to me. PETER What'd I do your chores for, an' wait an' tend, if't wa'n't for love o' you? MARY ELLEN Why, you were a good neighbor. 122 CHILDREN OF EARTH PETER What'd I hang round the house for, night after night, till your light went out? MARY ELLEN Did you? PETER Yes. I couldn't sleep till I knew you could. MARY ELLEN Why, that's like young folks. PETER Love's all the Same, young or old. MARY ELLEN I thought't would be like that when he come back. But now he's come, I can't feel anything. PETER No, you can't. MARY ELLEN I'm past lovin'. PETER You're past lovin' Buell. Are you past lovin' me? MARY ELLEN I 49R't use that word for yow, CHILDREN OF EARTH 123 PETER Use it then. Say it. Love. MARY ELLEN Love. PETER Has he kissed you? MARY ELLEN- No. PETER When he does you remember this — an' this. [He draws her to him and kisses her passionately.] MARY ELLEN {As he releases her.] Oh, God help me! PETER Help you git away from me? MARY ELLEN Help me to keep my promise. Help me not to be like this. PETER I've kissed you to put bonds on you. To let you know you're mine. MARY ELLEN Yes. I ain't anybodjf's but yours, Ap' I nev^r knew it, 124 CHILDREN OF EARTH PETER You've dwelt on Nathan Buell every day o' your life for twenty-six years. But after this when you shut your eyes you won't see him. You'll see me. MARY ELLEN What made you do it, Peter? O, what made you? PETER Kiss you? I've kissed you so you'd know. Don't ye know now? MARY ELLEN Yes. PETER He ain't goin' to trample you down under his hoofs. You're as delicate as them blooms. MARY ELLEN I've promised him. PETER That tree don't remember 'twas bare a month ago. The past is dead. Everything that happened in it's dead. The tree's in bloom. O Mary Ellen, the blooms are sweet. MARY ELLEN I've given him my promise. CHILDREN OF EARTH 125 PETER When I kissed you, did you think of anything but me? MARY ELLEN No! no! PETER Where's your heart? Answer me. Ain't it right here by mine where it was a minute ago? Ain't it racin' to git back there? Won't it ache as long as you live if it's never goin' to lay there any more ? MARY ELLEN My promise! {She has retreated from him and lays her hand on the pile of clothes on the barrel, glances down at them, pulls her hand away and cries out as if they scorched her.] PETER His clo'es. MARY ELLEN How'd they come here? PETER I promised Anita I'd burn 'em. MARY ELLEN You talk about the past bein' dead. There they are, like a risin' out o' the past. 136 CHILDREN OF EARTH PETER He never wanted ye to marry Buell. MARY ELLEN No. But they bring back the days an' nights when I grew old doin' for him, an' all them days an' nights I was true to Nathan Buell. PETER Two years o' that time you an' I were gittin' to love each other. We didn't know it. But so 'twas. MARY ELLEN Two years ain't twenty-six. An' I've promised. PETER Don't you love me ? MARY ELLEN I'd die for you. Is that lovin' you? PETER Don't that give me rights over ye? MARY ELLEN I tell you I'd die for you. An' I'm doin' what's worse than death. I'm marryin' Nathan Buell. CHILDREN OF EARTH 127 PETER [In sudden understanding.] To buy the farm? You're buyin' it for me. MARY ELLEN Yes. PETER For me. You give yourself for me. MARY ELLEN I'd have give' myself twenty times over. [He draws her to him and kisses her. lane comes out from the kitchen, stands a moment, looking at them, and Peter raises his head and stares at her. Mary Ellen follows his glance and turns to face her.] PETER Jane! MARY ELLEN Jane! Jane, I never remembered you were in the world. [A burst of singing from the orchard, "Come, Lasses and Lads".] JANE [Coming down from the steps, halting a moment and then taking her way toward the orchard.] They're dancin'. You'd ought to be down there. 128 CHILDREN OF EARTH MARY ELLEN Jane, what am I goin' to say to you? JANE I didn't ask you anything. MARY ELLEN I'd ruther you'd kill me than look like that. PETER [To Jane.] No. Don't say anything to her. Say it to me. JANE You'd ought to be down there. [She goes off to the orchard.] MARY ELLEN Why didn't she strike me down? PETER She didn't see — MARY ELLEN She did. What's in her mind? PETER I never know what's in her mind. CHILDREN OF EARTH 129 MARY ELLEN I'm a bad woman, an' she's found it out. PETER I won't have you say that. MARY ELLEN It's true. PETER Don't you look down on what we feel for one another. It ain't a bad thing. It's a good thing. MARY ELLEN It's a terrible thing. PETER It's so big it's come out an' let us see it. An' now we've seen it we can take care of it. So't won't hurt you. MARY ELLEN The hurt's been done. To Jane. PETER It's the big dream, Mary Ellen — the birds an' the blooms an' you an' me. MARY ELLEN But there's Jane. Is Jane in the dream? 130 CHILDREN OF EARTH PETER My God ! Yes. Jane's in it. That's it. [Controlling himself.} Mary Ellen, we've got to do things. An' we've got to plan the way to do 'em. [Adam comes back, and goes to the bench at the end of the shed, ostensibly searching for something there, but only to keep away from the merrymaking.] ADAM You shirking the crowd, too? You ought to go down, Peter. They're asking for you. PETER [To Mary Ellen.] I've got to talk to Adam. Go into the kitchen. I won't be a minute. [He opens the door for her and she goes.] PETER Adam, we've done with this place. ADAM You've lost the farm all right. PETER I'm goin' to git out. CHtLDREN OF EARTH 131 ADAM [Going to Peter.'] I'm with you there. Ready whenever you say the word. PETER 'Twon't take me long to settle up. ADAM You'll have to sell your stock. PETER Likely. Jane won't want it. ADAM Jane? You going in advance? PETER I'm leavin' her. ADAM Not— PETER [Savagely.] Yes. Leavin' — leavin'. ADAM You've told her? PETER No. 133; CHILDREN OF EARTH ADAM Square deal? PETER D'ye think I'd go otherwise ? ADAM Want to start out with me and see what we can make of it? PETER I'm not goin' alone. ADAM I know who the woman is, Pete, PETER Stop! You've said enough. ADAM The look on her face ! That's why you can't do it. She's as simple-minded as a girl. You can't do it, Pete. You sha'n't. PETER Oh, yes, I shall. ADAM I won't let you. PETER I've let a good many things stand in my way first an last, but the man that stands in my way now — ■ CHILDREN OF EARTH 133 ADAM Well, what? PETER Adam, all I say is, don't you be that man. YThey face each other for an instant, hostile and threatening.] ADAM [Getting hold of himself.] Pete, you and I can't scrap like kids. Wait till this crowd is gone and we'll talk it over. Better still, wait till to-morrow morning. [He walks off in a direction well away from the orchard and the "crowd".] PETER To-morrer ! [He goes to the kitchen door.] Mary Ellen ! [Mary Ellen comes out.] Do you know what I'm goin' to tell Jane? MARY ELLEN No. PETER It's this. You're goin' away with me. MARY ELLEN Peter ! You've lost your mind ! 134 CHILDREN OF EARTH PETER I'll give her every cent I've got in the world, an' to-morrer mornin' you an' I'll be free. We'll tramp an' I'll find work. MARY ELLEN Where? PETER Wherever I can. That'll settle it. MARY ELLEN [In wonder.'] You talk as if the world had been made over — new. PETER It has. It's our world now. We're goin' off to live in our own world. MARY ELLEN Runnin' away — with another woman's — PETER Yes. Run as the rivers run — to meet. Fly as the birds do, with their own true mates. Ain't you got the courage? MARY ELLEN I don't know whether it's courage that's drawin' me — • PETER It's everything together. An' the word for it's love. 135 CHILDREN OF EARTH MARY ELLEN You've crazed me. I've got to think. PETER You ain't got but one thing to do. Be ready. For to-night. {Singing from the orchard, "Come, Lasses and Lads", alter- nating with "Early One Morning".] MARY ELLEN To-night ? PETER After they're all in bed, slip out an' come down to Pine Tree Spring. You'll find me waitin' there. We'll stay till early train time. MARY ELLEN Shall we take — the train? PETER At the junction. MARY ELLEN Not the 6:20. PETER No. We don't want to start off from the depot here. MARY ELLEN No. Not Aaron's train. 