Thorne Guy
The Socialist

Sitting next to Mr. Conrad was a small, pale-faced man with a rather heavy light moustache and wearing gold-rimmed spectacles. He would have been almost insignificant in appearance had it not been for the high-domed forehead and fine cranial development. This was Charles Goodrick, the editor-in-chief of the great Radical daily paper – the most "advanced" of all the London journals, – and a man with great political influence.

The third man, Aubrey Flood, Mary recognised at once. He was a young and enthusiastic actor-manager, possessed of large private means, who was in the forefront of the modern movement for the reformation of the stage. He was at the head of the band of enthusiasts who were sworn foes of musical comedy and futile melodrama, and he enjoyed a definite place and cachet in society.

When they all went in to dinner, which they did almost at once, Mary found that he was seated at her left. On her right was Mr. Rose himself.

The meal was quite simple, but exquisitely served and cooked. The consommé would not have disgraced Vatel or Carème, the omelette was light as a feather, and, above all, hot! The wild ducks had been properly basted with port wine and stuffed with minced chestnuts and ham. To poor Mary it was a banquet for the gods!

"You see, Miss Marriott," said Rose, with a queer little twinkle in his eye, "we don't eat out of a common trough, though we are Socialists, nor are we vegetarians, as poor, dear Bernard Shaw would like us all to be."

Mary laughed. "I don't think I ever imagined Socialists were like that," she said. "In fact, though it may seem very terrible, I must confess that my mind has hitherto been quite a blank upon the subject."

"Then it will be all the easier to write the truth upon it," Rose answered.

"Then Miss Marriott doesn't quite know what we want her for yet?" Aubrey Flood asked.

"She only knows that she is going to play lead at the Park Lane Theatre in a new play of mine."

"And that is overwhelming, simply," Mary said with a blush. "It's impossible to believe. But, all the same, I am longing to hear all there is for me to know."

"So you shall after dinner," said Rose, "you shall have full details. Meanwhile, to sum the whole thing up, you are not only going to take a part in a play, but you are going to inaugurate a Revolution!"

CHAPTER VI
THE GREAT NEW PLAN

"J. F. R." had spoken with unusual seriousness, and his manner was reflected in the faces of the other guests as they looked towards Mary Marriott.

The girl's brain reeled at the words. A Revolution! What could they mean – what did it all mean? Was she not in truth asleep in her dingy little attic sitting-room? Wouldn't she wake up soon to find the old familiar things around her – all these new surroundings but a dream, a phantom of the imagination?

Mrs. Rose was watching her, and guessed something of what was passing in the girl's mind. "My dear," she said, with a bright and friendly smile, "it's all right; you really are wide awake, and you shall hear all about it from Fabian in a few minutes. And you haven't come into a den of anarchists, so don't be afraid. Only your chance has come at last, and you are to have the opportunity of doing a great, artistic thing – as great, perhaps, as any actress has ever done – and also of helping England. You may make history! Who knows?"

"Who knows, indeed?" said Charles Goodrick, the editor of the Daily Wire. "I hope it will be my privilege to record it in the columns of my paper."

The dinner was nearly over, but the remainder of it seemed interminably long to the waiting girl. In a swift moment, as it were, her whole life was changed. That morning she was a poor and almost friendless actress of the rank and file. Now she sat at dinner with a group of influential people whose names were known far and wide, whose influence was a real force in public affairs. And, somehow or other, they wanted her. She was an honoured guest. She was made to feel, and in a half-frightened way she did feel, that much depended upon her. What it was she did not know and could not guess; but the fact remained, and the consciousness of it was a strange mingling of exaltation, wonder, and fear.

At last Mrs. Rose smiled and nodded at Mary and rose from her seat.

"Don't be more than five minutes, Fabian," the hostess said, as she and Mary left the room.

When they were alone together she drew the girl to a big couch, covered with blue linen, and kissed her.

"We are to be friends," she said, "I am quite certain of it." And the lonely girl's heart went out to this winning and gracious young matron.

The four men came into the room, a maid brought coffee, cigarettes were lighted – Mrs. Rose smoked, but Mary did not – and the playwright took up a commanding position upon the hearth-rug.

