.
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?
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>1973!
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