. THE ] .IBRARY THE UNIVERSITY OF CAL IFORNIA LOS ANGELES Under Fire ROI COOPER MEGRUE SAMUEL FRENCH, 28-30 West 38th St., New York UNDER FIRE A PLAY OF YESTERDAY, TO-DAY AND TO-MORROW IN THREE ACTS BY ROI COOPER MEGRUE COPYRIGHT, 1915, BY ROI COOPER MEGRUE COPYRIGHT, 1918, BY SAMUEL FRENCH \ ALL RIGHTS RESERVED CAUTION : Professionals and Amateurs are hereby warned that " UNDER FIRE," being duly protected under the copyright laws of the United States, is subject to royalty, and anyone presenting the play without the consent of the author or his authorized agents will be liable to the penalties by law provided. Applications for the amateur acting rights must be made to SAMUEL FRENCH, 28-30 West 38th Street, New York. Appli cations fgr the professional acting rights must be made to the AMERICAN PLAY COMPANY, 33 West 42nd Street, New York. NEW YORK SAMUEL FRENCH PUBLISHER 28-30 WEST 38TH STREET LONDON SAMUEL FRENCH, LTD. 26 SOUTHAMPTON STREET STRAND A REQUEST " Under Fire " while dealing with certain phases of the Great War, attempts to be neutral, although its characters being English, Belgian, French and German, are naturally partisan. The Management earnestly requests, therefore, that no member of the audience will indulge in any unpleasant demonstrations which might be offensive either to others in the audience or to those on the stage. UNDER FIRE ACT I. TIME: Summer afternoon in Atigiist. SCENE: Miss WILLOUGHBY'S Living Room, A modern room tastily furnished in black and white. There is a door down right and up right. A fireplace between the two doors. The fireplace is banked with flowers around which there is a club fender. At up center there is a large bay window and window-seat. Through the windows one can see a view of the Thames, Big Ben and the House of Parliament. Down left there are double doors facing front and opening off-stage into a hallway. Down right below center is a 4 foot 6 inch round table with a single chair at the back of it and an arm. to the left of it. Up center is a large low square stool with cigarette box and matches on it. At left, between window and double doors, a consol table with foreign phone on it. At down left center a settee. A stool down left, left of double doors. LIGHTS: Foots: White, full up pink y up. Concert border. L. circuit white frost, full up. 4th border, amber, white, pink full up. 2 bunches and i, 1000 w. lamp left of bay 7 8 UNDER FIRE window open in straw. Over door right and double door left a two-light white strip. AT RISE: The curtain rises on an empty stage. Brief pause. BREWSTER, the butler, enters dou ble doors left, crosses to table down right, takes flozvers from table and places them on stool down L. i of double doors. Goes out, leaving doors open, returns immediately with tea tray, places it on table Right and busies himself with tea things. Then he crosses to doors left and f.s he reaches them GEORGY enters double doors and BREWSTER stands at R. of doors. GEORGY crosses to c. GEORGY. (As she enters) Oh, Brewster, is Miss Willoughby in? BREWSTER. No, miss, I think not. GEORGY. ( Crossing to c. ) What time is it ? BREWSTER. Five o'clock, miss. GEORGY. Tea was ordered for five, wasn't it? BREWSTER. No, miss. Half after four. GEORGY. Then I daresay Ethel'll be here directly. I'll wait. (Crosses up to window) BREWSTER. Yes, miss. (He exits down left, clos ing doors. GEORGY looking out windows, on a view of the Thames and Big Ben, and the House of Parliament, as ETHEL WILLOUGHBY in a tailor suit enters double doors and starts across stage. Long pause, and as she reaches front of settee she sees GEORGY) ETHEL. Oh, hello, Georgy. Am I late or are you early? (Crosses to settee, removes hat and sits on c., of settee) GEORGY. Both. You don't mind my making my self quite at home? ETHEL. Of course not when it's your home. GEORGY. I did want two minutes with you be fore the others came may I? UNDER FIRE 9 ETHEL. (Sits on left end of settee, removing gloves) Of course. GEORGY. Oh, I say, you do look pretty, and not nearly old enough to be my governess. ETHEL. (Smiling) Is that what you wanted to say? GEORGY. No, I was by way of breaking the ice. You see, I'm afraid I'm going to be awfully pre sumptuous ETHEL. Nonsense, you couldn't be that when you and your father have been so very good to me. Come on, out with it. GEORGY. (Over to ETHEL and sits R., of her) It's about your past. ETHEL. (Laughing) Have I a past? GEORGY. That's just the question. You know / shouldn't mind it in the least if you had. I be lieve in people living their own lives in their own way. ETHEL. What on earth are you talking about? GEORGY. You remember a month ago when you said you went to Brighton? ETHEL. (Coldly) When I said I went to Brighton when I went to Brighton. GEORGY. Well, to-day at lunch, Hugh Middle- ton said you couldn't have been at Brighton that week / ETHEL. (Turns away, coldly) Did he? Really? GEORGY. Yes, he was in Paris, and ETHEL. (With a faint start) Paris ! GEORGY. And he saw you there twice that week, and both times with Henry Streetman. ETHEL. But that's impossible GEORGY. Weren't you in Paris? ETHEL. Of course I wasn't. GEORGY. But Mr. Middleton seemed very posi tive io UNDER FIRE ETHEL. It's too absurd I was at Brighton, as I can very easily prove. GEORGY. (With relief} Well, that's settled Of course, I'd only admire you for being brave enough to defy the conventions, but father wouldn't ETHEL. (Touching her on the hands} But I haven't defied the conventions GEORGY. Oh, / don't care if you have. ETHEL. But you ought to care and as your governess GEORGY. (Rises, over R. to table sits on arm of chair L. of table ) Oh, pooh ! All that narrow- mindedness is old-fashioned ETHEL. What silly book have you been read ing ? GEORGY. I am glad though you haven't had an affair with Henry Streetman. (Turns to her) I don't like him. ETHEL. Don't you? GEORGY. No. Every time he comes into the room my back sort of goes up, just like Rowdy when he sees a cat ETHEL. Mr. Streetman has been very kind to me GEORGY. Oh, don't defend him I know inside you agree with me. ETHEL. (Rises and goes up to window and puts hat on R. side of window-seat, changing the sub ject and looking at watch} Heavens, it's after five ! I must fuss up a bit for the party. GEORGY. (Following up) Well, forewarned is forearmed. ETHEL. (Crosses R. to door u. R.) But there's nothing to be forewarned about GEORGY. (Following ETHEL to R,) I hope not. Still, if there was, you'd behave exactly as you are UNDER FIRE 11 (loin?, wouldn't you? Naturally, you wcu'dn't ad mit it. ETHEL. Now, really, Georgy BREWSTER. (Entering, leaving doors open} Mr. Streetman ETHEL. Oh, show him up (To GEORGY) Speak of the devil GEORGY. Oh, he isn't a devil more of a snake, I think (BREWSTER exits, leaving doors open.) ETHEL. I won't be five minutes, Georgy. Stay and amuse him. GEORGY. Not I ! If he wants to be amused he can read Punch. {Crosses to D. c.) Anyhow, I promised I'd pick up Guy and his mother ETHEL. (Going} Don't be rude to him, please, Georgy (Exits up right} GEORGY. Oh, I'll be polite enough in my own way. (There is a second's pause} BREWSTER. (Entering, leaving doors open} Mr. Streetman (Exits, closing doors} STREETMAN. (Enters, stands at L. end of settee, looks at GEORGY, pause} How do you do. GEORGY. (Crossing to door D. i, speaking fast and coldly} How do you do. Ethel's dressing. She'll be in in a mniute. Good-bye. (She exits down L., holding head up in scorn} ( STREETMAX raises his eyebrows, strolls center, and in a second BREWSTER re-enters. He stands just inside the double doors.} STREETMAN. Close those doors. (To doors u. R. and listens. BREWSTER does so and comes back. STREETMAN goes to him) What news, Herr Roe- der? 12 UNDER FIRE BREWSTER. (His assumption of the English butler falling away and becoming the military German salutes) Nothing, mein Herr. (STREETMAN turns azvay.) STREETMAN. (To BREWSTER) You have searched Sir George's desk? BREWSTER. I have searched everywhere the desk his study his bedroom here even in Miss Willoughby's room I can find no trace of any papers about the navy such as you described. STREETMAN. (Crosses R.) They must be in this house. BREWSTER. Have ycu tried his office? STREETMAN. (Crosses to BREWSTER) Without result. But somewhere he must have a copy of the Admiralty's instructions to the fleet. These would be in his department and we must know at once what orders have been given to the ships at Spit- head where they are going when this review is over. BREWSTER. (Saluting) I have done my best. STREETMAN. (Steps over) I am sure you have. We know the Wilhelmstrasse does not lightly over look stupidity in one of its servants. (Motioning towards double doors) See if anyone's coming. (STREETMAN to D. R. door BREWSTER to double doors L. looks out and closes doors) BREWSTER. (Opening double doors and looking out back to L. c.) No one, mein Herr. STREETMAN. Now lock that door. (He points to door up R.) BREWSTER. (In alarm) But if Miss Willoughby returns to find her door locked, how can we ex plain ? STREETMAN. You will leave Miss Willoughby to me, if you please UNDER FIRE 13 BKEWSTER. Pardon, mein Herr, but is it safe, a woman? STREETMAN. Do not be alarmed. Miss Willough- by is easily handled. She believes I work for the French Secret Service and she is useful damned useful BREWSTER. She does not suspect? STREETMAN. She suspects nothing. BREWSTER. Then she is a fool STREETMAN. (Mockingly) No. no, no, We must not criticise the tools that serve us (He goes to telephone up Left} Sir George Wagstaff, Sir George of His Majesty's Navy, would be rather surprised if he knew that from his house we were communicating with our friends, the Germans. BREWSTER. Rather. STREETMAN. Now, lock that door And now to report once more. (BREWSTER closes door steps u. R. STREETMAN in phone) Hello City 4225. BREWSTER. You think, mein Herr, there will be war ? STREETMAN. I do not know, but we are ready, and if war does come, it will be Germany's hour the day at last! (In phone) Hello. City 4225? Hello, are you there? Who is speaking twenty- six fourteen. Hello. I am thirteen seventeen Yes. No news of the English fleet we have tried everything. (Long pause) Very well. I under stand. Good-bye. ( STREETMAN rings off) Damn ! (Goes L., and looks out double doors back to c.) BREWSTER. What is it, mein Herr? Bad news? STREETMAN. They say they must know to-night, without fail, the destination of the English fleet. So, Miss Willoughby, you have some work to do. Now, unlock that door. (BREWSTER does so and returns to u. R. c.) Ah, that is done, and we were 14 UNDER FIRE not interrupted. (Sits on settee) Dangerous work, eh, Herr Roeder, and poor pay ! BREWSTER. (Proudly) It is not for the money that I am here. It is for the Fatherland. / STREETMAN. (Rising, crosses R., to BREWSTER) Yes, yes. Of course. Still, one would like to live with the luxuries of life one day I shall make the grand coup and then to cease all this (He pauses hears ETHEL coming) Sssh to the door, quickly. (BREWSTER goes to double doors. STREETMMAN to D. R.) Very good, Brewster. I'll wait here for Miss Willoughby. (BREWSTER exits closing doors} (ETHEL enters and goes center.) ETHEL. Oh, Henry, you