Then he began. The mockery which was so frequent a feature of his talk was gone. He permitted himself neither pose nor paradox – he was in deadly earnest.

"For more than a year," he said, "I have searched in vain for an actress who could fill the chief woman's part in my new play. None of the ladies who have acted in my other plays would do. They were admirable in those plays, but this is quite different. I have never written anything like it before. I sincerely believe, and so do those who are associated with me in its production" – he looked over at Aubrey Flood – "that the play is a great work of art. But it is designed to be more, far more than that. It is designed to be a lever, a huge force in helping on the cause in which I believe and to which I have devoted my life – the cause of Socialism. I could not find any one capable of playing Helena Hardy, the heroine of the play. The play stands alone; yet is like no other play; no actress trained in the usual way, and however clever an artist, had the right personality. Then I saw you play. I knew at once, Miss Marriott, that I had found the lady for whom I was searching. Chance or Fate had thrown you in my way. In every detail you visualized my Helena Hardy for me. I am never mistaken. I was, and am, quite certain of it.

"You tell me you know nothing of Socialism. Before you have been associated with us very long you will know a great deal about it. I am sure, if I read you rightly, that when the time comes for you to play Helena you will be convinced of the truth of the words you utter, of the Cause for the service of which we enlist your art. It is the cause of humanity, of brotherhood, of freedom.

"We cannot go on as we are. These things have not touched your young life as yet, they are about to do so. Realise, to begin with, that England cannot continue as she is at present. Nemesis is one of the grim realities not sufficiently taken into account in the great game of life. Leaden-footed she may be, and often is, but that is only her merciful way of giving the sinner time to repent. There is nothing more certain in the universe than that an injustice done to an individual or to a class, to a nation or to a sex, will sooner or later bring destruction upon the doer. At the present moment England is reproducing every cause which led to the downfall of the great nations of the past – Imperialism, taking tribute from conquered races, the accumulation of great fortunes, the development of a huge population which owns no property and is always in poverty. Land has gone out of cultivation, and physical deterioration is an alarming fact. And so we Socialists say that the system which is producing these results must not be allowed to continue. A system which has robbed Religion of its message, destroyed handicraft, which awards the prizes and successes of life to the unscrupulous, corrupts the press, turns pure women into the streets and upright men into mean-spirited time-servers, must not continue.

"I'm not going to give you a lecture on Socialism now. But it is absolutely necessary that I should explain to you, at the very beginning of your work, how we look at these things.

"At the present moment three quarters at least of the whole population are called 'workers.' How do these people live? By the wear of hands and bodies, by the sweat of their faces. A 'worker' eats food which is rough, cheap, and harmful in many instances. His clothes are of shoddy, with a tendency to raggedness. He lodges in tiny, ill-ventilated rooms. He works from eight to sixteen hours each day, just so long as his strength is effective. And not only the worker himself – that is the man who is head and support of his family – but his wife and sisters and daughters share the burden of toil. He works among perils and dangers unceasing, accidents with machinery, explosions in mills and mines, dreadful diseases come to him from dangerous trades – unwholesome conditions, vitiated air, poisonous processes, and improper housing. Hardly any of those fortunate ones who impose these tasks upon him take any care to shield him from these evils. He is not so valuable as a horse. He is cheap, there are millions of him to be had, why go to the expense of protecting him? A horse has to be bought, he costs an initial sum down, the worker costs nothing but his wretched keep.

"You, Miss Marriott, are cultured. You are an artist, you live for your art, and you care for it. You can understand the peculiar horror, I should say one peculiar horror, of the life of the worker which he is himself generally too blind and ignorant to understand. For he has no leisure to look about him, no heart to speculate as to what things might be. Over all his misery and misfortune towers one supreme misery and misfortune – the want of all that makes the pleasure and interest of life to the free man. No genius tells stories, makes music, paints pictures, writes or acts, plays, builds palaces for the worker. Genius itself would starve at such work, as things are at present constituted. The workers' chief concern is to buy bread. He must let art, that sweetens life, go by. The Graces and the Muses are never shown to him in such a way that he may know and love them for their own sakes."