136 CHILDREN OF EARTH PETER [With violence, to himself.^ The only way to leave 'em is to go. MARY ELLEN Think o' her. PETER What's she care? No more'n that tree. MARY ELLEN But you're married to her. PETER Who married me to her? A man. God Almighty married me to you. When I looked at you, when I touched you, I knew. You're mine, Mary Ellen, you're mine. MARY ELLEN I can't be. You're in wedlock. PETER Ain't you been a prisoner all your life? MARY ELLEN Yes! Yes! [The singing comes nearer and nearer.^ PETER So's Jane a prisoner to me. I'm a prisoner to her. We're like birds pinin' all winter in a cage. An' now CHILDREN OF EARTH 137 the winter's over an' gone, an' the time o' the singin' o' birds is come. Mary Ellen, come. [The dancers rush in, singing the Apple Song to "Come, Lasses and Lads", with a mad abandon. They whirl about the Hale's Favorite, and suddenly Jane, her hair loose, her eyes frenzied, breaks from the circle. The singing and dancing stop. She calls wildly to Peter and Mary Ellen.'] JANE Come an' dance, Peter. Mary Ellen, come an' dance. No! No! MARY ELLEN [Shrinking back.] JANE [Seizing Mary Ellen's hand, putting it in Peter's, and holding it there. Laughing, with a loud, shrill note.] Come betwixt Peter and me. That's the way to dance, betwixt Peter and me. Come. [She dashes into the ring again, drawing them with her, and the dance sweeps round the Hale's Favorite.] CURTAIN ACT III Next morning. The woods at daybreak. Pine Tree Spring. Mary Ellen in a light, shimmering silk dress of an older time, carrying a rose-trimmed bonnet by the strings and with a wreath of white ■flowers on her arm, comes down a woodpath softly calling. MARY ELLEN Are you awake? Peter! Are you awake? PETER [Coming to meet her.] Course I'm awake. [They meet, kiss, and regard each other happily.] D'you sleep? MARY ELLEN No. Did you? PETER Never closed my eyes. I watched one star up there, an' when it sunk I knew 'twas almost day. MARY ELLEN I watched the star. 139 I40 CHILDREN OP EARTH Funny. What? PETER [Laughing a little.} MARY ELLEN PETER Sometimes when I've had to git up to send off produce I've wished that fust train was an hour later. But now I wish 'twas earher. MARY ELLEN I wished there was a train last night, so's we could be miles away by daybreak. How long 'fore we start from here? PETER 'Most an hour. Can you wait a spell for break- fast? MARY ELLEN I ain't hungry. A drink o' water'll do for me. [She kneels at the spring and drinks out of her hand. Peter kneels beside her.] PETER Give me some out o' your hands. [He drinks from her hand and they rise and look at each other smilingly, like children playing.'] I might ha' thought to bring you somethin' to eat. Or told you to. MARY ELLEN I had hard work to slip away as 'twas. CHILDREN OF EARTH 141 PETER D'you leave any word behind? MARY ELLEN I left a letter for Aaron. I put it by the lamp. PETER What d'you say in it? MARY ELLEN I told him I'd gene with you. I told him to break it to Nita an' go straight off, same as they meant to. So's they needn't face the neighbors. PETER The neighbors won't get hold on't yet. MARY ELLEN O Peter ! Yes, they will. I told Nathan Buell. PETER When? MARY ELLEN Last night when I was comin' here. When I got to Cynthy Coleman's I thought how Nathan was layin' there in her best bed, an' I stepped up to the winder an' tapped on the screen, an' I says, "Here's somethin' for you." 'Twas his little ring an' chain. An' I laid 142 CHILDREN OF EARTH it on the sill. "I'm goin' off," I says, "with Peter Hale." PETER What d'you do that for? MARY ELLEN I dunno. I felt so light an' free. An' 'twas moon- light, an' you waitin' for me. An' I laughed, PETER Then he's begun to spread it. But he won't find one o' the neighbors'll believe him. MARY ELLEN Why not? PETER They wouldn't believe you could. Anybody't had lived the kind o' life you have. MARY ELLEN [Wistfully.] Couldn't they, Peter? Couldn't they believe it? PETER Ye don't see what I mean. Nobody'd understand what 'tis to us. They couldn't. I was afraid Aaron'd keep ye up talkin'. MARY ELLEN He did. Till 'most midnight. CHILDREN OP EARTH 143 PETER About the land? MARY ELLEN Yes. PETER D'you sign it over? MARY ELLEN Yes. PETER Let him have his land. We don't want it. MARY ELLEN Peter, twenty-six years ago this spring father set with me one whole night from ten to three, orderin' me to give up my will to his. PETER About Nate Buell. MARY ELLEN Yes. An' I give up. At three o'clock. I can hear that clock strike now. Jest as it struck a robin begun to sing. I thought I never should hear a robin ag'in without my heart stopped beatin'. But this mornin' I heard one. An' I laughed. PETER When you come up to me here last night the clock struck one. D'you notice? 144 CHILDREN OF EARTH MARY ELLEN Yes. I wondered if you did. PETER Course I did. MARY ELLEN I thought to myself, " 'Tis one o'clock. It's a new day." PETER An' here's the day. MARY ELLEN An' I ain't the same woman I was yesterday, nor you ain't the same man. PETER I never see you look like this. MARY ELLEN It's mother's weddin' dress. Here's her bonnet, too. PETER Put it on. [She does it shyly.] A lily in a ring o' roses. That's what you be. MARY ELLEN Roses always — light anybody up. CHILDREN OF EARTH 145 PETER It ain't the roses. 'Tis you. I couldn't see the roses last night, could I ? But I see your face — under the moon. MARY ELLEN [Laughing, with a timid coquetry and taking off the bonnet.] You didn't hardly speak to me. PETER I was afraid. There was the moon — an' you so wonderful. MARY ELLEN Did you think I laid there all night — on that blanket in the sweet fern? I only stayed there till you'd set- tled down. Then I crep' back ag'in. I knew where you'd be. Under the pines, on that knoll. PETER Yes. That's where I was. MARY ELLEN I crep' up to the other side, an' laid down on the pine needles, an' once I 'most laughed out to think you didn't know how near I was. PETER O, yes, I did. MARY ELLEN You did ? D'ybu see me ? 146 CHILDREN OF EARTH PETER No. But I heard you breathe. An' I laid there an' drew my breath with yours, an' I says, "That's the way it'll always be, breathin' the same breath, thinkin' the same thoughts," MARY ELLEN What'd you think about ? PETER You. All night long I thought o' you. MARY ELLEN An' I thought o' you. PETER An' the new day. MARY ELLEN Yes. PETER Not once of what we'd left behind? MARY ELLEN I did think of Nita. But Nita'll go away where folks never heard o' me. Tell me what else you thought. PETER I guess I thought of all the things I've saved for you. CHILDREN OF EARTH 14-; MARY ELLEN What are they, Peter? [They sit by the spring.] PETER Things you never thought of. I didn't know I was savin' 'em, but I was. MARY ELLEN Oh, what were they? PETER Pretty words, pretty things to do for you. You're so fine an' soft an' sweet, you've got to have things nicer 'n any woman ever had before. What d'you make that wreath for? MARY ELLEN Somethin' to do 'fore I found you were awake. PETER You knew how you were goin' to look to me, so you made this. [He rises, crowns her with it and stands looking down at her.] A crown. MARY ELLEN Mebbe I wa'n't goin' to be beholden to pink roses. I took white blooms, so you could see me as I am. 148 CHILDREN OF EARTH PETER White blooms. Then you'll be the rose. MARY ELLEN [She rises.] Peter, I never've concerned much about my looks. PETER If you see yourself as you are now, you couldn't help it. There's somethin' come into your eyes — since yesterday — an' you're different. O Mary Ellen, you're like an apple tree in all her glory. MARY ELLEN You're different, too. I never see you like this. PETER It's because I've come alive. MARY ELLEN 'Tain't only you an' me. You've made the whole world come alive. You say you've saved things for me. An' I've saved things for you. There never's been a minute when I could show what's in me waitin' to be born. I've kep' it all for you. PETER An' we'll speak out the thoughts we never've spoke before — CHILDREN OP EARTH 149 MARY ELLEN Some we never knew we had — PETER An' we'll laugh — MARY ELLEN Peter, the birds ! the birds ! I'll dance for you. [She dances and then runs to him, shy and breathless, and hides her face on his shoulder.] PETER Mary Ellen! Mary Ellen! I never knew you — danced. MARY ELLEN I ain't for years. One spell I used to dance alone, down in my bedroom when father'd gone to bed. Once he come to the door in his stockin' feet. [She runs to the spring.] But this ain't under anybody's roof. 