University of Virginia Library

ACT ONE
(Mary Raymond Shipman Andrews)

SCENE I

A principal street of an American city in the spring of 1918.
At the rear of the stage, representing the opposite sidewalk of the street, are gathered many people come to bid farewell to the boys of the Blankth regiment who are soon to march past on their way to France.
Extending across the "street'', from footlights to "sidewalk'', is a large white plaster arch, gayly decorated with the Allied colors.
On this arch is the inscription "For the Freedom of the World.''
At the rising of the curtain, distant march music is heard (off stage, right); this constantly grows louder during the ensuing dialogue which takes place between three elderly women crowded together at the edge of the sidewalk. These women, although, before the war, of different stations in social rank, are now united, as are all mothers in the Allied countries, by the glorious badge which each proudly wears pinned over her heart—the service star.
The Professor's Wife—

I hear them coming.

The Street-cleaner's Wife—

So do I. I hope my boy Pat sees me.

The Pawnbroker's Wife—

I told my Jean where to look.

The approaching music and the cheering of

[Description: Cheering crowd surrounds arch. Air is filled with flags, balloons, and streamers. Black and white illustration by Herb Roth.]

the spectators drowns out further conversation.
Enter (right) the regimental band playing the "Stars and Stripes Forever.'' They march through the arch and exit left. Following them comes the flag, at the sight of which all the male spectators (young boys and men too old to fight) remove their hats. After the colors come the troops, splendid clean faced fellows, in whose eyes shines the light of civilization's ideals, in whose ears rings the never forgettable cry of heroic France and brave little Belgium. The boys are marching four abreast, with a firm determined step; it is as though each man were saying to himself "They shall not pass.''
After the first few squads have marched through the arch and off left, the command is issued off-stage "Company—HALT.'' A young lieutenant repeats this order to his men, and the column comes to a stop. The men stand at attention until given the command "Rest'', when they relax and a murmur of conversation arises from the ranks, in which characteristic sentences "German ideals are not our ideals'' and "Suppose it was your own sister'' show only too well what the boys are thinking of day and night.
As the column halts, the three service star mothers rush out from the curb and embrace their sons who happen to be in this company. At the same time a very attractive girl runs up to the young lieutenant.
The Lieutenant—

Ellen!

His Fiancée—

John!

The Professor's Son
The Streetcleaner's Son
The Pawnbroker's Son

Mother!

The Professor's Wife
The Streetcleaner's Wife
The Pawnbroker's Wife

My Boy!

Voice off stage—

Company—Atten SHUN!

The farewells are said, the men come to attention.
Voice off stage—

Forward—MARCH!

The Lieutenant—
(Pointing with his sword to the inscription on the arch)—

Forward— for the Freedom of the World— MARCH.

The men's teeth click together, their heads are thrown back, and with a light in their eyes that somehow suggests Joan of Arc the Crusaders move on.

SCENE 2

Three months later.
A section of an American front line trench now occupied by the Blankth regiment.
It is early morning and the three soldiers mentioned in Scene 1 are conversing together for perhaps the last time, for soon they are to be given the chance which every American man desires more than anything in the world —the opportunity to go "over the top''.
The Professor's Son—

Well fellows, in a few minutes we shall be able to show the people at home that their boys are not cowards when the fate of civilization is at stake.

The Pawnbroker's Son—

Here's a newspaper clipping mother sent me. It's from a speech made the other day in Congress.

(He reads)

"And we and our children —and our children's children will never

forget the debt we owe those brave boys who are now in France.''

The Streetcleaner's Son—

That makes a fellow feel pretty good inside, doesn't it? It makes me glad I'm doing my bit—and after the war I hope the ideals which have inspired us all will make us better citizens in a better world.

The Professor's Son—

Not only will we be better citizens—not only will the torch of liberty shine more brightly—but also each one of us will go back to his job with a deeper vision.

The Pawnbroker's Son—

That's right I am a musician—a pianist, you know—and I hope that after the war I shall be able to tell America, through my music, of the glory of this holy cause.

The Professor's Son—

I didn't know you were a pianist.

The Pawnbroker's Son—

Yes—ever since I was a boy—I have had no other interest. My father tried to make me go into his

shop but I couldn't stand it. He got angry and refused to support me; I had a hard time until I won a scholarship at a New York musical college. Just before the war I had a chance to play the Schumann concerto with the Philharmonic; the critics all said that in another year I would be—but fellows—you must think me frightfully conceited to talk so, and besides what matters my musical career in comparison with the sacrifice which everyone is making?