surprised me. STREETMAN. Pleasantly, I trust. ETHEL. Of course ; of course STREETMAN. I came before the others, because there is something you must do for me at once ETHEL. About the fleet, I suppose ? STREETMAN. (Crosses to ETHEL) How did you know ? ETHEL. Nowadays it is only of the fleet you ask. STREETMAN. You must learn at once from Sir George where the ships at Spithead are going: if they sail together, or if they w r ill disperse and how. ETHEL. (Turning to STREETMAN) Wait, Henry, wait. Before we go into that, tell me when are you going to let people know we're married? STREETMAN. (Taking ETHEL'S hand, one a^m around her) Ah, my dear; now this minute if only I could ETHEL. But we must announce our marriage at once. STREETMAN. Announce our marriage why? UNDER FIRE 15 ETHEL. Georgy Wagstaff told me just a few minutes ago that last month when I said I was in Brighton, a friend of hers saw you and me together in Paris STREETMAN. You didn't explain? ETHEL. That we were on our honeymoon? No, I kept my word to you. I said I was in Brighton. (STREETMAN crosses to u. R.) But, of course, it's so easily proved that I was not. Georgy seemed to think that you and I well (Crosses to couch} You can imagine. Oh, why must there be this secrecy? I loathe it. (Sits on settee) STREETMAN. (Over to ETHEL) Until I can ar range matters with my family ; until I can come into my own again we should starve ETHEL. And for that I am to let the world be lieve I was in Paris with you, when they don't know you are my husband STREETMAN. Only for a little longer. Then I will go to my people explain everything soon it will all be arranged. (Turns to c.) ETHEL. Soon? You've said that for a month. Ever since we were married. STREETMAN. (Turns to ETHEL) Next week. I promise and you will learn to-night about the fleet? ETHEL. But, Henry, if I do ask Sir George and he tells me, isn't it rather a shabby thing to do then to come to you and STREETMAN. (Impatiently) No, no, no as I've so often told you (Goes up c., looks out window) ETHEL. But Sir George trusts me. When he answers my questions he does so because he thinks I'm just idly curious. He never dreams I'd repeat what he says to anyone. It all puts me in a beastly position. Sir George is a loyal Englishman and if he thought STREETMAN. (Crosses D. c.) And you are a i6 UNDER FIRE loyal Englishwoman and I am loyal to France. ETHEL Then why do you pass yourself off as an Englishman? STREETMAN. Because it is the wish of my em ployers the French Secret Service. It is the wish of France. ETHEL. It's all quite beyond m'e Why should France wish to know about our fleet? STREETMAN. Ah, that I do not know. The Secret Service gives me their instructions it is for me to follow, not to question them It is my work my future (A step to ETHEL) Our future. ETHEL. But isn't France England's ally? I can't understand why she should STREETMAN. In times like these it is best for each country to know all possible about every other country. You will be doing no wrong to England when you get me the information I desire. (Sits, arm around her) You will find out to-night about the fleet? ETHEL. I can't help feeling that there is some thing behind all this something you are not telling me STREETMAN. (Uncomfortably, rises crosses to R., above table) Why what an imagination! ETHEL. But always, before we were married, you were so kind, so thoughtful. You talked only of pretty things. But now always it is the fleet the navy, their plans, their secrets. Is it for that you married me? STREETMAN. (Turns and crosses to c.) And on my side may I ask you why you married me? For love? I think not. ETHEL. (Rises, a step to STREETMAN) But Henry STREETMAN. Once perhaps I thought so (To her) but now I hear it was another man whom you really loved, a young Irishman who went away UNDER FIRE 17 . without doing you the honor of asking you to marry him. ETHEL. (Turns away to L.) No, no it isn't true. It was just a flirtation a few dances a theatre or two STREETMAN. Oh, that was all and yet they told me you had known him all your life? ETHEL. (Desperately} I don't know whom you're talking about. STREETMAN. Nor do I. It was some man in the army a captain. I think I do not know his name but I shall find out and then perhaps I shall learn if you cared for me at all or if it was just that I cau?ht you on the rebound (A pause) ETHEL. (Frightened turns to STREETMAN) What do you mean? STREETMAN. (To her) I wonder, my dear, if to-day it is only I that counts with you or if you have memories. We shall see. ETHEL. No, no, Henry, I'm I'm very fond of you. STREETMAN. Fond? Come then, kiss me (At tempts to embrace her) ETHEL. (Repulsing him) No! All that is over. Not until we can let people know What Georgy said this secrecy you insist on makes me feel as if there were some horrible intrigue, as if somehow I were not your wife. (Sits L., end of settee) STREETMAN. Nonsense ; nonsense. (Away to R., and back to ETHEL) If I promise you now that next week we will make our marriage public, will you believe me? ETHEL. Yes, Henry, I will. STREETMAN. (Goes to her) But to do that I must secure for France this information concerning the fleet. That will mean promotion for me money much money and with that I need no longer wait on my family. You understand? i8 UNDER FIRE ETHEL. Yes, Henry, I do. STREETMAN. (Crosses R.) Good. That's settled. And you will take the first opportunity to speak to Sir George? ETHEL. (Rises, to c.) No ! STREETMAN. What? ETHEL. I understand that for some reason you are trying to bribe me with these promises of yours to betray Sir George's confidence, but I'm sick of this deception. I won't do it any longer and you oughtn't to ask it of me. (Turns to L.) STREETMAN. Indeed, and if it should happen to come to Sir George, anonymously, that you had already " betrayed his confidence," what would your position be here? ETHEL. You wouldn't do that? STREETMAN. I should not like to, but I intend to learn / will learn about the fleet to-night, and through you ETHEL. But you said only a moment ago that in telling you these things I'd been doing no wrong to England. STREETMAN. Perhaps Sir George might not agree with me. ETHEL. Oh, so that's what your love, your affec tion amount to ? STREETMAN. Put it any way you choose but I must have this information. Come, what do you say? ETHEL. What is there for me to say? STREETMAN. Exactly. (Voices off-stage) It is Sir George I shall leave presently but I shall come back in an hour And you will have found out about the fleet? ETHEL. Oh, I suppose so,. but it makes me hate myself and you STREETMAN. Really? What a pity! (Going R,, to lower side of table R. c,) UNDER FIRE 19 (SiR GEORGE enters. Crosses to L. of table. ETHEL meets SIR GEORGE at L. c. then to chair above table. Pic is followed by BREWSTER with muf fin tray, which he places near table, leaving door open. BREWSTER exits, leaving doors open) ETHEL. (Going to meet SIR GEORGE, gaily) Hello, Sir George. SIR GEORGE. (Rises, crosses c., soberly) Hello Ethel. How are you, Streetman? (ETHEL goes up c.) STREETMAN. How do you do, Sir George? SIR GEORGE. I just dropped in for a few minutes because I'd promised to come to your tea, Ethel, and I try never to break my word to so charming a lady. ETHEL. (Curtseying) Thank you, Sir George. STREETMAN. For you, at the Admiralty, these must be troublous times? SIR GEORGE. Rather busy, yes. STREETMAN. (Eagerly) You think, then, there will be war between Russia and Germany? SIR GEORGE. That, sir, is a matter I should prefer not to discuss STREETMAN. Pardon me, sir, but as a loyal Englishman, I am naturally interested. SIR GEORGE. Naturally, but as a member of the British Admiralty, you will understand that I STREETMAN. Of course of course ETHEL. (Coming to table and sitting back of it) Come let's talk of peace and tea. SIR GEORGE. (Going over L. of table) One lump and cream. STREETMAN. No sugar, and lemon, please. GEORGY. (Entering) Hello, everybody here's Guy and his mother (MRS. STEPHEN FALCONER 20 UNDER FIRE and GUY enter. There is a general business of greeting doors are closed after them} We'd been earlier but Mrs. Falconer and Guy had gone to a matinee. GUY. Silly show, the infernal triangle or some thing MRS. FALCONER. Very tiresome and so noisy full of shots and pistols and mostly about some poor creature who'd sinned and repented SIR GEORGE. (At settee} That's the sort of play I disapprove of, particularly for my daughter. I am glad, Georgy, that you were not there GEORGY. Oh, I saw it last week. (SiR GEORGE sits on R. end of settee. To her father} And you ought to go, father. You'd weep over the heroine. Frightfully damaged lady, wasn't she, Guy? GUY. (At L. end of settee} Oh, frightfully completely beyond repair everything ruined. GEORGY. (At L. of table R. c.) I knew the min ute she walked on she wasn't a good woman she was so pale and circle-y, and so beautifully dressed ! ETHEL. You mustn't talk this silly cynicism. GEORGY. Don't worry. Father knows I don't get that sort of chat from my very proper governess it's just hereditary from him. I express what he feels but doesn't dare to say. SIR GEORGE. At least I deserve credit for my modesty. (Rises, crosses and sits L. of table} GUY. (Crossing to back of settee} You really ought to see the play, Sir George. GEORGY. Yes, it deals with our next war. (Crosses to R. end of settee} SIR GEORGE. (Sits L. of table, GEORGY sits on settee} As if a playwright knew anything of that. MRS. FALCONER. It's horribly insulting to us Britons. GUY. Drives in a lot of home truths and gives us English a fearful ragging. UNDER FIRE 21 SIR GEORGE. Who wrote it Bernard Shaw ? (STREETMAN SltS.) GEORGY. I don't know. I never can remember the beast's names. ETHEL. You're discussing " England at Bay ", aren't you? GEORGY. Yes. Did you see it? ETHEL. Mr. Streetman and I, the other day STREETMAN. It seemed to me to present a very striking picture of what may very likely happen MRS. FALCONER. You don't mean you really believe there is going to be war right over there on the continent STREETMAN. I do, rather, and I fancy Sir George agrees with me, don't you, Sir George? SIR GEORGE. Really, sir, I should prefer not to discuss that matter GEORGY. When father puts on his mantle of dig nity like that, it means serious business. MRS. FALCONER. But why should there be war, even if an Austrian duke did get killed by some Servian or other? Oh course, I've only seen the headlines SIR GEORGE. (Turning to MRS. FALCONER) Be hind that there is much of international politics of diplomacy in fact, it's rather a long story. GEORGY. Then, father, don't tell it. GUY. Oh, it's not just Austria and Servia. The trouble is Germany is patting Austria on the back, " Don't give in, old lady ", and Russia is saying, " Servia, old girl, you're dead right. We'll back you." And there you are. (Crosses to table R. c.) ETHEL. Georgy, you're not having any tea. GEORGY. Oh, I don't want any. If I did, I'd ask for it. GUY. Tea, mother? 