Remember, this is before the Forty-niners and the real boom in California. The state is virtually empty. San Francisco is a town of a few hundred people, called Yerba Buena. Now we’re tight on a cabin at the edge of the mountains. We pull back to see it, idyllic and peaceful, a stream running in front, little patches of snow. We go wider and wider, so that you see this is the only civilization for miles. And there, in the corner of the frame, are two Indians holding up this figure. Now we go closer again, and we see, between the Indians, this gaunt creature, practically a skeleton, wild beard, barefoot, his clothes just tattered rags, staggering to the cabin . . .
. . . is William Eddy! The ranchers get him some water. A bit of flour, which is all his constricted stomach can handle. His eyes well with tears. “There are others . . . in an Indian village near here,” he tells them. “Six.” A party is sent off. He’s done it. Of the fifteen who went for help, William Eddy has brought Foster and the five women to safety and told the ranchers about the others back in the mountains.
But the story’s not over. First act, trek into the mountains; second act, descent and escape; third act, the rescue. Eddy has left seventy people up in the mountains, waiting for help. A rescue party is raised, forty men led by a fat, smug cavalryman named Colonel Woodworth. Eddy and Foster are too weak to help, but Eddy wakes momentarily in his bed to see dozens of men riding past the frontier cabin.
When his fever finally breaks, days later, he asks about the rescue party. The ranchers tell him that Woodworth’s men are camped only two days away, waiting out a snowstorm. A small rescue party of seven made it back to the Donner Party, but they nearly died crossing the pass and were only able to bring a dozen or so people out because of the deep snow and the weakness of the trapped pioneers. Even being rescued was a great danger; several more died on the way across the mountains. After a long pause, William Eddy speaks. “And my family?”
The rancher shakes his head. “I’m sorry. Your wife and daughter were already dead. Your boy is still alive, but was too young to walk over the pass. They left him in the camp.” William Eddy rises from his bed. He must go. His old enemy Foster also left a son behind, and he agrees to go with Eddy, even though they are weak still.
At a camp, miles from the pass, Woodworth tells Eddy a spring snowstorm has made it too dangerous to attempt—but Eddy won’t take no for an answer. He offers Woodworth’s men twenty dollars for every child they will carry over the pass. A few soldiers agree and they press on—and are nearly killed traversing the pass they’ve just crossed weeks earlier. Finally, Eddy and Foster and a handful of men stagger back into the Donner camp. It’s a scene from hell. Bodies cut up in the snow . . . pieces hanging like sausages in a deli. The smell . . . the despair . . . gaunt survivors unrecognizable as humans. William Eddy can barely muster the strength to walk to the cabin he built months earlier, where he and Foster left their families.
Foster’s son is still alive! Foster cries as he holds his boy. But for Eddy . . . he’s too late. His son died days earlier. William Eddy has lost his whole family. He goes into a rage and stands above the villain, Keseberg, who may have eaten the children, this man who is nothing more than an animal. Eddy looks down at this beast. He steps forward to kill the man . . . but he can’t. He falls down and stares at the sky again, at the very sky that dropped that first snowflake on him. And his head goes to his hands. Foster steps forward to kill Keseberg for him, but a voice comes from the heap that is William Eddy. “Leave him,” he tells Foster. Because Eddy knows that this evil lives in all of us, that we are all animals in the end. “Let him be,” he says.
William Eddy has simply . . . survived. And as he faces the horizon, we realize that maybe it’s all any of us can hope to do. Survive. Caught in the raging crosscurrents of history, of sorrow, and of certain death, a man realizes he is powerless, that all his belief in himself is a vanity . . . a dream. So he does his best, he squirms against the snow and the wind and his own animal hungers, and this is a life. For family, for love, for simple decency, a good man rages against nature, and the brutality of fate, but it is a war he can never win. Every love is the same love, and it is overpowering—the wrenching grace of what it is to be human. We love. We try. We die alone.
On-screen, in this snowy field, we see a hundred-fifty years pass in ten seconds, as train tracks come through, then roads are built, then houses, and the first cars begin to ply Truckee Pass on their way to Tahoe, and then an interstate, this once impassable place now just another stretch of freeway—and we are faced with the cruel ease of today’s passage, but we pull up and see the forest, and the truth of humanity remains. These trees, this mountain, the inscrutable face of nature, of death.