He stopped suddenly. Colour had come into the pallid face, the rich, musical voice had a vibrant organ note in it, every one in the room was leaning forward, strained to attention, Mary among the rest.

"So much for that," he went on. "I have been saying necessary but obvious things. Now let me point out what we are doing, we Socialists. Our party is growing enormously day by day. Innumerable adherents, great power, fill our ranks and give us weapons.

"We have an influential press. Monthly reviews and weekly papers preach our message. And one great daily journal, controlled by our brother, Charles Goodrick, reaches every class of society, and hammers in the truth day by day.

"Our political organization is an engine of great power. We have a large pledged party in the House of Commons. Our lecturers are everywhere, our books and pamphlets are being sown broadcast over the kingdom.

"We have a great Religious movement. Mr. Conrad here, together with some half a dozen others, controls the increasing band of Christian Socialists. Men and women of all the churches flock to his banner, differences of opinion are forgotten and lost under the one comprehensive watchword – that Christianity, the faith in Jesus Christ, is a socialistic religion.

"We have two great needs, however. Able as our writers are, they are nearly all essayists or journalists. As yet no great popular novelist has joined us – one of those supreme preachers who wield the magic wand of fiction and reach where no others can reach.

"And lastly, we have never had as yet a socialistic stage! That tremendous weapon, the theatre, has laid ready to our hand, but we have not availed ourselves of it. We are about to do so now. You know, I know, we are both experts, and it is our business to know, that there are hundreds of thousands of people who never read a book or pamphlet, and who are yet profoundly influenced and impressed by the mimic representations of life which they see upon the stage.

"You are a provincial actress. You have toured in ordinary melodrama. When, after some important act or scene, the characters are called before the curtain, what do you find? You find that some stick of a girl who has walked through the part of the heroine in a simper and a yellow wig is rapturously applauded – not for herself, the public thinks nothing of her acting one way or the other, but for the virtues of which she is the silly and inartistic symbol. The bad woman of the piece, always and invariably the finer player and more experienced artist, is hissed with genuine virulence.

"What is this but the very strongest proof – and there are dozens of other proofs if such were wanting – of the influence, the real and deep influence of the theatre upon the ordinary man and woman?

"It is to inaugurate the new use to which the theatre is going to be put by us that I have invited you to join us. But do not mistake me. We have taken the Park Lane Theatre by design. We are going to begin by showing the idle classes themselves the truth about themselves and their poorer brethren. They will come out of curiosity in the first instance, and afterwards because what we are going to give them is so unique, so extraordinary, and so artistically fine that they will be absolutely unable to neglect it. Then the movement will spread. We shall rouse the workers by this play, and others like it, in theatres which they can afford to attend. We shall have companies on tour – I may tell you that already a vast and detailed scheme is prepared, though I need not go into any of the details of that on this first night.

"And now, finally, let me tell you, quite briefly and without going into the scope of the plot, something about the first play of all at the Park Lane Theatre – your play, the play in which you are to create Helena Hardy. It is called, at present, The Socialist, and it is destined to be the first of a series. Its primary effort, in the carefully-thought-out scheme of theatre propaganda, is to draw a lurid picture of the extreme and awful contrast between the lives of the poor and the rich.

"We are going to do what has never been really done before – we are going to be extraordinarily and mercilessly realistic. It will be called brutal. And our studies are going to be made at first hand. In attacking one class, we are also going to allow it to be known that all our actual scenes have been taken from life. The slums to the north of Oxford Street, all round Paddington, are hideous and dreadful. They all belong to one man, the young Duke of Paddington, a boy at Oxford; incredibly rich. The theatre itself is on his land. Well, we are going to go for this young man tooth and nail, hammer and tongs, because he is typical of the class we wish to destroy. We are going to let it be generally known that this is our object. It will be published abroad that the slum scenes in the play are literal reproductions of actual scenes on the duke's property. Our scene painters are even now at work taking notes. One by one all the members of the cast are going to be taken to see these actual slums, to converse with their inhabitants, to imbibe the frightful atmosphere of these modern infernos. We want every one to play with absolute conviction. I have arranged that a party shall leave this house in two days' time, a county council inspector and a couple of police inspectors are coming with us, in order to do this. You, I beg, Miss Marriott, will come, too."