'Tis the earth an' the sky an' the trees. PETER 'Tis your own house, Mary Ellen. God made it for you. [Mary Ellen, laughing, bends over the spring. She gives a cry, draws back, snatches off the crown and throws it from her.] What is it, dear? What is it? ISO CHILDREN OF EARTH MARY ELLEN In the spring. PETER What's in there? MARY ELLEN [Wildly.] No ! no ! don't look. But 'tain't there now. My face. PETER Why, y€s, you see yourself. That's all. MARY ELLEN My face. I see my face. [Shuddering.'] There was the crown, an' my face under it. Peter, I'm old. PETER Don't ye look in lyin' water when there's my eyes you can look into. Don't you tremble so. MARY ELLEN [Getting hold of herself and laughing in bravado.] What if I am — old? What if we were so old we didn't even have much time together? Ain't this one minute with you worth all the years I've lived? CHILDREN OF EARTH 151 PETER Don't look back. Look forrard. [As if humoring a child.'] Now you listen while I tell you how it's all goin' to be. [They sit by the spring.} MARY ELLEN Tell me, Peter. PETER I know a town where I'm remembered. We'll hire a little house, an' there we'll live. MARY ELLEN Live. In a house with you. PETER Yes. An' I shall be away all day workin', an' you'll be workin' at home — MARY ELLEN Home. PETER An' at night I shall open the gate an' come up the path — MARY ELLEN An' I shall hear you comin' — 152 CHILDREN OP EARTH PETER An' you'll open the door, an' I shall call. An' you'll run down the path — oh, I can see you now betwixt the rows o' larkspur — an' I shall have the whole world in my arms. MARY ELLEN Tell more about the house. PETER [In mock despair.] She wants the house. She don't want me. MARY ELLEN Don't I — my lord? PETER What make you call me that? MARY ELLEN They do — in the Bible. It's what you are — my lord. PETER It is her house. An' it's her garden too. MARY ELLEN I never had much of a garden. Them long beds o' mine were 'most too gravelly. PETER 'Twon't be gravel where we're goin'. CHILDREN OF EARTH 153 MARY ELLEN I guess I shall want two long beds, anyways, same as mine leadin' down to the gate. I admire long beds each side the path. PETER Course you'll have long beds. MARY ELLEN Come five o'clock, d'you ever notice how nice the sun lays acrost the pinks in them two beds o' mine? PETER It's goin' to lay in every corner o' your new garden some part o' the day. There won't be a foot of it that ain't a-bloom. Poppies — can't you see 'em blowin' in the wind? An' flower-de-luce. An' monkshood, straight an' tall. An' hollyhocks. An' pinies, red as blood. An' all June the roses. But no rose'll hold a candle to you, you'll be so pink an' pretty. MARY ELLEN I sha'n't be like the roses. PETER No. You're too delicate an' fine. You're a madonna lily, white as snow. MARY ELLEN {In rapt wonder.'] White as snow. 154 CHILDREN OF EARTH PETER But sweet. The scent of 'em's almost more'n a man can bear. Now you tell. MARY ELLEN [Timidly. \ What shall I? PETER I've told the garden. You tell the house. MARY ELLEN [ReUecting.'] Well! We've made the garden, ain't we? PETER Yes. For you to walk in summer days. MARY ELLEN For you to look at when we have our suppers on the porch. PETER For us to smell by night. MARY ELLEN The garden's ours. But the house is yours. PETER It's your house, Mary Ellen. CHILDREN OP EARTH 155 MARY ELLEN I dunno's I'd ask anything better'n the old house I've took care of so many years — if it had more closet room. Or another cupboard by the pantry door. What you laughin' at? PETER Here we are with the world before us an' we can't think up anything better'n your old house an' garden. MARY ELLEN Why, yes, I guess the old house'd do well enough, so fur's that goes. I can't think of anything better'n livin' there with you — [She stops, aghast, and then resolutely dismisses the picture she has called up.] Anyways, whatever house 'tis, everything I do in it's done for you. All day long, while I'm makin' it nice, I think of you. The floors can't be clean enough for you to walk on. An' the winders can't be clear enough for you to see through. An' your clo'es will be hangin' round, an' when I go by the nail where your old coat is, I'll put my cheek ag'inst it. PETER An' you'll sing at your work. An' sometimes when I'm workin' near the house I shall hear you — MARY ELLEN Sing ! I ain't sung for years. IS6 CHILDREN OF EARTH PETER An' I'll say your name, an' drop my tools an' run, an' there you'll be, singin'. An' you'll see me, an' stop short, an' I'll hold out my arms — [Suddenly Jane's voice, strident, dreadful, comes from the woods in a mad outcry. Mary Ellen and Peter rise.] MARY ELLEN What's that? PETER You know who 'tis. MARY ELLEN Jane. PETER Yes. MARY ELLEN. Where's she goin' ? PETER Over to your house. MARY ELLEN By the short cut. PETER What's she goin' there for? MARY ELLEN I thought yesterday she never'd darken them doors ag'in. 157 CHILDREN OP EARTH PETER Git out o' sight. MARY ELLEN No, Peter. I sha'n't hide. PETER Step in an' let her pass. MARY ELLEN No, Peter, no. What we're doin' we'll do in the sight o' man as well as God. PETER You can't do her no good, an' 'twill do you both harm. Hear it. When a woman screams like that you'd better stan* from under. MARY ELLEN Is she — PETER In liquor? No. But she'll have it 'fore night. I've seen her crazed. But not like this. [The cry ceases.l MARY ELLEN She's stopped. PETER She'll begin ag'in. Mary Ellen, I won't have you meet. Ain't you goin' to mind me? If ye don't, I'll carry ye by main force. 158 CHILDREN OF EARTH MARY ELLEN [Listening.^ Hark! There's somebody else. PETER Which way? MARY ELLEN There. PETER Git into the bushes. [Jane, wild and haggard, comes through the woodpath. She listens and then runs to the big pine by the spring and throws herself upon it, her desperate hands clutching at the bark like the claws of a climbing animal. She listens, steps cautiously to the other side of the tree and hides. Uncle Eph comes through the wood, absorbed in pursuit of her. He listens and then steals up to the tree and, with a childish laugh at his own cleverness, discovers her.] JANE [Stepping out from hiding.] Ain't I got red o' you ? You've f ollered me all night long, an' when I've shook you off there you'd be ag'in, buzzin' round my ears. EPH [In crack-brained delight at his own cunning.] Time an' ag'in I thought I'd lost ye, ye kep' so still. I'd get me laid down, but ye couldn't bust out singin' afore I'd rise up an' foller ye. An' every time you'd sing, I had to dance. CHILDREN OF EARTH 159 JANE You're enough to drive anybody crazy. EPH [Vaguely troubled.