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Updated: June 14, 2025
Pressed by his employer, a severe yet not unkindly man, Falder confesses the forgery, pleading the dire necessity of his sweetheart, Ruth Honeywill, with whom he had planned to escape to save her from the unbearable brutality of her husband.
It is then that Falder learns the awful news that the woman he loves had been driven by the merciless economic Moloch to sell herself. She "tried making skirts ... cheap things.... I never made more than ten shillings a week, buying my own cotton, and working all day. I hardly ever got to bed till past twelve.... And then ... my employer happened he's happened ever since."
He does not attempt to dispute the mere fact of Falder having altered the check; and though he pleads temporary aberration in defense of his client, that plea is based upon a social consciousness as deep and all-embracing as the roots of our social ills "the background of life, that palpitating life which always lies behind the commission of a crime."
Falder is seen gasping for breath. A sound from far away, as of distant, dull beating on thick metal, is suddenly audible. Falder shrinks back, not able to bear this sudden clamor. But the sound grows, as though some great tumbril were rolling towards the cell. And gradually it seems to hypnotize him. He begins creeping inch by inch nearer to the door.
The scene equals in dramatic power and psychologic verity the great court scene in RESURRECTION. Young Falder, a nervous and rather weakly youth of twenty-three, stands before the bar. Ruth, his married sweetheart, full of love and devotion, burns with anxiety to save the young man whose affection brought about his present predicament.
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