He had been speaking for a considerable time with enormous earnestness and vivacity. Now he stopped suddenly and sank into a chair. His face became pale again, he was manifestly tired.

Some one passed him a box of cigarettes. He lit one, inhaled the smoke in a few deep breaths, and then turned to Mary.

"Well?" he said.

She answered him as simply, and many words would not have made her answer more satisfying or sincere.

"Yes," she said.

"Very well, then, that's settled," Rose replied in his ordinary voice. "Salary and that sort of thing we will arrange to-morrow through Mr. Seaton. I will merely assure you that we regard the labourer as worthy of his hire, and that we shall not disagree upon that sort of thing."

As he spoke a maid entered the room. "Mr. Goodrick is being rung up from the offices of the Daily Wire," she said.

"Then there is something important," said the journalist, as he hurried to the telephone in an adjacent room. "When I left at five I said that I should not return to-night unless it was anything big. I left Bennett in sole charge."

He was away some minutes, and the conversation in the drawing-room became general, the high note being dropped by mutual consent.

"By the way," Mr. Conrad said suddenly, "what an odd thing it is that part of Paddington House was blown down this morning!"

"The poor boy will have to take arms against a sea of troubles," said Mrs. Rose sympathetically. "At any rate, we are law-abiding conspirators. It seems dreadful to think that there are people who will go these lengths. I'm sorry for the poor young duke. It isn't his fault that he's who and what he is."

"Of course," Rose replied. "I hate and deprecate this violence. It is, of course, a menace from the unemployed. But my heart bleeds for them. Think of them crouching in doorways, with no shirts below their ragged coats, with no food in their stomachs, on a night like this!"

He shuddered, and Mary saw, with surprise, another and almost neurotic facet of this extraordinary character.

Charles Goodrick hurried into the room. "I must say good-night," he said, in a voice which trembled with excitement. "A very big piece of news has come in. One of our men has all the details. It will be our particular scoop. No other paper to-morrow morning will have all that we shall."

"But what is it?" Rose asked.

"A big railway accident, but with an extraordinary complication, and – by Jove, what a coincidence! – it concerns the young Duke of Paddington!"

"Is he killed?"

"No. He was stunned for a time. The accident happened in the fog just outside Paddington Station. He was stunned, but soon recovered.

"Then what?" said the journalist.

"Why, the extraordinary thing is that he has totally disappeared!"

CHAPTER VII
KIDNAPPING UPON SCIENTIFIC PRINCIPLES

The Duke of Paddington lay stunned and unconscious beneath the wreck of the first-class carriage.

There had been the period of waiting outside Paddington Station – his own great-grandfather had sold the ground on which it stood to the company – in the black fog of the winter's night.

Then there had come the lengthening roar of the approaching train, the shouts, the horrid crash of impact, the long tearing, ripping, grinding noise – and oblivion.

How long he had been unconscious the duke did not in the least know. He came back to life with that curious growing, widening sensation that a diver has when he is once more springing up through the water towards the surface, air, and light.

Then quite suddenly full consciousness returned – rather, he arrived at full consciousness. Everything was dark, pitch dark. His ears were full of a horrid clamour. A heavy, suffocating weight was pressing upon him.

He lay perfectly still for some moments endeavouring to recollect where he was and what had happened. Finally he remembered and realised that he was actually – he himself – a victim of one of those terrible railway accidents of which he had read so often in the newspapers with a careless word of pity, or perhaps, no emotion at all.

Another train had crashed into the Oxford express in the fog.

The duke moved his right arm, and found he could do so freely, except above his body, where the heavy something which was lying upon him prevented its passage. He strove to dislodge the weight, but was utterly unable to do so. He was, in fact, pinned beneath a mass of woodwork, which, while not pressing on him with more than a little of its weight, nevertheless kept him rigid upon his back without possibility of movement. His left arm he could not move at all. Curiously enough, the sensation of fear was entirely absent.