^ Don't ye say that word. JANE What do you s'pose I come out into the woods for, if 'twa'n't to be by myself an' git a chance to breathe ? EPH [ConMentiallyJ] Mebbe ye come to — There's a terrible sight o' trees in the woods if anybody only had a rope. [He goes to the spring and, sitting, peers into «V.] An' there's this water here — though I dunno's it's deep enough. JANE Come, be oflf. EPH There's a lot o' ways folks can do it, if they only thought so. I wish they would so's I could see. I dunno how many years I've wanted to do it, an' I dunno how it's done. JANE Be off. I won't have you taggin' me. [She picks up a stone and threatens him.] l6o CHILDREN OF EARTH EPH [He dodges instinctively and then, finding she really isn't going to throw, calls in high delight.] You throw an' I'll ketch. [Jane drops the stone. He splashes the water with his hand, in childish pleasure.] Water ! Water ! I'll hold your head under 'f I git the courage, an' you can drownd an' I'll see how it's done. JANE Look here! I'm goin' now, an' if I hear you fol- lerin' me — EPH [Going to her with his wistful air of wanting to "play".] Ye goin' ? Then ye sing as ye go, an' we'll both dance. JANE I can't dance. EPH Then you sing for me. JANE I can't sing. EPH Wa'n't ye singin' jest now? JANE Yes. If you call it that. [Her voice breaking, she goes to the pine and cowers against it.] To keep from screamin'. CHILDREN OF EARTH i6i EPH Oh, ye mustn't scream. JANE Why not? EPH If ye scream, they'll say ye're crazy, an' the boys'll run after ye — the little devils-^an' the womenfolks'll say. Poor soul ! No, don't ye scream. JANE If you felt as I do, you'd have to scream. [Leaving the pine, picking up the wreath and speaking absently to herself.^ Look at this. EPH What is it ? A ring-a-round-a-rosy ! JANE Some girl made it, an' wore it on her head. An' she's got everything before her. An' here be I, an' what have I got before me? [She throws it dozvn.] EPH I dunno what ye mean. JANE Course ye don't. D'ye s'pose I could open my lips to anybody't did know? l62 CHILDREN OF EARTH EPH D'ye s'pose ye've got a broken heart? JANE No. I've got no heart to break. I've drowned it in liquor. That's what I've done. It's drownded. [She returns to the pine and stands leaning against it, ab- sorbed in her thoughts and looking down into the spring.] EPH [Wisely.] Then if ye ain't got no heart, there can't nothin' hurt ye. [He picks up the wreath.] JANE Can't it? EPH So you put on the ring-a-round-a-rosy. JANE No. EPH An' we'll dance. JANE No. EPH An' sing — JANE No, I tell you, no. CHILDREN OF EARTH 163 EPH [Dropping the wreath in a wistful discontent.'] If ye won't dance nor sing, what will ye do? JANE I dunno what I'm goin' to do. Git drunk — or kill myself. EPH [Eagerly.^ That's the talk ! That's what I said. Kill yourself. You do it, an' I'll see how it's done. I've been kind o' 'fraid to do it, unless I knew — the rules. An' here's suthin' for you to do it with. [He takes out a big clasp knife and opens it.] It's my knife. I was goin' to cut rushes to make me a hat. [He offers it to her persuasively.] JANE You put that back in your pocket. Don't ye offer it to me. EPH You do it. You do it. [He lays it in her hand. The bushes move where Peter is on guard.] JANE [Looking at the knife in an unwilling fascination.] Is it sharp? 1&4 CHILDREN OF EARTH EPH God sakes ! I guess 'tis. JANE Would it cut right through ? EPH Bone an' all. You try it. On your broken heart. If ye don't make out, 'twon't do ye no hurt. There's no wuth to a broken heart. Here, I guess you better give me suthin' to bind over my eyes, so's I sha'n't see ye fall. [He retreats from her, shielding his eyes with his lifted arm.] [Jane comes awake, throws the knife to the ground, and sinks at the foot of the tree in a violent sobbing.] JANE No! no! I can't. I can't. EPH [Aggrieved, picking up his knife and trying the edge.] Well, ye needn't dull up my good knife. Now what ye cryin' for ? If ye'd put the knife into ye, ye couldn't cry no more nor what ye're cryin' now. JANE [Rising to her knees.] God A'mighty! what am I doin' here, anyway? I've got to go back an' git Barstow's breakfast. [She rises.] CHILDREN OF EARTH 165 EPH [Proffering the knife.] You do it. JANE [She brushes off her dress and pats her hair into decency.] I can't, I tell ye. I've got to go an' git breakfast. EPH Well, if you're goin', you sing as ye go, an' le'me dance. JANE I sha'n't sing no more. [She goes off by a woodpath and Uncle Eph, after a mo- ment's puzzled consideration, trots happily after her.] [Peter and Mary Ellen come out from hiding.] MARY ELLEN D'you ever see her cry like that? PETER No. She ain't a cryin' woman. MARY ELLEN She ain't looked so either. I dunno's I ever see her look so. PETER Liquor'Il be the next thing. MARY ELLEN She's bound for it now. 1.66 CHILDREN OF EARTH PETER Yes. MARY ELLEN After she's got breakfast. D'you hear that? PETER Yes. MARY ELLEN Then she'll feel free to wander away. An' drink. How she cried! PETER God! MARY ELLEN D'you tell her last night? PETER Yes. MARY ELLEN What'd she say? PETER Not one word. MARY ELLEN An' now she's goin' to git breakfast. I hope she'll have the house shut up 'fore Nathan's there. I never thought — ^maybe Nita'll hear it first from him. PETER You think Jane'Il stay an' shut the house? CHILDREN OF EARTH 167 MARY ELLEN She's a real caretaker. [Absently.] I hope she'll put Trot out. PETER The cat'll be all right. MARY ELLEN Her kittens are up in the shed chamber. I guess Jane'd remember to leave the door. PETER My God ! Do you know what we're doin' ? We're standin' here talkin' about the chores, an' it's daylight — an' we're goin' off together — MARY ELLEN An' Jane wants to git drunk — or kill herself — but she's gone back to git breakfast. PETER Do you think for a minute this thing means to her what it does to us? MARY ELLEN No, l68 CHILDREN OP EARTH PETER Do you think she wants to kill herself because she's — left behind ? MARY ELLEN No. Not that. But it's everything together. It's her cravin', like a devil inside her. An' there was you an' me to fight the devil, an' we're gone. An' she's alone. But she's hoein' out her row. PETER What's the matter with us ? Nothin' looks the same. MARY ELLEN Even this place don't look the same. The flowers don't. {She snatches up the wreath, tears it apart, and throws it into the spring.] PETER What you doin' with that ? MARY ELLEN Buryin' it where nobody'll see it die, an' where I sha'n't see it. Even that looks different. PETER Do I — look different? MARY ELLEN Do I? CHILDREN OF EARTH 169 PETER Don't you love me? MARY ELLEN Dearer'n my life. PETER Don't you want to be with me ? MARY ELLEN Not that way, the way we thought. PETER Don't you want our house? MARY ELLEN Not that way. PETER Nor the garden? An' you waitin' at the gate? MARY ELLEN Not if we have to walk over her to git it. PETER The first step's taken. We have walked over her. MARY ELLEN Yes. We've stepped right on her an' left her in the dust. An' what's she done ? She's got up, all bruised an' bleedin', an' gone to do the work she said she'd do. 170 CHILDREN OF EARTH PETER What's bruised her? She don't feel to me as a woman feels to a man. MARY ELLEN She can't. The liquor's killed it out of her. But she's got somethin' left. She stan's by. An' so must we. PETER Have I got to see you go back there an' give up your will to other folks ? MARY ELLEN 'Tis because I've got a will I'm goin'. PETER To see you work an' slave — MARY ELLEN The work's nothin'. PETER Never to have your life — MARY ELLEN Why, Peter, we've both had our life. This one day. PETER Spring. An' no time for ripenin'. O my God ! CHILDREN OF EARTH 171 MARY ELLEN Don't you tell me the world ain't mine as much as 't was an hour ago. An' yours. Why, Peter, here we be, free to go either way we say. Which way we goin' ? You're the man. You've got to be the strong- est. PETER Yes. I could make you go — by main force, anyway. {They look each other in the eyes, Peter in a Herce passion, Mary Ellen unyieldingly.] MARY ELLEN Which way we goin'? [She waits for him to answer."] Ain't we goin' back? PETER [With a long breath.] Yes. [They turn and he stops short.] We can't go back. MARY ELLEN Why can't we? PETER There's Nate Buell. He's told folks. MARY ELLEN O my Lord! PETER You sha'n't face it. I won't let you. 172 CHILDREN OF EARTH MARY ELLEN It never'll be forgotten, so long as we live — nor after. How Mary Ellen Barstow run away. PETER Damn 'em. MARY ELLEN They'll p'int us out to strangers. In the Meetin' House. "That was the woman that run away." PETER 'T won't mean to them what it does to us. MARY ELLEN No. 