22 UNDER FIRE MRS. FALCONER. None for me, thanks. I've quite outgrown it ever since I came back from the States, I do miss my afternoon cocktail. (Guv crosses to cigarette box, gets cigarette and lights it.) GEORGY. (Yawning, rises, crosses to SIR GEORGE) I tried one over there, father. SIR GEORGE. Now, my dear GEORGY. (Crossing to SIR GEORGE) Oh, don't be disturbed, I loathed it. Tasted just like medicine, and nasty medicine. My vices are very minor, father. I smoke cigarette, Guy, please. (Guv conies oz>cr to her left} I swear, with provocation, but I don't drink and I don't flirt, do I, Guy? GUY. (Crosses to GEORGY, hands her cigarette) Not with me, damn it ! (GEORGY returns to lounge and sits.) BREWSTER. (Entering, leaving door open) Mr. Charles Brown GUY. (Crosses R., to ETHEL) Oh, Ethel, I for got. He's the chap mother and I met in New York. I ran across him to-day, and asked him to drop in here for tea I do hope you don't mind, Ethel ? ETHEL. Of course not. I'm delighted. Show him up, Brewster. (BREWSTER exits, leaving doors open.) MRS. FALCONER. He was awfully kind to me. GUY. (Crosses to c.) Put himself out a lot showed us everything in New York the Woolworth Building, Fifth Avenue, Riverside Drive, the Bow ery, Chinatown, Castles in Spain, the Zoo GEORGY. I liked him, too. UNDER FIRE 23 GUY. They call him Silent Charlie, because he talks so much. BREWSTER. (Enters, leavnig doors open an nouncing') Mr. Brown. (CHARLIE BROWN enters. GUY meets him. BREW STER exits, closing doors.) GUY. (Coming to him they shake hands) Hel lo, Charlie Miss Willoughby Mr. Brown. (BROWN goes to ETHEL) ETHEL. How do you do? BROWN. Charmed to know you Miss Wil loughby. GEORGY. How do you do again (BROWN turns to GEORGY and bows) GUY. You remember my mother? BROWN. (Smiling, crosses to MRS. FALCONER shakes hands) You bet I do! Didn't we have a bully time in Chinatown remember the chop suey. and the cocktail? MRS. FALCONER. (Smiling back at him) Rather. GUY. And Mr. Streetman, Mr. Brown! (They bow. SIR GEORGE comes down R. c.) Sir George Wagstaff, Mr. Brown. CHARLIE. (Shaking hands with SIR GEORGE) Glad to know you, Sir George; I want to warn you, though, in case they haven't, that I'm a news paper man journalist, I think they say over here. SIR GEORGE. You do frighten me I've rather a terror of your profession, especially when they come from the States. GUY. Don't worry, Sir George, Charlie doesn't mean all he says. GEORGY. He's only spoofing you. CHARLIE. Spoofing? Spoofing? Oh, sure kidding, that's it. But, Sir George, I don't blame you. We do butt in a good deal into things that 24 UNDER FIRE don't actually concern us or the public, but I hap pen to belong to a newspaper where it isn't a crime for one of its staff to act like a gentleman, so don't think I'm making mental notes or that you have to put the brakes on. If you skid, it's just at a private tea party, and that ends it. SIR GEORGE. (Smiling) You've greatly relieved me but I'll try not to skid as you put it. (Sits L. of table) CHARLIE. Then that's all right. ETHEL. And speaking of tea, won't you have some? CHARLIE. You bet I will. (Crosses to back of table, takes tea cup and crosses step to c.) It's a great habit, tea I'm going to introduce it at the Knickerbocker bar when I get back. It's go f cock tails skinned a mile. (Over to ETHEL man spy they say the French have many women spies I must search you. ETHEL. Oh, monsieur, may I speak privately with you? BAUM. Well, what is it? ' ETHEL. Only that I wish to show you some thing. BAUM. What trick is this? ETHEL. Surely you are not afraid of me, one little woman? BAUM. (Stroking his moustache) And a very pretty one well, what is it, Madame? ETHEL. (Bringing him down R. c.) Here, please. (From the bosom of her dress she pro duces a small gold medal, which hangs on a ribbon around her neck) BAUM. (Looks at it) From the German Secret Service, the Wilhelmstrasse ; your pardon, madame, \ did not understand. ETHEL. (With assumed calm) I am here on a special mission and one thing at once I must know. Tell me, Lieutenant, by which road do we march to attack the fortress at the frontier? BAUM. (Quietly) By the left fork, Madame. ETHEL. (With relief) Good, good. I have UNDER FIRE 85 studied the country hereabouts. That is the best way. Good night. BAUM. Madame shall not be disturbed further. I will explain to the Major when he returns. ETHEL. Thank you so much, you have been so very nice to me. BAUM. Madame is welcome. (ETHEL crosses down R. and BAUM bows. ETHEL turns at u. R. BAUM bows again. Soldiers start singing song No. i. Twenty-fou-r soldiers pass in double file from L. to R. Smiling, ETHEL exits up R. BAUM strokes moustache, puffs out his chest and exits c. HANS at door, salutes. Soldiers are seen passing till HANS closes door. SCHMIDT enters up L. followed by CHARLIE) SCHMIDT. (Looking round and crossing D. R.) Lieutenant Baum wo ist Lieutenant Baum nicht hier? (Beckoning} Komm hier! (CHARLIE pays not attention, but leans against cigar counter, smok ing} Komm hier. Komm hier. (CHARLIE comes over} Was thust du hier ? CHARLIE. (Looks around at OTTO and HANS, and laughs) I don't get you why don't you speak English? SCHMIDT. Eh CHARLIE. Oh, don't you understand English? SCHMIDT. Was thust du hier? CHARLIE. Oh, shut up. SCHMIDT. Du bist ein Englander. CHARLIE. No, I'm American. SCHMIDT. Americaner? CHARLIE. Yes, Americane. (Feeling in breast pocket, then reaching for hip pocket. SCHMIDT thinking CHARLIE is feeling for revolver, jabs his revolver at him} SCHMIDT. Halt! CHARLIE. You damn fool. I'm not reaching for a gun these . are my passports, look, papers. 86 UNDER FIRE (CHARLIE raises hands, and with a shake throws his coat back over his right hip. SCHMIDT takes papers from CHARLIE'S hip pocket and looks at papers) SCHMIDT. Ah, du bist Franzosisch. CHARLIE. I'm a what? SCHMIDT. Franzosisch du bist nicht Ameri- cane. CHARLIE. Yes, that's right Americane, right from the corner of 42nd Street and Broadway, and believe me, I wish I was back there right now. SCHMIDT. Was sagst du? CHARLIE. None of your damned business (Pause) You bone head (Pause) Have a cigar ette? SCHMIDT. Danke schon. CHARLIE. Gee, I'd like to give you one good wallop on the nose just for luck. (Turns and looks at OTTO at D. L. ay SCHMIDT suddenly takes CHAR LIE'S hat) Nix on the Hermann stuff what are you doing? (Takes his hat from SCHMIDT) SCHMIDT. (Looking at label) Englisch! CHARLIE. Of course it's English. It cost me 2 & 6. SCHMIDT. (Leans over and pulls CHARLIE'S coat collar, examining label) Englisch also. Spion, du bist an Englischer spion. ( FELDWEBEL, HANS and OTTO hiss " spion " and come over with their guns, muttering, FELD WEBEL and HANS from u. c. OTTO from door L.) CHARLIE. Spion spion good Lord, you don't mean spy? SCHMIDT. Spy, spy Ja wohl. Komm hier (He takes hold of his arm) CHARLIE. See here, what are you going to do? SCHMIDT. Geladen UNDER FIRE 87 (HANS and OTTO first position of gun loading. FELDWEBEL draws revolver. ) CHARLIE. Good God, you're not going to shoot me! I'm not English! I'm not a spy. (Yelling) Madame de Lorde Madame de Lorde ! SCHMIDT. Fertig. (HANS and OTTO aim guns at CHARLIE.) CHARLIE. Say if you shoot me there are a hundred people back there who're going to be sore as hell they'll come over here and blow you off the face of the earth. SCHMIDT. Halt das maul schnell, schnell. (FELDWEBEL and HANS seize CHARLIE and start to hustle him up-stage. OTTO stands at atten tion.) CHARLIE. Say, what are you going to do with me? Let me alone. (Calling) Madame de Lorde Madame de Lorde! (ETHEL enters from up R.) ETHEL. (Crossing to R. c.) Was thuen Sie? SCHMIDT. Nicht ihre sache. ETHEL. (Showing medal to SCHMIDT) Kennen Sie das? SCHMIDT. Halt! (FELDWEBEL and HANS re lease CHARLIE) CHARLIE. (As he comes D. c.) Gosh, I'm glad you're not deaf. SCHMIDT. (To ETHEL) Er ist ein Englischer spion. ETHEL. Nein, nein, nein, sie irren sich er ist Americaner. (They pause) 88 UNDER FIRE CHARLIE. They're going to shoot me for Heav en's sake, tell them I'm not a spy. ETHEL. I have just told them. CHARLIE. I know. Make sure. Tell 'em again ask if there isn't someone who speaks English. ETHEL. Giebt es kein offizier der English spree- hen kann? SCHMIDT. Major von Brenig. ETHEL. (To CHARLIE) Major von Brenig. CHARLIE. For the love of Mike, get him here. ETHEL. Ich kenne Herr Brown sehr wohl er ist Americaner. Bitte Major von Brenig hier zu kommen. (SCHMIDT exits up L.) ETHEL. (Explaining) He has gone for an officer who speaks English he will be here directly. CHARLIE. Well, I was looking for a war and I certainly picked out the right spot, didn't I ? (After laugh ) ETHEL. I suppose mistakes like this are bound to happen but haven't you papers to prove your identity ? CHARLIE. Oh, yes yes French passports and an English hat and English clothes. All I needed to really finish me was a Russian blouse. Seriously, though, I do want to thank you. (Offers hand) THEL. (Shaking hands with him) It was noth ing- CHARLIE. Nothing to you maybe, but a whole heap to me. I've only one life to give for my coun try. But I want to give it, I don't want these ginks to grab it from me. ETHEL. If you're not able to explain matters to the Major, send for me perhaps I can help you. CHARLIE. You bet I will I'll call on you again. ETHEL. Good. (Crossing to u. R. door and exits) UNDER FIRE 89 CHARLIE. Thanks. I may need it. And if you're not doing anything important, stick around where you can hear me. (CHARLIE crosses D. L. c.) FELDWEBEL, HANS and OTTO. (Venomously} Spion ! ! ! CHARLIE. (Turns around and sees FELDWEBEL- and HANS at door u. c.) Oh spion yourself. MAJOR. (Entering u. L. and crossing D. c. fol- loived by SCHMIDT -who crosses D. R.) Der spion wo ist der spion? CHARLIE. Are you^Major von Brenig and do you speak English? MAJOR. I am, and I do. CHARLIE. Fitzsimmons there has my passports. (SCHMIDT hands passports to MAJOR.) MAJOR. (Takes passports from SCHMIDT and looks them over) They seem to be in good order vised by the American consul in Paris. CHARLIE. (Offers letter to MAJOR) And here's a letter from the paper I work for. MAJOR. (Without taking letter looks at w) It's a good newspaper I've often read it (Returns passports to CHARLIE) Now, what it the trouble? CHARLIE. These guys were just going to shoot me as an English spy. MAJOR. (Laughing') You English? No one but an American ever said " guy ! " I am glad my men did not make the mistake of killing you. CHARLIE. You've got nothing on me. MAJOR. (To SCHMIDT) Sergeant, das ist alles. (SCHMIDT salutes and clicks heels and goes on guard at upper end of cigar case, and clicks heels again.) CHARLIE. I feel much better now. 90 UNDER FIRE MAJOR. I can imagine. CHARLIE. You speak very good English. MAJOR. Why not? I spent three years at Col umbia. CHARLIE. By Jove ! You're a German ! You're in the army, you speak English. It's too good a chance to miss. Say, can I interview you? MAJOR. (After looking him over) Yes, for I should like America to understand, to realize what Germany is righting for. CHARLIE. Fine! (Takes armchair at R. of table down L. and turns it around to face c. steps above it and motions to MAJOR, as he says) Be seated I MAJOR. (As he walks to c. and stands facing CHARLIE) What is it you wish to know? CHARLIE. (Looks at MAJOR, then at chair, goes to chair and seats himself comfortably, facing the MAJOR) Can Germany