"I am in a deuce of a tight place," he thought of himself, and thought about himself in a strangely detached fashion as if he was thinking of another person.

"I am in a deuce of a tight place. What is to be done?"

He tried once more to move the crushing roof. He might as well have tried to push down the Bank of England with an umbrella.

Next there came to him a sudden thought, a realisation that at least one thing was in his favour. As far as he knew he was perfectly unhurt. He felt fairly certain that no limbs were broken, and that he had no severe internal injury. He was cut and bruised, doubtless, and still giddy from the blow of the impact, but, save for this, there could be no doubt that he had been most mercifully preserved.

The air was full of confused noises, shouts, the roaring of escaped steam, cries of agony. The duke added his clamour to the rest. His voice was full and strong, and echoed and re-echoed in his ears.

Nothing happened, and now for the first time a sickening feeling of fear came to him and his cries sank into silence.

Almost immediately afterwards he heard a noise much nearer than before, much more distinct and individual. It was a crashing, regular noise, some one was working at the débris.

Once more he shouted, and this time an answering hail came to him.

"Is anyone there?"

"Yes," the duke called out. "I am pinned down here by a heavy mass of timber."

"Are you badly injured?"

"I don't think I'm much hurt, only it is impossible for me to move."

"Cheer up!" came back the voice. "We will soon have you out." And then the crashing, tearing noise went on with renewed vigour.

In a few minutes the duke found the pressure on his chest was much relieved and the noise grew infinitely louder. It was as though he was lying shut up in a box, at the sides of which half a dozen stalwart navvies were kicking. He thought that the drums of his ears were bursting. Then there was a chorus of shouts, a last tremble and heaving of the confining mass, a breath of cold reviving air, and strong hands withdrew him from his prison.

He was carried swiftly to the side of the line and laid down upon a pile of sacking. Immediately he became aware that soft, dexterous hands were feeling him all over, hands which seemed to be definite and separate organisms, so light and purposeful were they.

He realised that a doctor was examining him, and the light of a lantern which some one else was holding showed him that the surmise was correct. A tall young man with a pointed beard, in a long mackintosh, was bending over him.

"You are all right, thank goodness!" said the doctor. "You are not hurt a bit, only you have been stunned, and of course you are suffering from the shock. Now, you just lie here until I come to you again. You must stay still for half an hour. Drink this."

He held a little cup of brandy to the duke's mouth. The fiery liquid sent new life into the young man's veins. Everything became more real and actual to him. Before everything had been a little blurred, as the first image upon the lenses of field-glasses is blurred. Now, the duke seemed to have got the right focus.

"Now, mind, you are not to move at all till I come back," the doctor said. "You have got a warm coat, and I will put some of these sacks over you. You are not hurt, but if you move now until you are rested a little you may get a shock to the nerves, which will remain with you for a long time. Now I must go to attend to some of the poor chaps who want me far more than you do."

"Is it a bad smash?" the duke asked. They were the first words he had spoken.

"One of the worst smashes for many years," answered the doctor over his shoulder as he was hurrying away. "You may thank your Maker that you have been so mercifully preserved."

The duke lay where he was.

The brandy had revived him, and, to his surprise, he realised that, except for a more or less violent headache, he really felt as well as he had been when he first got into the train. He was not even aware of any bruises or contusions, save only that his left hand had been rather badly cut, and was covered with congealed blood.

He wondered exactly where he was, and he looked around him. The fog was still impenetrably dense, though it was illuminated here and there by glowing fires and moving torches – a strange Dantesque vision of moving forms and red light, dim and distorted, like some mysterious tragedy of the underworld.

Now and then some sharp and almost animal like cry of agony came to his ears, cutting through the gloom like a knife, horribly distressing to hear.

Nobody was immediately near him. He was outside the radius of the chief activities of the breakdown gang and the doctors. There was nothing for him to do but to wait where he was. The doctor would be certain not to forget him, and, besides, he had not the faintest notion in what direction to move in order to get away from all this horror.