'Twill mean — the worst. PETER They'll make it hell for you. MARY ELLEN Yes. There'd be nothin' like it PETER You can't face it. Nor I for you. MARY ELLEN Nor I for you. CHILDREN OF EARTH 173 PETER That settles it. Come. [They turn to go, but Mary Ellen stops.] MARY ELLEN But Jane! Jane's facin' it. She's gone back there — to git breakfast. Peter, we're goin' back. PETER [After a moment's struggling thought.] Yes, we're goin' back. [They turn to the homeward path and go off, Mary Ellen leading.] CURTAIN ACT IV The same morning a little later, in the Barstow sitting- room. The shutters are still closed and the lamp is on the table. Near the lamp is Mary Ellen's note. The basket of pewter is by the sideboard, on the floor. Jane comes in from the kitchen, goes to Mary Ellen's bedroom door, listens, opens it a crack and closes it. She goes to the table to take the lamp to the sideboard, sees Mary Ellen's note, looks at it and puts it in her pocket. As she is setting the lamp on the sideboard a whistle is heard outside. Jane goes out to the kitchen. Again the whistle outside and Anita comes in from the hall, whistling an answer. She carries a charming negligee over her arm. She runs to the window and opens the shutter a little. ANITA That you, Adam ? ADAM [His tone is curt and anxious.] Yes. ANITA I heard you whistling under my window. I came as quick as I could. 175 176 CHILDREN OF EARTH ADAM I thought you'd know that whistle. ANITA Did you mean it for a serenade? Didn't you hear me answer? I couldn't believe you'd let me go with- out saying good-bye. ADAM Can I come in ? ANITA I'm not quite dressed. [She slips on the negligee over her dress to make herself as pretty as possible.] Do you know what time it is? I came very near seeing the sun rise. ADAM Is your father up ? ANITA Yes. Dressing. ADAM Hurry, Nita. Let me in. ANITA Why, how serious we are ! Anything the matter ? ADAM Let me in, Nita. I've got to see you before your father comes. CHILDREN OF EARTH 177 ANITA Something is the matter. ADAM Yes. ANITA [In evident disappointment she takes off the negligee and lays it on the table by the door.] You sound as if it was — business. ADAM I'm not fooling now. Let me in. [She runs to the outer door and lets him in. He is grave and in a high state of tension.] I want you to get your father away on the 6:20. ANITA We're going, anyway. Mrs. Coleman's coming for us. ADAM You mustn't wait for that. Tell your father she's going to be late and you've both got to walk over there. I'll carry your bags. ANITA We haven't had breakfast. ADAM He'll have to go without his breakfast. 178 CHILDREN OF EARTH ANITA Aunt Mary Ellen wouldn't let him. ADAM Anita, do you trust me enough to do just what I tell you? ANITA Yes. What's happened, Adam? ADAM Peter's gone. ANITA Peter? Gone where? ADAM God knows. Gone for good. ANITA Left the farm? ADAM Yes. ANITA When did you know? ADAM Last night. Between twelve and one. Buell waked me — ANITA Mr. Buell? CHILDREN OF EARTH 179 ADAM Waked me, hammering on the door. There he stood, primed. Said Pete had run off. I told him to go back to bed. He wouldn't. Swore Pete wasn't on the place. ANITA And wasn't he? ADAM No. Nor Jane. ANITA Then they'd gone together. ADAM Not together. Wherever she is, it's not with him. He's gone and left her. I'm afraid, he's left her for good. ANITA You mean — deserted her ? How dreadful ! But you can't wonder. How did Mr. Buell know? ADAM Never mind. He knew. But I've got to keep him from telling anybody else. ANITA Where is he? ADAM I made him stay up iti my room while I dressed. Locked him' in with me. Talked at him — blue streak. l8o CHILDREN OF EARTH Anything to tire him out. Ten minutes ago he dozed off. Tlicn I crept out, locked him in, locked the out- side door and sprinted for here. And there's half a chance he won't get out till we've rushed your father off. ANITA But if you've locked him in — ADAM Oh, he'll break jail. It'll take him a minute or two, but once he's out he'll be here like a shot. Now call your father. ANITA What's father got to do with it? ADAM Xita, if Pete's gone, your Aunt Mary Ellen's gone with him. Buell knows. That's why he was trailing Pete. ANITA Aunt Mary Ellen? What do you mean? ADAM I knew about it yesterday. They'd got it planned. Pete told me. ANITA Adam, you mustn't say a thing like that. CHILDREN OF EARTH i8l ADAM They planned it. He told me so. But I didn't really take it in. ANITA Aunt Mary Ellen ? Oh, you're perfectly crazy. ADAM You needn't believe it. I don't want you to. All I want you to do is to get your father away from here before Buell sees him. ANITA It's that horrible man. She'd promised to marry him and she was beside herself. She's got Peter to take her away. ADAM I'm afraid that's only half the story. Nita, they're in love. ANITA Aunt Mary Ellen ! I won't believe it. [She runs to the bedroom door, calling.] Aunt Mary Ellen! ADAM [Stopping her.] Sh! Don't let your father know. Get him away. Then I'll hunt for them. ANITA He won't go without seeing her. l82 CHILDREN OF EARTH ADAM Make him. ANITA What could I tell him? ADAM Tell him — she's been called away. ANITA Do you suppose I'd leave this house without know- ing where Aunt Mary Ellen is? And do you believe I think for a minute she's not in there? ADAM You're afraid she isn't. If you weren't you'd be in there like a shot. [She hesitates and goes to him in a momentary doubt and terror.] Open the door, Nita. Get it over. [She leaves him and gets herself in hand.] Wait. If you find her bed hasn't been slept in, will you do what I tell you, bluff your father, bluff Buell if you have to, and get them away? It's a big game of bluff from now on. Understand? ANITA [Going to the bedroom door.] Yes. ADAM Now. CHILDREN OF EARTH 183 ANITA {Knocking softly.] Aunt Mary Ellen! ADAM Sh! there's your father. [Anita leaves the bedroom door and Adam opens the hall door to let in Aaron, laden with bags and wraps.] AARON [As he enters, ungraciously to Adam.] Well, young man, you round here? You're out early. [To Anita.] You left your bag up in your room. Here's your coat an' hat. Where's your aunt? ANITA We've got to hurry, father. [She begins putting on her coat and hat.] ADAM Yes, you're to walk over to the Colemans' and start from there. [He takes up the bags.] These all, Mr. Barstow ? AARON You set them bags down. [To Anita.] Where's Mary Ellen? [Adam sets down the bags.] l84 CHILDREN OF EARTH ANITA Don't you understand, father? We've got to walk over to the Colemans'. That's why we're starting now. Come. AARON Why ain't breakfast on the table? ADAM There's a dining car on your train, Mr. Barstow. AARON [To Anita.] What's your aunt mean by sendin' me out o' this house without my breakfast? [He is on his way to the kitchen door when Anita stops him.] ANITA Father, Aunt Mary Ellen — isn't here. AARON Ain't here? Where is she? [Nathan, trembling with rage and haste, comes in at the hall door.] NATHAN [Launching his wrath at Adam.] Ye fastened me in, did ye, like a dumb beast? Ye thought I was too infirm to climb down over the shed roof. Ye left me asleep, did ye ? Well, you're the one 'twas left. Aaron Barstow, Mary Ellen's gone off. CHILDREN OP EARTH 185 AARON Gone off ? She's goin' with us. [To Anita.] Ain't she packed her bag? [He starts toward the bedroom door, but Anita detains him.] ANITA Father! NATHAN Goin' with you ! That's a good one. She's gone all right. But 'tain't with you. AARON Gone? NATHAN Yes, gone. I see her go. AARON When'd she go? NATHAN Last night. AARON Why, she set here with me till — NATHAN 'Twixt twelve an' one suthin' come tappin' on my screen. An' then I heerd a voice, an' 'twas Mary Ellen's voice an' it says, "I'm goin' off." l86 CHILDREN OF EARTH AARON Oh, you were asleep an' dreamin'. NATHAN I got up an' looked out the winder an' there she was slippin' through the moonlight like a shadder. 