win? MAJOR. It is inevitable there is no chance to fail. CHARLIE. And what is Germany to gain from the war if she wins? MAJOR. When she wins, you mean CHARLIE. Well, when she wins MAJOR. She will be the greatest power in the world. (Crosses K.) CHARLIE. Except the United States. MAJOR. (Goes up c. toward u. L. door) Do not let us discuss your country, sir you are my guest. CHARLIE. (Rises and bows) I get you oh, just a minute. (MAJOR turns to him and crosses D. c.) And what about England? (CHARLIE sits again) MAJOR. (Crosses to CHARLIE) What army has England? None. In only one thing is England our superior in lies and intrigue there she has always been our master but she will not fight. That is for France and Russia to do, but if the v/ar lasts they will grow weary of being the catspaw. UNDER FIRE 91 England is a fine example of your happy American phrase, ''Let George do it!" (Crosses to D. R. r.) CHARLIE. And the French? MAJOR. (Turns and crosses to c.) The French! For forty years they have been thinking of what some day they would do to Germany and while they thought we have planned, we have worked and now to-day we are ready they are not. CHARLIE. You seem very confident MAJOR. Why not? For forty years our men of brains have been planning a system the most marvelous system in the world CHARLIE. What a pity it isn't devoted to peace instead of war. MAJOR. (Gravely) In the end it will be for peace the peace of the world for this is a just war and justice must triumph. CHARLIE. But what of these poor people these non- combatants who streamed through here a little while ago? MAJOR. It is the habit of an invaded country to proclaim the invaders as barbarians. But we Germans are not barbarians. We are a simple people fighting only for our fatherland. CHARLIE. And the ruined towns destroyed homes and civilians shot? MAJOR. The individual does not count, we must make ourselves feared, we must teach others what to expect if they dare oppose the German conquest. ) CHARLIE. But these non-combatants, the women, the children, they're so very innocent. MAJOR. If we are fighting soldiers we treat them as soldiers but if men or women lurk behind closed shutters or on house tops to shoot our men. we shall burn the house they live in and if there is resistance, we shall kill all those who resist. It is regrettable but we must stop guerilla warfare \ve must fight under the laws of civilization. 92 UNDER FIRE CHARLIE. Is this the German idea of Kultor and civilization ? MAJOR. It is. CHARLIE. I am your guest. (MAJOR crosses to D. R. CHARLIE rises and crosses to MAJOR) I think we'd better not continue this discussion or we might get into an argument and that wouldn't be diplomatic (24 soldiers ready in double file, start to sing Song No. 2.) MAJOR. Quite so, particularly as I like Ameri cans (Dangerously) and I would not wish to see any of them come to harm. CHARLIE. Again I get you, but what are you going to do with me ? MAJOR. I shall give you a pass through our lines that will take you safely back to Brussels. CHARLIE. But I want to go to the front. MAJOR. You have surprised a certain movement of the German army it is best you go to Brussels. (Turns away to R.) CHARLIE. But (The doors open c. and STRASSMAN in uniform enters hurriedly. As he does so soldiers are seen marching from L. to R. Doors close. Four soldiers ready stage right.) FELDWEBEL. Der passwort. STRASSMAN. (To soldier) Geherechtikeit ! Ah, my dear Major (MAJOR and STRASSMAN salute each other and click heels) MAJOR. I have been expecting you. CHARLIE. By George, it's old Streetman! STREETMAN. I beg your pardon, who is this man? UNDER FIRE 93 i MAJOR. Charles Brown, a journalist from the United States. STREETMAN. (Disagreeably) Oh, yes, I recall. (To MAJOR) What is he doing with us? MAJOR. We found him staying here my men nearly shot him as an English spy. STREETMAN. (Disagreeably) It seems almost a pity they didn't he may be in our way. CHARLIE. (Meaningly) Really didn't I meet you in London some days ago? STREETMAN. Yes, but remember now you are in side our lines. (CHARLIE looks around at SCHMIDT. HANS and FELDWEBEL. Taking MAJOR aside to D. R.) Major, what shall we do with him? MAJOR. Send him back to Brussels. STREETMAN. Perhaps we can find a better fate for him than that we shall see later is he safe here? (Crosses to u. L.) MAJOR. Quite. (To SCHMIDT, in German, pointing to CHARLIE) Sergeant! Dartein! (SCHMIDT salutes takes CHARLIE by the ear, and forces him to door at D. R. MAJOR goes up-stage) CHARLIE. Are we going some place? MAJOR. (To CHARLIE) You will remain tem porarily as my guest, but I should not advise you to attempt to leave. (Goes up-stage to STREETMAN) SCHMIDT. Kommen sie mit mir. CHARLIE. Listen, blondy, confidentially, be cause I know you won't repeat it if the French army misses you I'll never forgive them. (They exit down R. MAJOR and STREETMAN come down down-stage R. back of table) STREETMAN. (Looking after CHARLIE, crosses to table down R.) The damned Americans, we shall have trouble with them yet. MAJOR. I hope not, they are not a bad people. STREETMAN. Oh, Major have my English clothes my civilian clothes arrived from Berlin? UNDER FIRE MAJOR. Yes they are up-stairs with my kit STREETMAN. Good then I can start to-night for the British trenches - MAJOR. (Crossing to him) You think then that your plan to be captured by the English will suc ceed? STREETMAN. It must succeed. This is a map of their positions the very keystone to their entrench ments it will be here at Trench 27 (Marks map) MAJOR. Trench 27! STREETMAN. That I shall be found skulking around and be taken prisoner. Then I shall give the English false information about a surprise at tack that will enable you to break through their lines and smash them ! MAJOR. (Crosses around table to L. side, turns to STREETMAN) Splendid! Splendid! (Stopping STREETMAN) By the way, a man arrived here this afternoon from the Wilhelmstrasse on a special mis sion. STREETMAN. Yes? Who is he? MAJOR. A Captain Karl? STREETMAN. (As he crosses to c.) Captain Karl ? MAJOR. You know him? STREETMAN. No, and I must meet him! MAJOR. You don't suspect that - STREETMAN. No, no, for at the Wilhelmstrasse few of us know one another still, we cannot be too careful. MAJOR. He dines with us. STREETMAN. And then we shall look him over. And shall I now arrange for dinner? Presently I must see General Freund MAJOR. (Rising to R. of STREETMAN) As you wish (To soldier down L.) Ruf den Eigenteimer (Oxro exits D. L. door. To STREETMAN) You UNDER FIRE <;$ will send for me I have some dispatches to pre pare. (He goes to D. L. L. door and turns} STREET MAN. And after dinner I shall start for the English lines ; auf Wiedersehen. MAJOR. Auf Wiedersehen. (Exits up L.) (STREETMAN lights cigarette at c. and tosses match into fireplace. Crosses to R. c.) CHRISTOPHE. (Entering, followed by OTTO, ivho goes on guard belozv door D. L.) You wanted me, m'sieur? (Crosses to STREETMAN) STREETMAN. You are the proprietor. CHRISTOPHE. Yes, m'sieu. STREETMAN. Major von Brenig wishes to dine at once ; how soon can you be ready? CHRISTOPHE. In fifteen minutes, m'sieu. STREETMAN. Good, there will be three of us, Major von Brenig, myself and Captain Karl. CHRISTOPHE. Yes, m'sieu (He turns to go L. and sees flame flickering and smoke coming from fireplace) Why, what is that? (OTTO turns and looks at fireplace.) STREETMAN. I lit a cigarette my match (To OTTO) Mach es aus schnell. (OTTO enters fireplace.) CHRISTOPHE. Yes, yes, m'sieu it is nothing only some tree branches it can do no harm. I have ready some consomme, broiled chicken OTTO. (Stamps out fire in fireplace and finds telephone. Comes out of fireplace with phone, stands back of cigar case holding phone) Hier ist ein telephone. STREETMAN. Wass! (Crosses to cigar counter) Oh ho! W r hat's this? CHRISTOPHE. (Crossing to fireplace and taking 96 UNDER FIRE phone from OTTO) Why, m'sieu, it is a tele phone STREETMAN. I know, I know, but what is it do ing there? CHRISTOPHE. I do not know, m'sieu STREETMAN. Why did you hide it ? CHRISTOPHE. I did not hide it, m'sieu- STREETMAN. Wait, gibs hie. (OTTO hands phone across counter to STREETMAN) Qui etes vous it was a Frenchman who spoke that tele phone leads to the French it is the work of a spy (Turning to HANS) Suchen sie Herrn Ma jor von Brenig, ich lasse ein bitten sofort hierher 211 kommen (OTTO comes out from behind counter and goes on guard belo^v door D. L. HANS exits D. L. (To CHRISTOPHE) You were warned that any attempt to communicate with the enemy CHRISTOPHE. I never saw that telephone before. STREETMAN. Don't lie to me you put it there CHRISTOPHE. I swear to you STREETMAN. You are either a French spy or harboring a spy under your roof it is an act of en mity to us you must pay the penalty at once CHRISTOPHE. On my honor I have done nothing absolutely nothing. STREETMAN. Our proclamations have told you what to expect it will be a good warning to the others. (JEANNE enters D. L., crosses to D. L. c.) CHRISTOPHE. Before God, I am innocent, m'sieu. STREETMAN. Call in the guard and make ready for the firing squad, out there against the wall. (FELDWEBEL right of door exits and closes door, FELDWEBEL enters c. and goes on guard R.) JEANNE. (Rushing over to her father) Mon pere mon pere qu'est-ce c'est? UNDER FIRE 97 STREETMAN. He is a spy. JEANNE. Non, non, m'sieu. STREETMAN. Wait! Come here! (JEANNE goes to c. on CHRISTOPHERS urging) You have seen that telephone before? (FELDWEBEL returns and 4 men follozv. He opens doors and stands inside and to R. of c. doors. 4 soldiers stand above c. doors.) JEANNE. Non, non, m'sieu, jamais de ma vie. STREETMAN. Your father hid it there. JEANNE. Non, non, m'sieu. STREETMAN. Enough of talking. (To FELD WEBEL) Take him out. (FELDWEBEL comes down to CHRISTOPHE at c. to take him. CHRISTOPHE holds out his arms, JEANNE rushes into them sob bing) CHRISTOPHE. It is the end, my little Jeanne, good-bye, pray for me. C'est fmi, ma petite. (They embrace. To MAJOR) I am innocent, M'sieu. (STREETMAN makes a gesture) JEANNE. Non, non, non, ah, Monsieur, pour 1'amour de Dieu, mon pere, je vous en prie, je t'aime, oh, monsieur, je vous en prie STREETMAN. Take him out. (Soldiers start singing song No. 3. Two soldiers on L. of firing squad take one step to L. Sol diers sing "Die Vdglein") JEANNE. Pour 1'amour de Dieu. Non, non, oh, papa, oh, papa, je t'aime. (FELDWEBEL leads CHRISTOPHE out and places him in c. of squad with JEANNE clinging to her father. FELDWEBEL gives the order and sol diers face to R. And they march off R. CHRIS- 98 UNDER FIRE TOPHE drops handerchlef u. c. just beloiv c. doors as he goes out.