So he lay still.

Presently the brandy, to which he was unaccustomed, began to work within him, and induced a languor and drowsiness. His heavy sable coat, all torn and soiled now, though it had cost him six hundred guineas less than a month before, kept his body warm, and, in addition to it, he was covered by sacking.

His mind wandered a little, and he was almost on the point of dropping to sleep when there was a sound as of approaching footsteps upon gravel or cinders. He heard a muttered and strangely husky conversation, apparently between two people, a quick, furtive ripple of talk, and then something descended upon his mouth, something warm and firm – a man's hand.

In the dark he could see two figures about him. A man had stooped down and brought his hand silently down upon his mouth, so that he could not cry out. Another was bending towards him on the other side, and soon he felt that deft hands were going through his pockets. When the doctor had touched him he had felt nothing but surprise and wonder at the prehensile intelligence of the touch. Now he shuddered.

He began to struggle, but found himself by no means so strong as he had imagined that he was a quarter of an hour ago.

A harsh voice hissed in his ear: "Now, stow that, or I'll make you!"

In all his life the Duke of Paddington had never been spoken to in such a way, and, ill as he was, the imperious blood leapt to his brain, and he redoubled his exertions.

Suddenly he stopped with a low gurgle of anguish.

His ear had been seized between two bony knuckles and twisted round with a sharp jerk until the pain was frightful.

Then he lay still once more.

He realised what was happening. The accident to the train had occurred on that part of the line some little way out of the station, upon which all sorts of more or less slum houses debouch. Two of those modern brigands who infest London had come, attracted to this scene of suffering and tragedy by the hope of plunder – even as in the old days, after a battlefield, obscene and terrible creatures appeared in the night and nameless deeds were done.

They had his watch. Sir John Bennett had made it specially for him. It was one of those repeating watches with all sorts of costly additional improvements, which can do almost anything but talk.

He heard the man about him say: "This 'ere's a rich bloke, Sidney; but the ticker's no blooming use except for the case. The – fence wouldn't look at it. Too easy to identify. Ah, this 'ere's better!"

He had found the duke's sovereign purse.

Swiftly, and with the skill born of long practice, the man went through every pocket. When he found the little case of green crocodile skin, in which the duke carried paper money, his cards, and a letter or two, he gave a low whistle of delight.

The duke could hear the little crackle close to his ear as the man counted the five-pound notes.

Almost immediately after this there was a gasp of astonishment.

"Look 'ere!" the other man said, "it's the bloomin' Duke of Paddington himself!"

The duke started, and obviously his captors imagined that he was about to recommence his struggles, for there was a sharp tweak of his ear once more. After that he heard nothing.

The two men had joined heads over his body and were whispering eagerly to each other. It seemed an eternity while he was lying there with the heavy hand upon his mouth, breathing with difficulty through his nostrils, though, in actual point of fact, from first to last, the whole thing was of less than two minutes' duration.

The men seemed to have come to some sort of agreement.

They acted with neatness and precision. A filthy and evil-smelling handkerchief was suddenly rammed into the duke's mouth. Another bandaged his eyes before he realised what was happening, and two pair of stalwart arms had him up upon his feet, locked in the London policeman's grip, and half carried, half hustled right away from where he had been lying almost before he realised what was happening.

He heard the click of a gate or door. His feet had left the gravel or cinder upon which they had been walking and were now apparently shuffling over flagstones. Then, by an added chill to the cold air, and a certain echo in the footsteps, he knew that he was being pushed down some sort of alley or cul de sac.

He was twisted from left to right and from right to left with the greatest rapidity, and half the extraordinary journey was not completed before he had utterly lost all idea of his whereabouts.

The noise of the distant rescuers at the scene of the accident sank into a low hum and then died completely away.

He seemed to be rushing along some maze or city of the dead, for no human sound save the noise of his and his captors' movements reached his ears.

In four or five minutes he was rudely stopped. He heard a knock upon a door, a peculiar and obviously signal knock. There was a sound of a window opening, a low whistle, and he was pushed forward up a few steps and into a house, the door of which was immediately closed behind him.