'Twas Mary Ellen. I'd known her amongst a thou- sand. ANITA You didn't know her yesterday, Mr. Buell. What if it was I you saw — NATHAN Ye can't fool me. She run off last night. She's gone. An' she called out to me, "I'm goin' off with Peter Hale." AARON Nate, you're a born fool. NATHAN She was out of her head over that feller. D'you ever hear a Christian woman talk as she did down in his yard no longer ago'n yesterday ? ADAM Oh, Mr. Buell! NATHAN [To Adam.] Yes, an' you knew it, too. You locked me in to give 'em time. Smooth-tongued devils, both on ye ! CHILDREN OF EARTH 187 [To Aaron.] Mary Ellen's run off, an' she's run off with Peter Hale. If she ain't with him, where is he? He's gone. You ask this smart Alec here that locks folks up an' lets 'em climb down over shed roofs. He can't deny it. AARON [To Adam.] Where is Hale ? ADAM Couldn't say, Mr. Barstow. NATHAN Mary Ellen's run off, an' she's run off with Peter Hale. Here, ain't that Mary Ellen's bedroom? Look in there an' see if the bed's been slep' in. She ain't been there all night long. ANITA You're not going into Aunt Mary Ellen's room. [She draws a chair before the bedroom door and seats herself in it.] NATHAN If she ain't slep' in that room, that tells the whole story. ANITA Nobody is going to open the door of Aunt Mary Ellen's room. l88 CHILDREN OF EARTH AARON Git up, Nita. ANITA Father, I won't have him peering in there. What is it to him where Aunt Mary Ellen is? {She rises, but still stands before her barricade.^ He hasn't been here a day, and we all hate him, every one of us. And if she's hidden herself away from him, I don't blame her. It's what any woman would do. AARON Nita, you come away from there. ANITA No, father, that man sha'n't look inside Aunt Mary Ellen's room. AARON Nita! [Jane comes in from the kitchen and goes directly to the bedroom door, where Anita instinctively gives place to her.] JANE What you crowded round that door for, like a par- cel o' wolves ? What do you think you're goin' to find ? If you want to know anything, you come to me. CHILDREN OP EARTH 189 AARON Ah! [To Nathan.] She's the one. Hale's wife ! [To lane.] Where's my sister? JANE Gone out. AARON Where? JANE To one o' the neighbors. AARON How'd ye know? JANE She told me. AARON Where'd ye see her? JANE Here. In this room? Yes. When was it? NATHAN JANE NATHAN JANE Half an hour ago — twenty minutes — maybe. igo CHILDREN OF EARTH NATHAN [Trying to readjust his point of view.] Then she come back. JANE Come back from where ? She come out o' her bed- room here. NATHAN [Taking the cross-examination on himself.] Jest up, was she ? JANE Yes. NATHAN Slep' there last night, did she, same as usual? JANE Yes. NATHAN In all night ? JANE Yes. NATHAN What makes ye think so? JANE I was here last night myself. NATHAN All night? CHILDREN OF EARTH 191 Yes. JANE Where? NATHAN Here. In this room JANE NATHAN How long d'ye stay here? JANE All night, I told ye. NATHAN Set up all night. AARON That's a likely story. What'd ye do that for? JANE I didn't want to disturb folks, goin' upstairs. I come in late. AARON Ye didn't come in 'fore midnight. I locked the doors myself as the clock struck twelve. JANE 'Twas after twelve. NATHAN How much after? 192 CHILDREN OF EARTH JANE Five minutes — maybe ten. AARON The doors were locked. How'd you git in ? JANE Mary Ellen let me in. NATHAN Got up out o' bed, did she, an' let you in? JANE Yes. NATHAN 'Twixt twelve an' one. JANE Yes. AARON [To Nathan.'] If she set here all night, Mary Ellen couldn't ha' got out 'thout her knowin' it. NATHAN Unless she went by the winder. CHILDREN OF EARTH 193 JANE [In momentary dismay.] The winder! [Recovering herself in triumph.] The screen's nailed in. NATHAN Aaron, we've got to see whether that bed's been slep' in. If it ain't, it's because Mary Ellen no sooner got red o' you than she put for the road. [To Jane.] You come away from that door, or I'll make ye. ADAM Let her alone, Buell. AARON [To Jane.] Step away from the door. ANITA Father, don't. NATHAN [Pointing a lean forefinger at Anita and Jane.] Aaron, them two's in league together. That bed ain't been slep' in an' they know it. AARON [To Jane.] Come. I don't want nobody to lay hands on ye, but ye've got to git away from that door. 194 CHILDREN OF EARTH JANE S'pose I do git away from the door. S'pose ye find the bed made up. D'ye think ye'll be much bet- ter ofiE? Then look. [She throws open the door and walks stolidly away to the table.] NATHAN Aha! What'd I tell ye? Quilt all spread up an' a clean piller case an' not a wrinkle in it. What d'ye think now? JANE [ Triumphantly.] I made the bed. AARON When? JANE Jest now. AARON Mebbe she did, Nathan. Ye can't prove it. NATHAN Mebbe I can't. [To Jane.] You take your oath you come into this house 'twixt twelve an' one ? JANE Yes. NATHAN An' Mary Ellen let you in. CHILDREN OF MARTH 195 JANE Yes. NATHAN What'd she do then ? JANE Went back to bed. NATHAN An' you set here all night. JANE Yes. Till half an hour ago. NATHAN [With sudden violence.] You're lyin'. Ye've lied right through. JANE [With answering violence.] Don't you tell me I lie. NATHAN I can prove it. Mary Ellen was in the road last night. I see her an' she spoke to me. AARON Ye dreamed that, Nate. ig6 CHILDREN OF EARTH JANE {leeringly.'] Aha! Who's lyin' now? NATHAN [Taking out the ring and chain.'] Is this a dream? She laid it on my winder sill an' she says, "Here's suthin' for ye." 'Twas the ring I give her — an' the chain. You know it, Aaron. Years ago. AARON [To Jane.] You've been lyin'. NATHAN Lyin'. As fast as she could speak. Look at her face. Look at her face. [Jane covers her face with her hands.] ANITA Father! She's been crying. AARON [To Jane.] What d'ye cry for? NATHAN [With biting emphasis.] She cried because she knows it. Her husband's run off with Mary Ellen Barstow. [Jane staggers and catches at a chair to steady herself.] CHILDREN OF EARTH 197 AARON [To Jane.} Godfrey! You ain't been drinkin'? JANE [Laughing wildly.] Drinkin'! That's it. Drinkin'! Drinkin'! The cravin' come on me last night. An' Mary Ellen see it. An' she follered me. An' she got Peter, an' they both follered me. An' they follered me all night. All night long they follered me up an' down an' through the mist. But I give 'em the slip. I give 'em the slip. AARON What d'ye lie for, then ? JANE D'ye think I'd owned it if he hadn't trapped me? If I could throw you two off the track, don't you think I'd ruther lie than eat? Ye thought ye had her, didn't ye? Thought ye'd git her in the trap? But it's me you've trapped, an' if ye want the truth I'll spit it at ye. I'm a drinkin' woman, an' Mary Ellen knows it, an' she's lookin' for me now, mebbe miles away. An' if she never comes back, it's no inore'n you two deserve. An' I don't stay in this house an- other minute. I'm goin' off after her. [She turns, glances from the window, and cries out in wild relief,] igS CHILDREN OP EARTH They're comin'! They're comin'! There's Peter. There they be. [She runs to the hall door to meet them.] NATHAN [Peering from the window.] Heads as high as ninety. JANE [At the hall door, to Peter and Mary Ellen.] They ain't gone yet. You're jest in time. [Peter and Mary Ellen come in. and Jane continues, with meaning emphasis.] I've told 'em the whole story. I've told 'em how you thought I was off after liquor, an' how you hunted for me all night long. I've said all there is to say. [She takes the letter from her pocket and gives it to Mary Ellen.] Here. I found it. [She goes out to the kitchen.] AARON [Stolidly relieved at having the commotion over.] Well, Mary Ellen, you've got back. ANITA [Going to Mary Ellen, kissing her, and touching the wed- ding dress caressingly.] Pretty. ADAM [To Peter.] ^Vell, old man. CHILDREN OF EARTH 199 NATHAN Mary Ellen, ye've been out all night, an' it's well ye've got back as ye have. Ye can't go kickin' over the traces like that 'thout causin' talk. PETER [Striding forward and confronting him.] Buell, you look here. An' listen. If there is any talk I shall know where it comes from, an' deal with you accordin'. Understand me? I guess you under- stand. [Peter goes out at the hall door.] NATHAN [Cringing momentarily.] I didn't mean no harm. I was goin' to overlook it anyways. [Nathan turns to Mary Ellen.] Now I'm goin' to the street an' have that deed made out. [He becomes aware of the ring and chain in his hand and holds them up before her.] What d'ye mean by that? MARY ELLEN Keep it, Nathan. I don't love you. Nor you don't love me. 