} MAJOR. (Entering after a short pause, from u. L., crosses D. c.) You wanted me, Captain? STREETMAN. Yes, the Proprietor here is a spy, the damned Belgian. MAJOR. Christophe a spy, are you certain ? STREETMAN. Absolutely. This telephone leads to the French. MAJOR. What have you done with him? STREETMAN. I have settled the affair. (JEANNE screams off-stage. Sound of volley.) JEANNE. (Off-stage) Oh, mon pere. MAJOR. Quick work, Captain. I congratulate you. STREETMAN. It will be a good lesson to these others. (CHARLIE and SCHMIDT rush on from R. CHARLIE to D. R. c. SCHMIDT at D. R. c.) CHARLIE. What happened, is it the French? STREETMAN. (Behind counter) It is finished the damned spy. CHARLIE. What's happened? STREETMAN. The execution of a spy (FELDWEBEL and BAUM enter. FELDWEBEL goes on guard again R. of c. doors. BAUM crosses D. R. c. above table. CHRISTOPHE covered by a blanket is carried across on a stretcher fol lowed at a short distance by JEANNE, sobbing.) CHARLIE. (Looking out doors c. sees body, re moves hat out of respect, then turns front without having seen JEANNE cross) Poor devil, I'm sorry for him whoever he was. UNDER FIRE 99 MAJOR. (As he takes pass from pocket of coat) Ifere is your pass we have decided that you shall go to Brussels CHARLIE. (Crosses to MAJOR) But as I told you : MAJOR. It is not a matter for argument STREETMAN. And you had best start at once. CHARLIE. Say good-bye to old Christophe for me tell him I'm sorry I didn't get his chicken dinner, but better luck next time. (He holds out his hand to shake hands. MAJOR salutes. CHARLIE gives a punk salute in return and goes up c. SCHMIDT crosses to R. c.) MAJOR. I may warn you that if you are found off the road to Brussels the consequence will be serious. STREETMAN. In fact, you will be shot, my friend. CHARLIE. (At c. doors to STREETMAN) And I know you hope for the best (To MAJOR) But don't worry I won't miss that Brussels road, and Streetman if you ever come to America, look me up for (In doorway c. between his teeth) I'll give you one damned good time. ( Off to L. c. doors to L. follozved by SCHMIDT. He exits. HANS closes doors behind them) MAJOR. (Crosses to u. c.) I fear he will never get to Brussels. (Soldiers ready in double file start to sing song No. 6 and ready to cross from L. to R.) STREETMAN. (Crosses to MAJOR) It is his own risk he did not have to come here. Now, Major, there may be other spies would it not be best to replace the telephone and put a secret guard around this room? Then if anyone else comes to the tele phone, we shall know. ion UNDER FIRE MAJOR. Quite so- STREETMAN. Lieutenant leg es wieder zuriick. (OTTO sets gnu against fireplace, replaces phone in chimney and returns to guard duty BAUM conies down-stage.} MAJOR. Baum, station one or two men to watch. If anyone goes to that telephone arrest him and report to me at once. (BAUM salutes. Crosses to MAJOR at c.) STREETMAN. If necessary, shoot before any mess age can be sent. MAJOR. Yes, shoot first, then ask questions. STREETMAN. Now I must go to see General Freund. (MAJOR and STREETMAN salute each other) My car is waiting for me. I shall return presently. We shall still dine together, eh, Major? (FELDWEBEL and HANS open c. doors.) MAJOR. With pleasure. STREETMAN. Auf Wiedersehen. (Exits c.) (FELDWEBEL and HANS close doors.) MAJOR. Auf Wiedersehen. (Exits up L.) BAUM. (Motions to soldiers) Gehen sie dort iiber die Strasse ! (FELDWEBEL and HANS and OTTO go out c. and into opposite doorway, closing the doors after them. BAUM goes up, unfastens shutter u. R., exits u. c., closes d'oors. The men are behind door opposite BAUM goes behind right shutter and peers through. JEANNE turns, enters. 1 6 soldiers pass, singing song No. 6. JEANNE picks up handkerchief of her father and sobbing exits down L. The door up R. opens gently and ETHEL peers in. Seeing no one, she enters, strolls over to UNDER FIRE 101 table down R. pauses, rises, listens, crosses over to cigar counter, turns and looks, sees no one, goes be low and behind cigar counter, stoops, picks up tele phone, when BAUM comes from behind door, and the other soldiers likewise appear. ETHEL is about to take off receiver as ) Halt! (BAUM enters at c. and crosses to cigar counter. FELDWEBEL, HANS and OTTO enter at c. OTTO to D. c. and FELDWEBEL and HANS are up c. ETHEL turns and with a little scream, sees the soldiers, and drops the telephone) You are a spy for the French. ETHEL. No, no, let me explain. BAUM. (Ignoring her, turning to soldiers} Gel- aclen ! (OTTO, FELDWEBEL and HANS load guns.) ETHEL. No, no, no, for God's sake don't shoot me like that. (LARRY enters c. door from R. and soldiers pass from L. to R, but do not sing.) LARRY. Halt! (BAUM turns to him, OTTO, FELD WEBEL and HANS saluting put down their guns) What are you doing? BAUM. A spy for the French LARRY. A spy for the French eh? (He comes down c.) Fraulein (She turns, they recognise each other, both start amazed. He turns to BAUM) .A spy, eh? What makes you think so? BAUM. She went to use that telephone it leads to the French.* LARRY. Excellent, excellent. But I shall in vestigate this matter. BAUM. But Major von Brenig LARRY. (Sharply) I am your superior officer! {BAUM salutes) In ten minutes you will report to Major von Brenig that you captured the spy 102 UNDER FIRE that she is in my charge and will he be kind enough to come here directly. BAUM. Yes, Herr Captain! LARRY. In ten mniutes, Lieutenant. It is for the Fatherland. BAUM. (Saluting) Ten minutes. (He turns to men, they go. BAUM exits c., others follow and close the doors. LARRY, waiting, going up and mak ing sure they have closed door, hurriedly returns to ETHEL; they meet at D. L. c. across table} LARRY. Ethel! They caught you at the tele phone ? ETHEL. Yes. LARRY. Then they knew, and 'twas a trap set for you? ETHEL. Oh, Larry, what'll happen to me? LARRY. There, there, my darling, no harm shall come to you. ETHEL. But what are we to do? LARRY. Now, my dear, since they know you're a spy there's no great chance for you to escape through their lines. So for the moment go into that room, lock the door and \vhen they come back I'll do the best I can with a bit of explainin'. (He puts his hand on holster) Come (He starts for door down R. and trips on padlock on wine cellar) Sure, trippin's a bad sign. I'll not be married this year I (He stops suddenly, pauses, looks at trap door) ETHEL. What is it? LARRY. My dear, the wine cellar quick it's a great chance. ETHEL. What do you mean ? (LARRY has pulled up door to cellar) You want me to hide in there? LARRY. No, no. T'would be the first place they'd search. (He has taken pocket flashlight from pocket and goes down steps) ETHEL. What's that? Where are you going? UNDER FIRE 103 LARRY. (From cellar) Wait ! (Baby spot on from bottom of cellar steps to shine on ETHEL) That's it ! That's it ! The light's shining in your face. Look, look, can you see me? ETHEL. (Looks down cellar) No, no, the light blinds me I can't see you at all. LARRY. (Coming rip) Good good now listen. If somebody peeked down there, wouldn't they think a desperate woman was standing at the foot of these stairs waitin' to shoot the first man who tried to come down? ETHEL. Yes, yes, I believe they would. LARRY. And that's what we've got to make them believe. Now hasten, darlin' hasten, 'tis best here. (He leads her behind counter) Go and hide. Ah, God is good to the Irish. Have you got a re volver ? ETHEL. (Producing it) Yes, Larry. LARRY. 'Tis rather a toy, but I suppose it will shoot. Then don't let the sound of a shot frighten you into screaming. I've got to give myself a bit of a flesh wound just in the hand. ETHEL. No, no. LARRY. With this it can only be a scratch. As soon as I shoot, duck down and hide. Now, here goes ! (He shoots himself in R. hand, and hands the revolver to ETHEL, who ducks down behind counter. He bangs trap door shut and then backs away down-stage right, away from the cellar door. Blood shows on his fingers. There is a murmur off-stage, and OTTO, HANS and FELDWEBEL rush in followed by BAUM c.) BAUM. (Crossing D. c. to LARRY) Herr Cap tain, you are wounded. LARRY. (Bandaging up his hand with a handker chief) 'Tis nothing. (OTTO, HANS and FELDWEBEL slowly come to atten- :o4 UNDER FIRE lion. MAJOR, SCHMIDT and FRITZ enter from u. L. and cross to L. c. BAUM sloivly crosses up c., SCHMIDT and FRITZ to above cigar case.) MAJOR. The spy the woman spy where is she ? LARRY. She has escaped MAJOR. Damn ! LARRY. Suddenly she produced a revolver and wounded me, as you may see, sir, in the hand. Be fore I could pick up my own revolver she'd got away MAJOR. How could she? LARRY. (Indicating trap-door) She raised that trap door and went down there. MAJOR. There, eh? That's the wine cellar and there is no outlet from there. We shall get her easily. (Goes and raises trap. Light shines on his face from baby spot, and he backs away to L.) What the devil! LARRY. (Sharply) Back, Major, back She must have one of our pocket flashlights. What a target it made of you, sir, and in the dark you could not see her, could you? MAJOR. No, and she can pick off our men one by one as they go down unless we rush her. (MAJOR and men start for trap door BAUM D. c.) LARRY. (Quickly closing door) If I may make so bold as to suggest (LARRY and MAJOR salute each other) MAJOR. Well, what is it? LARRY. If there is no way out of the cellar save that, why waste our men when all we need is to leave her there to starve till there's no fight in her. MAJOR. Why not leave her there forever? LARRY. 'Tis better still 'tis a just fate for a spy. MAJOR. Excellent, Captain, excellent. Baum, UNDER FIRE 105 a bayonet (BAUM salutes, crosses to OTTO, gets bayonet, fixes it in trap door and stays there) Later you will make the fastening permanent. (To LARRY) I congratulate you, Captain, you have done well. (FRITZ starts down-stage L. to phone.} LARRY. (Saluting} I think so myself, Major. MAJOR. (Starting to u. L. door) Remember, you dine with me presently? LARRY. I thank you, Major. (MAJOR exits up L. BAUM salutes. Meamvhile FRITZ who entered with others has sat down by telephone L. of 'table) Good, I shall keep guard here ; you and your men may rest a little. (BAUM salutes and exits u. L. All others but FRITZ exit u. c. and the doors are closed. He sits left of table. To SERGEANT at tele phone) You may leave. FRITZ Major von Brenig stationed me here he expects a message. LARRY. Come back in fifteen minutes. I will take any messages. (FRITZ salutes and exits down L. LARRY pauses a second and then starts for cigar counter) Well, my darlin', so far so good. (There is a sound outside, of someone at c. door) STREETMAN. (Off-stage) Ich komm gleich wieder. LARRY. Sssh, don't get up yet, someone is com ing. (He strolls c. as STREETMAN enters and comes dozvn c. Eight soldiers pass from L. fo'R. singing song No. 5. The two "men meet, salute. LARRY goes on to c. STREETMAN to table at D. R. and sits L. of it) STREETMAN. (Crosses to L. c. producing re volver) Halt ! LARRY. (Coming back) What the deveil do you mean? STREETMAN. (Coolly) Well, Captain Redmond? 