When you finish this you cannot tell on which side of the labor fence Charles Norris stands. Perhaps that is what he intended -- to make people see for themselves the evil and the good of both sides, labor and capital. His capitalists are stuffed shirts; his labor leaders, thugs; both sides play politics and railroad injustice; labor emerges as grim, personal, inimical, backbiting; capital as blind, pompously sure of their divine rights, labelled by material possessions. Even Stan, whose position as hair apparent to the Rutherford shipping interests, and whose love affair with Caddle, young woman of labor sympathies, comes off as pretty much of a cad -- and gets his when the disfigured labor leader, Rory O'Brien, renegade son of Stan's uncle, incognito, turns murderer in a triangle crime passionel. The period is that of the Pacific Coast waterfront labor upheavals. But the story is pretty artificial in its presentation.