'Twas all the land. NATHAN Love? What d'ye expect, at our age? But a promise is a promise. An' land is land. And I 200 CHILDREN OP EARTH hereby lay my commands on ye, as my wife that is to be, that ye keep m your name all lots an' passels o' land that's standin' in your name now. MARY ELLEN You're too late, Nathan. I've signed it all away. NATHAN [Anguished.} Ye ain't gone an' stripped yourself of all that land —acre upon acre o' wood an' tillage — MARY ELLEN Every inch of it. But I've got the paper that binds you to sell me Mill Road Farm. NATHAN Then for God's sake, Aaron, you let her have that. Let her have Mill Road Farm. Advance her the money, Aaron. Give it to her right out. She's your own sister, Aaron. Only think o' that. MARY ELLEN Nathan, if he did I shouldn't take it. NATHAN Then that's the last word I've got to say. Marry ye? I wouldn't marry ye if ye should beseech me to. You ain't a Christian woman. [He goes out at the hall door, shaking with righteous indignation.'] CHILDREN OF EARTH 201 AARON If ever I see two such fools — all this hurrah-boys over nothin'. Godfrey! Betwixt you an' that Hale woman an' Cynthy Barstow laggin' behind, I ain't got time to swaller down a cup o' coflFee. Mary Ellen, you put on your bunnit, an' come along jest as you be. [He goes to the desk and begins a Anal rearrangement of his hag.] MARY ELLEN Go — with you? \She lifts the basket of pewter to the table and begins un- wrapping the pewter and setting it back in its old place on the shelf.] AARON That's what I said. ADAM [At the window.] Here's Cynthia Coleman with the team. She's on time, after all. AARON [To Mary Ellen, who is still busy with the pewter.] What ye 'bout there? MARY ELLEN I'm puttin' gran'mother's pewter back on the shelves where it belongs. 202 CHILDREN OF EARTH AARON Godfrey! your voice sounded for all the world like mother's that time father licked me for givin' away my five cents. MARY ELLEN I guess mother'd like to have me keep my pewter. Aaron, my mind's made up. AARON Well, you think it over. You'll feel different by to-morrer. [Cynthia comes in at the hall door.] [Mary Ellen and Anita go off to Mary Ellen's bedroom for last words.] CYNTHIA You ready, folks? ADAM I'll put these in the carry-all. [He carries out the bags.] AARON [To Cynthia.] Thought you were goin' to be late. CYNTHIA [Running over with talk to which nobody ever listens.] I'm a mite early, if anything. Seems's if everything's happenin' to once. I dunno which way to turn. I've CHILDREN OF EARTH 203 been at it sence daybreak, scourin' tins an' lookin' over things up attic — never see so many old daguerreo- types — didn't know there was so many in the world — an' squash seeds — an' foot-warmers — an' old clo'es. We've got a swarm o' bees to dispose of. Aaron, I wonder'f you could make use of a swarm o' bees? No, I s'pose not, livin' in the city so. Well, I'll be climbin' in. \She hurries out at the hall door as Adam enters.] [Mary Ellen and Anita come back from the bedroom.] AAEON Godfrey ! this place is hornets' nest enough for me. Well, good-bye, Mary Ellen. MARY ELLEN Good-bye, Aaron. [Aaron goes out, his mind already on "business". Anita, without a look at Adam, follows.] MARY ELLEN [To Adam.] I'm terrible sorry, Adam, she's gone off like this. ADAM Not even said good-bye. [In deep depression, he sits near the desk, his back to the door.] [Anita, mischievous and provocative, comes softly back, carrying her bag: She takes the negligee from the little table and carries it, with the bag, to the large table.] 204 CHILDREN OF EARTH ANITA Adam! [Adam, in a momentary hopefulness, gets up and stands looking at her imploringly. She is carefully folding the garment for her bag.] Do you know why this isn't in my bag? ADAM No. ANITA Well, you never will. There's a lot of things you never'll know, Adam. MARY ELLEN Speak up, Adam. Don't let her go like this. [She turns to leave them.} ANITA Oh ! don't leave us alone, Aunt Mary Ellen ! Please ! [Mary Ellen smilingly goes off to her bedroom, and Anita, calling, continues to address her.] He's nothing to say to me anybody couldn't hear. It takes an audience to bring him out. He can speak very nicely before a crowd. He proposed yesterday — to father. And Mr. Buell was there and Mrs. Coleman was there and — oh, I don't know how many. And — oh, yes, I was there too. ADAM [Aware that he is being chaffed, yet unequal to it.] Nita! CHILDREN OF EARTH 205 ANITA Aunt Mary Ellen! {Mary Ellen comes from her bedroom and Anita carries the negligee to her.] I don't believe I'll take this after all. If I leave it, I may have to come back for it. I might come Tues- day. ADAM [In reviving hope.] Tuesday ? ANITA [To Mary Ellen, and carefully ignoring Adam.] Next Tuesday. That's father's busy day. To get this. And to see you, Aunt Mary Ellen. MARY ELLEN That's a good girl. [She takes the garment into her bedroom.] ADAM Tuesday? Mayn't I come? ANITA What's the use? Mr. Buell won't be here and father won't be here. [Calling.] Next Tuesday, Aunt Mary Ellen. Don't forget. 266 CHILDREN OF EARTH AARON [Calling from the carry-all] Come, Nita. ADAM Mayn't I ride down to the station ? ANITA There's an extra seat — with father. [She goes out laughing, and Adam, beginning at last to under- stand, runs after her.} [Mary Ellen comes from her bedroom and goes at once toward the door to the kitchen. Jane opens the door and comes in with a tray of dishes. For a moment they regard each other gravely, and then Jane sets the tray on the table, spreads the cloth and arranges cups and plates.] MARY ELLEN Jane, what are we goin' to say to one another? JANE You don't need to say anything. MARY ELLEN All these months I thought I was takin' care o' you, an' now you've took care o' me. You give up your good name to save mine. JANE I ain't got any good name. CHILDREN OF EARTH 207 MARY EXLEN iTou stood by me when you might ha' thought the worst. JANE I know what you be. MARY ELLEN But you've got to know the whole. He's dearer'n my life to me. I've told him so. It's true. An' I ain't sorry I went — I'm glad. An' I shall be glad all the days o' my life — ^glad I went an' glad I came back. JANE That's right. You be glad. You ain't dead like me. He an' I are as dead to one another as if we're underground. An' so it's been for years. MARY ELLEN Jane, last night somethin' took me off the earth an' set me in the heavens. An' then I see the earth as 'twas meant to be — an' how we've got to live on it an' not do wrong. JANE I guess you won't do — any hurt. MARY ELLEN I sha'n't forget how the heavens look. I sha'n't stop bein' happy. But some way or another the rest o' my life's goin' to be for you — an' him. And how it's goin' to be — whether I'd ought to go away some- 208 CHILDREN