106 UNDER FIRE LARRY. Well, Herr Strassman? STREETMAN. We meet under different circum stances from that night in the moonlight on Unter den Linden. LARRY. Yes, quite different. STREETMAN. Then you were in the English army now, Captain Redmond, you wear a Ger man uniform. LARRY. And 'tis a good fit, too, for German clothes. STREETMAN. That night I gave you your life. Now I must take it back again. Before I call in my men have you anything to say? LARRY. Not a word. STREETMAN. You have no message to send the girl you told me of. LARRY. I believe she can hear me when I say that I love her and pray the good God to keep her safe and free from harm. ETHEL. (Jumping up from behind the cigar counter with leveled pistol) Hands up, hands up, or I'll kill you. LARRY. Ethel ! STREETMAN. Ethel ! You ! (Amazed, turns and LARRY grabs his revolver. ETHEL lowers her re volver, comes out from behind the counter) LARRY. Ethel, my dear, you shouldn't have mixed up in this. STREETMAN, " My dear " then you know Cap tain Redmond? ETHEL. (Not facing him) I do. STREETMAN. (Suddenly) Then, by God, you're the Englishman she loved? ETHEL. Yes, yes, I love him I've always loved him. STREETMAN. Then you lied when you said you hated him. You lied when you said you wanted to work against the English you lied 1 I ETHEL. I lied yes. I lied, too, when I said the English fleet had dispersed. It hadn't ; it went A f to the Kiel Canal. I've lied to you every minute '"" UNDER FIRE 107 i, too, wh( . It hadn't you every every minute since we left for Brussels. LARRY. And you said the man yon married was a German spy. But you can't be her husband. I met your wife in Berlin. STREETMAN. Her husband? So that's what she told you that's good. ETHEL. (Desperately} Henry! Henry! LARRY. I don't understand. STREETMAN. Then let me explain since you and she are in love, it may be of some interest for you to know, Captain Redmond. ETHEL. Oh, don't don't. STREETMAN. That that lady has the honor to be LARRY. Don't you say it you dog ETHEL. No, no, it isn't true. Don't believe him. I thought I was married honestly, truly married. I loathe him ; I despise him. You do believe me, oh, say that you do please. LARRY. (Simply) Of course, my dear, I love you. STREETMAN. What a delightful triangle we pre- sen (He moves) And now LARRY. I wouldn't move if I were you. STREETMAN. No? When someone enters this room LARRY. When someone does if you say one word, or do one thing, I'll kill you, so help me God I will! STREETMAN. And then afterwards, you and the lady will follow me. LARRY. Perhaps. But you'll go first. Remem ber that. If they find me in this uniform, I'm done for anyhow, so I've nothing to lose. You have ; you don't want to die. You're a coward or you io8 UNDER FIRE v , wouldn't have treated her like that cheated, robbed Iber.. * STREETMAN. It was a way to serve my country \ and my country is above all, for nothing else do I v care. . LARRY. And you care very little for that. You've got a yellow streak, Strassman, and that's what'll save us. You're a disgrace even to that uniform. FRITZ. (Entering down L.) It is fifteen min utes STREETMAN. Sergeant LARRY. Remember, you go first (To FRITZ) You've interrupted us, Sergeant, on some important business. There have been no messages. FRITZ. Ja wohl, Herr Captain Karl. (FRITZ exits down L.) STREETMAN. So you are Captain Karl. LARRY. Now hand over your military papers. STREETMAN. I will not ! LARRY. Yes, you will ! A true German would rather die than betray his country to the enemy, but you, you dirty coward, you're not man enough to stand up and take your medicine. You haven't the guts. Come on! (STRASSMAN reaches for his papers. Eight soldiers ready in double file to cross from L. to R. and to sing song No. 4, ist verse) No, on second thought, I'll get 'em myself. (Grab bing them, backing u. c.) You carry them con venient, don't you, when you're safe inside the German lines. A map of the British entrenchments ! And you've marked Trench 27 ! What mischief have you afoot for Trench 27? (STREETMAN dives for LARRY; LARRY throws him into chair R. of table. He takes papers. To ETHEL) Now, Ethel, these papers will get you safely through the German lines. No, wait (Gives ETHEL the revolver} I'd best be puttin' him out of the way while I've you to help me. Keep him covered. UNDER FIRE 109 (STREETMAN starts} If he moves, shoot! (ETHEL aims gun at STREETMAN, as LARRY grabs straps from a kit bag which is at tipper end of cigar counter} Now make yourself comfortable you'll be sitting there for some little time. STREETMAN. And when someone comes in to find me like this what do you think will happen to you? LARRY. (As he puts first strap around STREET- MAN'' s arms) Nothing, for I'll be proving with my own English papers I'll say I found on you, that you're an English spy, and that I captured you for the Fatherland. STREETMAN. You ! LARRY. 'Tis best you don't talk too much either. (LARRY gags him with STREETMAN'S handkerchief and phone wire) Now you're safe. (Pause as LARRY prepares strap to bind STREETMAN'S feet. LARRY straps feet, drags chair to trap and pulls STEETMAN down steps) Tis many a day I'll war rant since you rode in a jaunting car. (Coming up, closes trap, puts bayonet in lock} Now for his pass. (Crosses to table D. L V shuffles through papers at table D. L.) God! ETHEL. What is it? LARRY. A copy of their orders and I've got it. The whole plan against the British army. The Crown Prince is to march against Paris, while Von Kluck is flanking us from Tournai and le Ca- teau. If they succeed it'll clear the road to Paris. Do you see what it means? ETHEL. It means everything if we can only let the British know. LARRY. Now take his car that's outside; you must know how to drive it? ETHEL. Yes, yes. LARRY. His pass will get you through to Tour- ville. Once there, go into no UNDER FIRE ETHEL. Oh, Larry, come with me! LARRY. The pass says for bearer. 'Tis no good for two. I'd not get 20 yards till I was stopped. You must go alone for England. ETHEL. Then I've got to. (Crosses to u. c.) LARRY. That's the brave girl ETHEL. (Crosses doivn to LARRY) But after Tourville how could I reach the English? LARRY. 'Tis true. You'd need me for that. Listen. At Tourville go to the Mayor's house. Wait for me. Somehow to-night under cover of the darkness I'll manage to get there to you/ and there we'll find the English lines together. (LARRY and ETHEL to c. doors, LARRY opens door for her and closes it after her) Now hurry! for every second counts for England. (To u. R. ^t'indow A sergeant enters down L.) FRITZ. (Entering D. L.) There have been no messages? (Sits L. of table D. L.) LARRY. None (Sounds of motor starting notes of a horn sound of motor disappearing LARRY shows relief) Do you happen to know which is my room? FRITZ Number six, Herr Captain there to the right at the head of the stairs. LARRY. (Starts R.) Thank you. BAUM. (Entering up L. crosses to c.) Herr Captain Major von Brenig wishes to speak with you. LARRY. My compliments to Major von Brenig and later 1 shall be pleased BAUM. Pardon, Herr Captain, but Major von Brenig must see you at once. LARRY. Damn! Very well! (BAUM crosses D. R. LARRY toward c. door; starts to open it, BAUM turns, LARRY turns and then exits u. L.) BAUM. (As he crosses, to L. c.) Any news, Ser geant ? UNDER FIRE 1 1 r (Tapping on floor begins.) FRITZ. None, Herr Lieutenant BAUM. (Hearing tapping) What is that? FRITZ. As if someone were tapping with the foot. (Rises, crosses to trap and stands listening) BAUM. From the wine cellar. FRITZ. Wait ; it is the code. BAUM. What does it say? FRITZ. H-e-Help ! BAUM. The woman spy! (They turn away with contempt. BAUM to up c. FRITZ to table at L. c.) FRITZ. Ho, Herr Lieutenant no wait wait (Both cross to cellar door. Pause) It is from one of our men (Pause) He has the password. BAUM. Then open the door quickly. (FRITZ does so) FRITZ. (Looking down) Gott in Himmel. (Goes down-steps) BAUM. (Leaning over trap door) What is it? FRITZ. (From below) It is Herr Captain Strass- man ! Bound and gagged ! BAUM. (Looking down) What! Herr Cap tain are you hurt? FRITZ. (From below) No, no, he is quite all right; there, there, Herr Captain. (STREETMAN comes up, folowed by FRITZ. FRITZ goes to D. s. L.) STREETMAN. Good, good, you were clever to understand my foot telegraphy. I shall see that you are rewarded. BAUM. Herr Captain what is it what has happened ? STRASSMAN. I was taken at great disadvantage and unexpectedly attacked by an English BOTH. English spy? H2 UNDER FIRE STRASSMAN. Have either of you seen Captafi; Karl? BAUM. Yes, he is with Major von Brenig. STREETMAN. Lieutenant, go to Captain Karl at once. Say that someone is here with a mess age from Tourville (BAUM salutes and starts v. L.) and as soon as Captain Karl leaves the room inform Major von Brenig that I alone, single handed, have captured an English spy. BAUM. Do you not perhaps need me? STREETMAN. No, I'll take care of him myself. (BAUM starts) Your revolver (BAUM gives it to him and exits) Sergeant, send for a military au tomobile have it come here at once I have a little matter at Tourville to attend to personally. (FRITZ exits c. STREETMAN moves over L. below chimney, LARRY enters up R. and starts to exit c. STREETMAN appearing pointing gun at LARRY) Your hands up this time! (They go up) LARRY. (At c.) How the devil did you get loose ? LARRY. (L. of LARRY) You are going to die, my friend. LARRY. Well, go ahead and hurry. Tis not so pleasant standin' here waitin' for it as you seem to think. STREETMAN. No, you shall not die as a soldier but as a spy. I could have shot you as you came in that door, but I wanted to give you a chance. LARRY. This is a hell of a chance. STREETMAN. At least your information will never reach the English. I have sent for a motor and I shall find the lady at Tourville. And as you die, I want you to take with you the thought that not only has that lady QEANNE appears from door down L. with knife in hand. ) UNDER FIRE 113 LARRY. Look out, Streetman, look out behind you STREETMAN. Oh, that is an old trick I do not take my eyes from you. LARRY. My God, girl, what are you doing; no, not like that, give him a chance. STREETMAN. Very dramatic, but (JEANNE sneaks tip behind STREETMAN and stabs him in the back. He gives a groan and topples down across stage.) LARRY. What have you done? JEANNE. He killed my father. A life for a life Father, you are avenged. LARRY. (Crosses to JEANNE) Hurry, girl, hurry. They'll shoot you. JEANNE. No, m'sieur, they will not. They will think you did it. I was there listening. He has sent a soldier to inform them that he has cap tured you, Captain Karl. LARRY. And the girl did he tell him about the girl at Tourville? JEANNE. No, m'sieur, he did not. He had sent for an automobile to go there he would attend to that matter himself. LARRY. Thank God, then she's safe. (STREETMAN moves.) JEANNE. Yes, m'sieur, but you are not quick you must hide. LARRY. No, no, you go. If I'm captured you must not be found with me, or you're done for, too. Go to Tourville to the Mayor's house, tell Madame de Lorde what's happened she will take care of you tell her not to wait for me but to try to go on alone. (Noise off-stage) Ah, they're coming. ji 4 UNDER FIRE JEANNE. What will you do? LARRY. Say I have escaped that I went that way. (Points off R.) Sssh! (He goes toward door down L. hears MAJOR coining, crouches doztm behind counter, but in view of audience. (JEANNE over to STREETMAN, kicking him. Hear ing approaching footsteps, she leans down and strokes his forehead, pretending pity, as MAJOR fol lowed by FELDWEBEL, HANS, SCHMIDT, OTTO and BAUM enter u. R. tioor) MAJOR. (Leaning over him) Good God, Strass- man! Is he dead? (To Girl) How did it hap- peh? (Kneels above STREETMAN and lifts his head with his R. arm) JEANNE. He and an officer