The Streetcleaner's Son—

And gladly making, too, for it is easy to give up all, as did Joan of Arc, for France. Attention, men! here comes one of our officers.

The three stand at attention.
Enter the Lieutenant.
The Lieutenant—

Well, men, do you feel ready?

The Three—

More than ready, sir—eager.

The Lieutenant—Brave men!
(To the Professor's Son)

Come here a minute, Keating. I have something to ask you before we go over the top.

The Professor's Son and the Lieutenant go to one side.
The Lieutenant—
(To the other two in a kindly manner)

—At ease!

The Streetcleaner's Son—

Thank you, sir.

They relax from their rigid posture of "attention''.
The Lieutenant—
(To the Professor's Son)

— Keating, when we "go over'', we—may —never come back, you know. And I want to ask a favor of you. I am engaged—to a girl back home—here is her picture

(he draws a photograph from his inner breast pocket and shows it to the Professor's Son.)

The Professor's Son—

She is beautiful, Sir.

The Lieutenant—
(Putting the photograph back in his pocket)

—Yes very beautiful. And(dropping his eyes)
—I love her. If—if I should "go west'' I want you to write her and tell her that my last thoughts were of my country and—her. We are to be married—after the war—if (suddenly clearing his throat)
. Her name is Ellen Radcliff—here, I'll write the address down for you.

He does so, and hands the slip of paper to the Professor's Son, who discreetly turns away.
The Lieutenant—
(Brusquely)

—That's all, Keating.

A bugle sounds.
The Lieutenant—

Attention men! At the next bugle call you go over the top—remember that you are Americans and that Americans know how to fight and die in the cause of liberty and for the freedom of the world.

The Three Soldiers—

We are ready to make the supreme sacrifice if need be.

The bugle sounds.
The Lieutenant—
(Climbing up the ladder to the top of the trench)

—Follow me, men—

The Three Soldiers—
(Climbing up after him)

—Lafayette—we come, though poppies bloom in Flanders field.

They go "over the top''.

SCENE 3

A section of a Hun trench a minute later. Two Hun soldiers are conversing together; another Hun is reading a copy of Nietzsche.
First Hun Soldier—

And then we cut the hands off all the little children—oh it was wonderful.

Second Hun Soldier—

I wish I had been there.

A Hun Lieutenant rushes in.
The Hun Lieutenant—
(Kicking the three men and brandishing his revolver)

— Swine—wake up—here come the Americans.

The three spring to their feet and seize their guns. At the top of the trench appears the American lieutenant, closely followed by the three soldiers.
The American Lieutenant—
(Coolly)

—We come to avenge the sinking of the Lusitania.

The Hun Lieutenant—

Hoch der Kaiser! Might is stronger than right!

He treacherously tries to shoot the American but the Professor's Son disarms him with his bayonet. The three Hun soldiers offer a show of resistance.
The Streetcleaner's Son—
(To first Hun soldier)

—Your hands are unclean with the murder of innocent women and children.

First Hun Soldier—
(Dropping his gun)

— Kamerad!

The Pawnbroker's Son—
(To the other Hun soldiers)

—Prussianism has destroyed the Germany of Bach and Beethoven and you fellows know it, too.

Second and third Hun Soldiers—
(Dropping their guns)

—Kamerad!

The American Lieutenant—

Men—you have kept the faith. I am proud of you. Forward!

An explosion (not too loud to annoy the audience) is heard off stage right.
The Professor's Son—
(Sinking to the ground)

Fellows, I'm afraid they've got me.

The Streetcleaner's Son—

What a shame!

The Lieutenant—

Is there anything we can do to ease the pain?

The Professor's Son—
(Weakening rapidly)

No—go on, boys, carry the—banner of —civilization's ideals—forward—without me—Tell mother I'm glad—I did— my bit—for the freedom—of the world —fellows, the only—thing—I regret—is that I won't—be able to be with you— when you—go back—to enjoy the gratitude—of America—good-bye, fellows, may you drink—to the full—the rewards of a grateful nation.

He dies. The others regretfully leave him behind as they push on after the fleeing Huns.
The stage is slowly darkened—the noise of battle dies away.

Enter an Angel in the uniform of the Y.M.C.A. She goes up to the fallen hero and taking him in her arms tenderly carries him off the stage.
CURTAIN