OF EARTH wheres or stay right on here — I dunno yet. You're the one to tell. JANE [In alarm.'] You ain't goin' away? MARY ELLEN Jane, what be I goin' to do ? You tell me. JANE Do you know what I want? I didn't know last night, but I know now. To have you two back ag'in. You stay right here in this house an' let me stay with you. An' we'll work. An' you'll keep the devil out o' me. An' Peter Hale'll come here an' eat. An' I'll see to the house down there. An' that's all. MARY ELLEN Is that what you want, too ? JANE That's all I want. Here. With you. Quiet. Touch me. [She stretches out her hand timidly and imploringly, and Mary Ellen takes it and puts it to her cheek. But Jane snatches Mary Ellen's hand to her lips and kisses it. Then in u full, almost happy voice.] Now I'll make some new coflfee. [She goes out to the kitchen, and Mary Ellen sinks into a chair and sits there musing.] [Peter comes in at the hall door.] CHILDREN OF EARTH 209 PETER You been talkin' ? MARY ELLEN Yes. PETER She's a good woman. MARY ELLEN She's somethin' better'n that. PETER Yes. [To himself, musingly.] A good woman. MARY ELLEN She wants to go right on, same's we've been goin'. An' she seems to know we can go on. You an' I know it — but she knows it, too. [Peter nods, turns away for a minute, then turns back as if taking up everyday life.} PETER What you goin' to do to-day? MARY ELLEN Oh, git the rooms in order. Stir up some cake. What you goin' to do? 210 CHILDREN OF EARTH PETER I thought mebbe I'd bring another load o' loam an' put it on your long beds. MARY ELLEN Ain't it wonderful to have things to do ? PETER I'm goin' to take some measurements, too, an' see if I can't git you in another cupboard by the pantry door. MARY ELLEN Jane'll like that, too. [She opens the shutters and the sun, streaming in, rests on the vase of apple blossoms and on her.] Peter, ain't it bright ! I didn't think the day was gittin' on so fast. [Peter compares his watch with the clock.'] How's the clock? PETER [Smiling at her.] 'Bout right. [He steps into the pantry and begins measuring the wall space.] MARY ELLEN Anyways, we're goin' with the sun. [She stands a moment smiling and then begins singing softly to herself the tune "Come, Lasses and Lads".] CURTAIN. SONGS FOR ACT II THE APPLE SONG [Tune: "Come, Lasses and Lads"] O here's to the health And here's to the wealth Of apple tree bark and bough! O bloom and O fruit And O mothering root, We're hailing you, blessing you now ! O Baldwin and Sweet and Spy! O Hubbardston, hanging high! May you dance and blow And swing and grow And fall for us by and bye! EARLY ONE MORNING Early one morning, just as the sun was rising, I fared afield, singing the apple trees a-blow. Woven on Spring's loom. Pink bloom and white bloom: O ye flow'rs of May, why drift ye downward like the snow? 211 212 CHILDREN OP EARTH Gone are the months when ye stood there bare and bowerless, Before the birds built, or the streamlets did flow. Woven on Spring's loom, Pink bloom and white bloom: O ye flow'rs of May, why drift ye downward like the snow? Dream ye of days when the painted fruit is red'ning? And would ye now waste your sweet beauties, to grow ? Woven on Spring's loom, Pink bloom and white bloom : O ye flow'rs of May, why drift ye downward like the snow? So did I sing as the early sun was rising. And loud the birds quired to the apple trees a-blow. Woven on Spring's loom. Pink bloom and white bloom: O ye flow'rs of May, why drift ye downward like the snow? SUMMER IS ICUMEN IN To "Summer Is Icumen In" the old English words are sung. The following pages contain Advertisements of Macmillan Books by the same author My Love and I By MARTIN REDFIELD (Alice Brown) Decorated Cloth, i2mo, $1.33 net; postage extra " 'My Love and I ' takes rank with the best work of the best modem English and American novelists. . The book which originally appeared under the nam de plume of Martin Redfield is now reissued with its real author's name on the title page." — Indianapolis News. " . a compelling story, one that is full of dignity and truth and that subtly calls forth and displays the nobilities of human nature that respond to suffering. " — Argonaut " . . the story has a quality of its own that makes it notably worth while." — North American Review. "A story which is strong, readable, and of a quality far above the ordinary run of fiction." — Boston Times. "A book of rare tenderness, deep pathos and wise understanding of the human heart." — The Bookman. "A superior, splendid story; it is filled with strong sentiment without being sentimental. Some of the situations are not pleasant, but the treatment of them is never disagreeable." — Los Angeles Times. "It is a powerful story, powerful in purpose and in method." ■ — Christian Work. "A superfine love story." — New York World. "The strength and appeal of the book are in its wonderful revelations of the depths of a man's soul. " — Bufalo Express. THE MACMILLAN COMPANY Publishers 64-66 Fifth Avenue New York Robin Hood's Barn By ALICE BROWN Decorated Cloth, Illustrated, izmo, $1.25 net; postage extra One may always depend upon Alice Brown for sincere, sound work. The people in her new novel are clear to the mind, made so by countless delicate touches and fine lines. The incidents and situations are always normal and natural, not straining for sensation, but growing simply out of character and temperament. Miss Brown's previous books have given her a distin- guished reputation as an interpreter of New England life. The idealism, the quaint humor, the skill in character drawing and the dramatic force which have always marked her work are evident in this charming story of a dream that came true. The illustrations, the frontispiece being in colors, the others in black and white, are by Mr. Horace Carpenter, whose sympathetic craftsmanship is widely known and appreciated. " . abounds in quiet humor and wholesome idealism, and is dramatic with the tenseness of human heart throbs. It is very enjoyable to read — interesting, original, wholesome. " — Boston Times. " . a psychological romance which moves interestingly and strongly from start to finish. " — Springfield Republican. "A tale of buoyant optimism." — Boston Transcript. "The author has displayed much quaint humor, skill in character drawing, and dramatic force." — Christian Advocate. THE MACMILLAN COMPANY Publishers 64-66 Fifth Avenue New York Vanishing Points By ALICE BROWN Decorated Cloth, i2mo, $1.2$ net; postage extra "There are few better short story writers than Alice Brown. To a comprehensive knowledge of human nature she adds good judgment, quiet philosophy and style practically perfect. She has, too, a strong sense of plot. All the narratives, in the present volume, are faultless in technique, well constructed, spiritually sound. " — Chicago Record-Herald. 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THE MACMILLAN COMPANY Publishers 64-66 Fifth Avenue New York The Secret of the Clan Jl StoTS for Qirh By ALICE BROWN Illustrated, Cloth, i2mo, $1.25 net Imagine four girls of fifteen or thereabouts, a delightful grandmother with whom they live and who believes that young people should have some secrets and do things their own way, a governess who knows how to dance and how to get up amateur plays, an uncle who wants to appear gruff, but in reality loves the " imps, " as he calls his nieces, and you have the fundamentals out of which Miss Brown's wholly absorbing story is built. The secret which the girls have and to which, following the custom of their improved Indian tribe, they do not admit their grandmother, is the cause of all the trouble and it threatens to be serious trouble for a time. But it comes out happily in the end for every one concerned, particularly for Uncle Terry and the governess. 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