were talking when I came into the room. Suddenly the officer pulled out a knife and stabbed him. MAJOR. He is not dead. (To SCHMIDT) Quick, the surgeon, he must pull through. (SCHMIDT exits u. L. door) Hurry for he has much yet to do for the Fatherland. (SCHMIDT has hurried out. JEANNE to doors up c.) Strassman, speak ! (STREETMAN raises himself to elbow, tries to speak) Where is he the English spy? Where did he go? STREETMAN. (With difficulty) The girl the girl (He groans) MAJOR. No, no, not the girl the spy the English spy where did he go? (Lets STREETMAN lay on floor) STREETMAN. Tourville (He sinks back, he has fainted) MAJOR. Tourville Tourville. JEANNE. (Who has got up to c. door) I will show you. (Opens doors) Come, come, he went that way. (Pointing to K. she goes out to R.) UNDER FIRE 115 MAJOR. (As he exits c. doors followed by BAUM, OTTO, HANS and FELDWEBEL and they close the doors after them} Hurry, men Call the guard J He shall not escape the English dog (Off-slag-e one hears the Corporal of the Guard Post 3, repeated and repeated and echoing azvay. LARRY gets up, comes out STREET- MAN gives a groan.) LARRY. (Picks up phone and speaks into it} Hello, hello. Courvoisier they're marching by the left fork Midnight! (Replaces phone and rises. At D. R. c. taking papers and looking at them, then tit STREETMAN) Trench 27, eh? {RUDOLPH SOLDIER CHAUFFEUR opening door, enters, stands c.) LARRY. (His hand traveling to butt end of his revolver, turns to SOLDIER CHAUFFEUR) Well, what is it? RUDOLPH SOLDIER CHAUFFEUR. An officer here ordered an automobile it is for whom? LARRY. (Relaxing grip on revolver} Ah, yes it is for me. RUDOLPH SOLDIER CHAUFFEUR. To Tour- ville? LARRY. (As he passes STREETMAN) No! To ihe British lines. (SOLDIER CHAUFFEUR hops in to driver's seat of car. STREETMAN talking and muttering " Stop him,' " ad lib. As LARRY jumps on back of car) And drive like hell! (Car starts as LARRY climbs over back of seat) Quick Curtain. n6 UNDER FIRE ACT III. SCENE ONE TIME: 11:30 P. M. Clear night in August. SCENE: An English trench. There is a wall of earth across stage about 7 feet from the cur tain line. The top of the trench is covered with bags of dirt. At right there is an en trance and to the Left of the entrance there is a tree with a lookout hut of branches in it. A ladder leads up into the tree. Across the stage is a rough built bench. At left a bomb proof hut with a rough table under it and four old ammunition boxes around it. A candle on the table is burning. At the Left of en trance at Right hangs a field phone. The scene is backed by a starlit cyclorama, showing a town in the distance. Back of the trench about 8 feet is another trench, backing across the stage. LIGHTS: Foots blue up. ist border Blue 4 up. 2nd border Blue % up. yd border Blue Y^ up. Stars lit on cyclorama. AT RISE: Four soldiers are sitting around a rude table made of boards under the bomb proof shelter at Left. They are in the khaki of the British army, dirty, unshaven, begrimed. One is dealing a hand of poker, the others are silent. The table is lit by the flickering light of a candle; sprawled around are some other ten soldiers. A periscope is lying on the bench at UNDER FIRE 117 Centre. Two men keep guard at each end of the trench. All the men are smoking, some pipes, others cigarettes. When the 4th soldier has finished dealing and the others have ex amined their cards, the ist soldier speaks. A searchlight szt'eeps the top of the trench from left to right, then across the tree at right, then across the trench top to left and off. HENRY. (Seated above table. Picks up cards, looks at them and throws them down) By me. HORACE. (Seated R. of table) Pass. JOHN. (Seated below table) Ain't it hel) three aces and nobody in. HENRY. Serves you right standin' pat on three aces. GEORGE. (Left of table) Say, the Dutchmen across the way are rather quiet to-night HORACE. Tired, I fancy JOHN. I wonder if we're givin' 'em a proper lickin' ? GEORGE. Seems to me we don't do nothin' but retreat and retreat. HORACE. That's military tactics. HENRY. A hell of a lot we know wot's wot sittin' here in a two by four trench that you carn't look out of or somebody'll pot you. HORACE. Let's sweeten it now with a cigarette everybody up. (All chip in a cigarette as 2nd soldier deals.) HENRY. War ain't what it's pictured this here poker game is more excitin' GEORGE. I ain't even seen a German. JOHN. What I want to know is why I came here can anybody answer me that? Because we're damned fools. ii8 UNDER FIRE X "JOHN. Oh, if England hadn't a fought, Germany (would 'a wiped her off the map. HORACE. I suppose the big bugs know, but blini- jrne if I do GEORGE. All I hope is that I get back to the I missis. - JOHN. Me, too Ah. at last I open for two cigarettes. HENRY. Ain't he swell two cigarettes. GUY. (Enters Left -he is in the uniform of an English Lieutenant} Hello, boys. (GEORGE, HEN RY, JOHN, and HORACE all rise and salute him, say ing " Good evening, sir."} How's the game ? (The four soliiiers sit) HORACE. Henry there is winnin' all our cigar ettes. (GuY noes over and sits against trench, produces pencil and postal, and writes.} HENRY. I raise it one cigarette. (Puts in) HORACE. Make it one more and keep the pikers out. (Pitts up a cigarctle} (CAPTAIN MONTAGUE enters from R. and crosses to c., followed by CHARLES BROWN, zvho looks o'der and is dirtier than in the preceding Act.) CAPTAIN. Now, sir, you're in the first line of the English trenches- Trench 27 and I may say you're the only American correspondent who has been. CHARLIE. And I rather butted in. CAPTAIN. Weil, as long as you stumbled in side our lines, you might as well see something, if you give me your word not to write anything. CHARLIE. That's a hell of a thing to say to a newspaper man. CAPTAIN. But I have your word? CHARLIE. I s'pose so. UNDER FIRE 119 (Searchlight starts at L V then crosses to R. to tree, up and down tree, back to L. and off.} \ CAPTAIN. Right over there are the German trenches and here's our periscope. (Picks up peri scope from bench and hands same to CHARLIE) CHARLIE. (Stepping up on bench and looking through periscope) And you can't see a thing except their searchlights. (Steps dozvn and CAP TAIN takes periscope and puts it on bench) CAPTAIN. No, and the closer you are to the front, the less you know of what's happening, except on your own very small square of a very large checker board. But technically, you are under fire. CHARLIE. Am I? Somehow I don't feel any different. CAPTAIN. You would if you stuck your head over that trench and they happened to see it. CHARLIE. Well, believe me, I'm not going to. Aren't they unusually quiet to-night ? ( Takes stage Right) CAPTAIN. Yes, rather ; but always before the eve ning's over they give us a bit of fireworks and do for some of our men with a lucky shrapnel or two. You see, they try to get our range in the day time and then at night they shoot at the same range- CHARLIE. Sort of keeps you up in the air- CAPTAIN. Oh, no, it's pretty dull shooting at men you can't see and being shot at by men who can't see you. CHARLIE. Maybe it is, but there's thrill enough in it for me. * CAPTAIN. Oh, no, you'd get used to it we all do. CHARLIE. Well, we won't argue, but take it from me; I'd never get used to it. GUY. (Getting up) I thought I recognized that 120 UNDER FIRE voice do you remember me, Charlie Brown? Hello Charlie (Guv goes over to CHARLIE and they shake hands warmly and CAPTAIN MONTAGUE crosses to back of CHARLIE to K.) JOHN. Two cards HORACE. One'll do for me. HENRY. Nothin' for me. GEORGE. Gimme an ace CHARLIE. (Speaking through the soldiers' lines} Hello, Guy! So you did come over to the front, after all? Didn't I say you would? GUY. (Likewise} Good evening, Captain. CAPTAIN. Evening, Lieutenant. GUY. Yes, came over with the first batch bribed the recruiting sergeant and here I am. But what are you doing at the front? CHARLIE. Oh, I was in Belgium and got cap tured by the Germans. (CAPTAIN sits on bench at R. c.) They put me on the road to Brussels and said if I got off the road I'd be shot. It was a cinch I'd miss the right road, and as I figured I'd rather be shot coming than going, I took the wrong road to try to get a peep at your Britishers. I trav elled last night and hid to-day finally a little while ago I blundered into an English scouting party and here I am and mighty glad to be here. GUY. Well, you've had quite a time. CHARLIE. Quite and I never want to see an other war never. It's so cruel so horrible so I can't find words to express it. If only I could if I could only make the people back home under stand what it's really like I thought I knew a little, but it's so much worse than your imagination can picture. It's like eternity your brain can't grasp *V CAPTAIN. While you were in. Belgium, did you see any atrocities? CHARLIE. You bet I did. UNDER FIRE ui GUY. You did? What were they? CHARLIE. I don't like to talk on 'em or even think of 'em, but I want to tell you if Germany keeps on the way she's begun, the time will come when she will be an outlaw nation, with all the world against her. Toiiiv. My deal. GEORGE. Here, let me out. HENRY. Right-o ! CHARLIE. What's that? _ (All this spoken through business of explosion'.} CAPTAIN. (Rises, picks up periscope and looks over trench} Oh, just one of our shells traveling somewhere to our friends, the enemy. GUY. That'll probably start their evening song. CHARLIE. They needn't hurry on my account. (CAPTAIN replaces periscope.) . GUY^ And they'll pick off a few dozens or hun dreds of us. Reminds me of that song those chaps at New Haven sang when I saw their football match w.hat was it? Oh yes (Sings) "A little more work for the undertaker (During song CAPTAIN crosses dozvn stage. CHARLIE takes up the song) Only we haven't enough undertakers with us. ' CHARLIE. But, Guy, somehow I don't feel much like joking any more. CAPTAIN. You've got to joke or you'd go mad. The other day they charged us =coming along tn that cruel, close formation of theirs. We shot 'eni down, row after row, and row after row came on pver the dead bodies of their comrades. We wiped out that whole regiment, and then came another regiment and that went down, too. Then came an other and we had to retreat. We'd killed four to their one, but they took the trench! And that's \2> UNDER FIRE the way they go on. Their generals say it will kill so many thousand men to take such and such a" trench, and they send out their thousands to be killed, but knowing that the men behind them will take that trench for the Fatherland and they do! CHARLIE. And for what? For what? There's no individual hatred no great soul-stirring emotion al crisis behind it all. CAPTAIN. But England was forced into it. CHARLIE. And I daresay France and Russia and Servia and Austria all feel they were forced into it r too. That's the whole trouble. Each nation be lieves honestly that it's in the right, and in some ways I suppose each of 'em is. I don't know I'm not a big enough man to attempt to say and what good is it all? CAPTAIN. It is that this militarism shall cease that never again can there be another war like this CHARLIE. I hope there never is. I am not a par ticularly religious man, but I want to tell you that there isn't a day passes that I don't pray to my God that my country may never have to go to war, that she may never suffer as these countries are suffering. CAPTAIN. I understand, sir; but we are at war and what we are doing, we must do for England, GUY. Yes, I suppose so but just think, in London, people are coming from the theatres, and the Strand is blocked with traffic, and the cabbies are cursing the taxis and the crowds are pouring into the Savoy for supper, and the girls the pretty girls and the moon's shining down on the Embank ment. CHARLIE. Yes, that's the way it was I guess it's different now. GUY. (Slowly} Yes, I hadn't thought of that perhaps it is. UNDER FIRE 123 CHARLIE. And they say over here the average life of a man is seven days. HENRY. I don't know why I play this bloomin' ame I haven't had a pair for over an hour, HORACE. What are ye givin' us you won six cigarettes a minute ago. An' say, give me one, will yer? (Reaches and grabs cigarette from HENRY) HENRY. I'll lend you one my luck may change. CHARLIE. Listen to 'em it's marvelous the way human nature adjusts itself. CAPTAIN. It's all in the day's work. (Docrqs and tivo stretcher bearers enter left} Good eve ning, Doctor. DOCTOR. (As he pauses and salutes} Evening, Captain. Anybody for me? CAPTAIN. No, not yet. DOCTOR. You're lucky. Come on, boys. ( DOC TOR and stretcher bearers exit out Right} CAPTAIN. That's the Red Cross. This is the time they come through to pick up the wounded to carry 'em back to the field hospital. That's one of their shells. (CHARLIE ducks up-stagc and huddles down on bench} You needn't duck, old man ; it wouldn't do you any good. CHARLIE. Safety first! CAPTAIN. And anyway, that shell was on its way toward one of our batteries (Points out over heads of audience} Guv. Well, now they've got started anyhow. CAPTAIN. Sometimes they fire only one or two shots and then again they go on all night. CHARLIE. Is that so? Well, then I guess I'd better be going. ('Phone} What's that? CAPTAIN. (As he crosses to phone) Just our field telephone. CHARLIE. Gosh, I'm nervous. CAPTAIN. {Answers telephone} Hello yes. i 2 4 UNDER FIRE It's Captain Montague yes, Sir this is Trench 27,. Battery 29 speaking? Very well, Sir; directly. (He hangs up receiver and as he crosses to CHAR LIE) They're going to send off some of our Very lights. CHARLIE. Very lights? CAPTAIN. Yes bombs that when they explode light up the whole vicinity. I'm to go up there in that tree that's one of our concealed lookouts try to get their range while the light's on and then telephone our battery the elevation and trajectory. Then they'll let 'em know we're not asleep. (He starts toward tree) GUY. Captain, let me go please. I can get the range. I haven't had a bit of exctement all day. CAPTAIN. You may get picked off by one of their snipers. GUY. Not a chance. Please, it'd be ripping really to do something. CAPTAIN. You know it takes a brave man to go up there. GUY. (Hurt} Captain Montague, you don't think I'm a coward? CAPTAIN. (Crosses CHARLIE to GUY) No, no, my boy ! I didn't mean that ! Go on, but be quick. GUY. (Climbing tree) Thanks, Captain much obliged. CAPTAIN. (Going over to bomb proof shelter) Midnight, boys (CAPTAIN to c. as 4 soldiers rise, extinguish candle, take guns, go on guard in trench. HORACE goes to R. end of bench L. of arch on bench. JOHN goes to L. of bench. HENRY goes on bench end at c. GEORGE goes to L. c. up on bench) GUY. Oh, I say, Charlie, you'll be going back to quarters soon mail this postal to Georgy for me. I said I'd write every day. (GuY drops postal CHARLIE goes and picks it up) UNDER FIRE 125 CHARLIE. I didn't duck that time. CAPTAIN. And there goes our Very light. (Going over to phone in phone} Battery 29 this is Montague speaking. (To GUY) Well? Guv. Their positions look to be just the same as this afternoon, so (Peering out through leaves) Try 3000 yards, half right three sixteenths. CAPTAIN. (In phone) Try 3000 yards, half right 'three sixteenths. (Pause of five seconds) How was it? GUY. Great great but try 50 yards short 2950 one point down. CAPTAIN. Make it 2950 one point down. (Pause of five} GUY. Right on a gun! I saw it crumple. That's it. Keep it at 2950. CAPTAIN. (In phone) Keep it at 2950 you smashed a gun. (Hangs up receiver and crosses to c.) GUY. (Peering out) By George, the German trenches aren't 50 yards away from us (HORACE lights a match) Are they? CAPTAIN. (Turns to HORACE searchlight on tree quick and off volley) Don't light that match! (GuY crumples up and comes toppling out of tree. HORACE and MONTAGUE catch him) They got him. (MONTAGUE kneeling in front of GUY) lie's not dead, though. CHARLIE. Wait I'll get the doctor. CAPTAIN. Stay here. The doctor has his work to do over there you can't call him back. CHARLIE. But Guy's my friend CAPTAIN. Yes, but he's only one man there may be dozens over in those trenches CHARLIE. But CAPTAIN. (Sternly) If you please. (CHARLIE stops) This is war not an accident on Piccadilly, where you can summon immediate help. 126 UNDER FIRE CHARLIE. Yes, I understand, but poor kid! CAPTAIN. (Rising and a step backward toward c.) Corporal, see if you can stop the bleeding. (HORACE salutes and goes over and works on GUY) CHARLIE. Listen to this (MONTAGUE crosses to CHARLIE R. at bomb proof) it's the postal Guy was writing (Reads postal) " Beastly dull aw fully hot no excitement haven't seen a German or any decent food. But that doesn't mater. Love to you and Mother. Tell Mother I'm being care ful." Poor kid, poor little kid! CAPTAIN. Sad, very sad. But perhaps he'll pull through, and if he doesn't well, forgive me, Mr. Brown, if I seem heartless but remember, this is new to you and he's only one, and I've seen so many. CHARLIE. I feel a bit shaken do you mind if I go back now? . CAPTAIN. Certainly not. Corporal, escort Mr. Brown to Major Fortescue. (GEORGE off bench and crosses to entrance at R.) Good night, Mr. Brown. (They shake hands) CHARLIE. If I come across the surgeon or any of the Red Cross, you don't mind if I send them back, do you? CAPTAIN. Why, certainly not. (CHARLIE crosses to c.) I must warn you, though there's a quarter of a mile the Germans usually shell at night. CHARLIE. Say, Captain, I want to live as long as anybody, but when I see all this sort of thing, my own little life don't mean nearly as much to me as it used to, so I'm not worrying. CAPTAIN. You'll explain at Headquarters how you happened to get here. CHARLIE. Sure, before they throw me out. But I don't mind that. I'm through with war. I'm off to London. I'll see his mother there and that kid girl of his and then to New York where there's no war, thank God, and you know, Cap, when I'm UNDER FIRE 127 home, sittin' at my desk, looking down over Broad way where war only means some more headlines on the front page about some unpronounceable places, and you turn over the paper to see how stocks closed, or who won the game when I'm back there and the war stuff comes in over the wire, I'll be thinking of you fellows over here under fire, and I'll be wishing you luck, old man, the best of luck CAPTAIN. Thanks. CHARLIE. (Going and stopping beside GUY. To him) I hope you pull through, old boy. (To CAP TAIN) Do what you can for him, won't you? I know his mother. This whole business is hell, isn't it? """CAPTAIN. Hell! CHARLIE. Good night. CAPTAIN. Good night. (GEORGE exits R. fol lowed bv CHARLIE. CAPTAIN goes over toward GUY) Well, how is he? HORACE. Looks pretty bad, sir ; but I've stopped the bleeding. CAPTAIN. Take him there on that straw till the doctor comes. (HORACE and HARRY pick up GUY and carry him out Right as from Left SERGEANT D. s., hold ing STREETMAN, by Left arm, in civilian clothes, enter from Left. STREETMAN'S clothing is badly torn, his face scratched and dirty and his right arm is in a sling. He wears no hat.) SERGEANT. (At L.) Captain Montague ! CAPTAIN. Yes, Sergeant? (SERGEANT and CAP TAIN salute) SERGEANT. I beg to report, Captain, that while ut on patrol duty we caught this man skulking around 128 UNDER FIRE V CAPTAIN. (Crosses to table, gets candle and holds candle to STREETMAN'S face} And in civilian clothes a soy. eh? for aeroplane.} LARRY. I've no time to explain now. "^ HORACE. Look out, she's slowing up. 1 JOHN. That means she'll drop a rTcgfthfr bomb. J LARRY. Sure they never hit anything. (Bomb siarts down) How far is it to headquarters? CAPTAIN. Look out, boys, for God's sake, look out ! (Explosion foots out flash vacuum stops Baby spot Blue medium from bridge right on floor of trench at R. c. Trench breaks. Bomb proof falls Dirt falls All soldiers on scene are thrown down and apparently killed. SERGEANT staggers 134 UNDER FIRE I forward and falls L. of entrance and very close to bench. HORACE falls R. end of bench. JOHN falls at L. of bomb proof. LARRY is at centre. CAPTAIN MONTAGUE is at left centre and as the bomb proof falls he goes to the around ivith his left leg appar ently caught by one of the 'falling beams of the roof. CAPTAIN raising himself to elbow from under shat tered bomb proof} Boys, take that beam off my leg rl can't move take it off, I tell you Why don't you answer Harrington Taylor Vaughn Barry Oh my God ah ! (He groans and faints back. The telephone buzzer rings 3 times I long two short} LARRY. (Crawling up] The telephone it isn't smashed Oh, God. let me get to that telephone. If they attack me now we're done for. Oh, my God, my leg (He sinks back} Ethel Ethel why weren't you at Tourville where are you now? I know the darlin' of a place right hy a rushin' river in the verv shadow of the snow (Telephone rings anain} Oh, what am I saying. I've got to get to that telephone. Come on, Larry, you can do it. Damn your Irish heart ! Come on, it's only five feet more. Dear God, help me do it ! (He struggles on reaches phone, speaks into it} Ah! Head quarters no. no I'm not Lee I'm Redmond. Captain; (Redmond, Irish Guards Special Service. Major Dray ton you remember me Listen, listen aeroplane bomb Trench 27 wiped out. Send re serves.. Understand. Oh, my leg. Wait, didn't a girl, .an English girl, with my pass come to you with information from me. She didn't? Oh Ethel, where are you? Listen listen Crown Prince marching Against Paris. Von Kluck flanking us. Tournai and La Chateau. Get the French to send more 'troops. You can't? Then retreat retreat right to the very gates of Paris. It's our only chance. UNDER FIRE 135' Yes I'll keep guard. (He rings off and raises re volver weakly) I'll keep guard. (He faints)' Curtain. NOTE: Change two minutes. As Curtain touches stage band off-stage starts playing 'No. 3. When played through tzvice, lead into No. , 4. Continue to play until curtain goes up, the ' music gradually dying away. On the fall of the curtain and every 30 seconds the cornet plays the British bugle calls, Nos. 1-2-3, and repeats it in the distance during the change as the cur tain goes up and all during the last scene, re peated booming of guns. SCENE II. TIME: It is about 3 or 4 in the morning. SCENE: Interior of a church 91 WWf 197? 5 * REC-D SEP 2 4 OCT >1973! UMBI C , APR brm L9-100m-9,'52(A3105)444 MI - "i./ 965 4