Class IB^iSt-Qii Book ? f[ \?( ^ C 5 GoiPglitN^ l?^_Q_ COPYRIGHT DEPOSIT. CIVILIAN CLOTHES A Comedy in Three Acts By Thompson Buchanan Si 7338 CIVILIAN CLOTHES A Comedy in Three Acts By Thompson Buchanan .o-J -^ ©CI.3 54297 APR 16 1820 LIGHT PLOT— CIVILIAN CLOTHES ACT I 2 — 2 light brackets, not practical, Colonial prism. 1 — Clow in footlights for fireplace. 2 — 1000 Watt spots, left, first entrance focussed on settee. 1 — 1000 Watt spot through window, left, focussed on settee. 2 — 1000 Watt bunches outside of window, left. 2 — 1000 Watt bunches on backing outside of doors, center. Foots — Amber and white. First border — Amber. ACT II 3' — 2 light Colonial prism brackets same as first Act, prac- tical. 2—1000 Watt spots, left, first entrance flood stage. 1 — 1000 Watt spot, right, first entrance flood stage. 1 — 30 Amp. Rotary switch to control circuit of amber in foots and brackets. 1 — 6 light strip amber in doorway, left. 1 — Fire log and glow for fireplace. 1 — 6 light strip amber in doorway, right. 1 — Electrical center piece for dining table, practical. 6 — 1000 Watt bunches blue in back of transparent conser- vatory. Foots — 1 circuit amber connected on switch on stage. ACT III Scene 1 — Hotel Parlor 5 — 2 light brackets, practical. 1 — 2 light table lamp on table, right. 1 — 10 light bunch on backing outside arch, right, amber. 1 — 1000 Watt bunch, left, on corridor drop, amber. Foots — Amber and white. First border — Amber. Scene 2 — Bedroom 2 — 2 light brackets, practical. 1 — 1 light table lamp, practical, plug independent. 1 — 30 Amp. Rotary switch and control — 1 circuit of amber foots and brackets. 1 — Telephone, not practical. 1 — 6 light strip outside of door, R. C. 1 — 1000 Watt spot, amber, fociissed where McGinnis stands by bed from left first entrance. 1 — 1000 Watt spot, amber, focussed on bed from right first entrance. Spots come on and stay on when foots are switched on second time. Foots — 1 circuit, amber, connected ,to switch on stage. PROPERTY PLOT FOR ''CIVILIAN CLOTHES" ACT I The Lanham Library in Louisville, Kentucky Time: The Present Note — The furniture is a mixture of the old and the new, as though showing two elements in the house. Mahog- any two hundred years old is mixed here and there with smart modern furniture, making a combination that while rich and comfortable would cause a modern dec- orator to expire in a delirium of horror. But every- thing shows wealth and position and every piece taken individually is in good taste. ] large rug or various small rugs on floor. 1 library table up C. running L. and R. Books and papers on same. 1 heavy upholstered davenport down stage in front of ta- ble facing audience. 2 cushioned window seats in window L. 2 pairs of curtains and draperies for windows L. 1 arm chair up R. 1 arm chair down L. 1 small table down L. 1 small straight chair below table. 1 arm chair up L. 1 handsome 2 or 3 wing screen up stage L. of double door C. Carpet on stairs off stage C. Rugs on floor below stairs. Bric-a-brac here and there. Pictures on walls {including one or two family portraits and some old-fashioned oil paintings of various sub- jects). 1 tea wagon off stage R. with tea pot (filled with tea), cream, sugar, 4 cups, 4 saucers, 1 plate of wafers and a small decanter containing rum, which is used in the tea instead of cream. 1 small silver pocket whiskey flask (filled) for Billy Ark- WRIGHT. 3 small coins for "matching," for Rutherford, Ark- WRiGHT and the General. 1 fireplace "rate down C. facing davenport. 1 pair old-fashioned andirons for same. ACT II The Lanhnm Dining Room — an old-fashioned room with a conservator}/ opening off hack through three archways. Note — The whole effect of the room should be heavy, old fashioned and rich. ACT III Scene I One of the parlors in the Hotel Grunewald, New Orleans. Room is furnished with the typical hotel parlor furniture. 1 ruof on floor. 1 old-fashioned white marble mantel on L. (ornaments on same) . 1 sofa above fireplace halfway facing it. 1 table in C. or room. 1 small taboret up R. above double door. 1 potted palm or fern on same. 2 small straight chairs ) - ■, , 1 7. • > to dress stage. 1 arm chair ) ^ Curtains drawn on windows at back. 1 daily paper for Hart. 1 College paper for Hart. 2 cigars for Hart. Scene II Captain McGinnis' Room, in the Hotel Grunewald. A typical hotel room, in a first-class hotel. Curtains drawn on two windows R. 1 bureau with mirror between windows R. 1 double bed with head against back wall, foot extending toward foot lights. 1 table below foot of bed. 1 small bed table up R. C. between bed and door to hall. 1 screen R. of bed. Several clothes hooks (showing) for practical use off stage door upper L. 1 writing table L. Hotel writing materials on same. 1 or 2 inexpensive but good prints on walls. Bedding, pillows, etc., on bed. 1 combination China match bowl and ash tray on bureau. 1 suit case placed on table C. marked so audience can see plainly "Capt. McGinnis, U. S. A." Also on table are : 1 man's top coat. 1 man's hat. 1 suit of street clothes. 1 soiled shirt. 1 soiled collar. 1 necktie. (The suit case marked F. L. ready off stage. Lady's comb and brushes in suitcase along with personal wardrobe.) 1 small straight chair for writing table. 1 small straight chair in upper L. corner. 1 arm chair down R. 1 rocking chair up L. Money for Florence to tip maid. 1 practical key in door up R. C. 1 telephone directory on table L. CAST (/w order of appearance) Billy Arkwright . Nora Gen. McInerny, U. S. A. Jack Rutherford . Florence Lanham . Mrs. Lanham Elizabeth .... -Sam McGinnis . Mrs. Margaret Smythe Bessie Henderson . Zack Hart .... Mr. Lanham McGinnis, Sr. Bell Hop Maid at Hotel Twenfif-fivc, late Lieutenant, A. E.F. Maid Fifty Late Lieutenant, N, A. Tiventy-one Fifty-five, her mother Twenty, her sister Twenty-seven, late Captain, A. E. F. {winner D. 8. C. medal) Twenty-nine, friend of the Lan- hans Twenty-two, friend of the Lan- hans Fifty -two Florence's father SCENES Act. L The Library in the Lanham Home, Louisville, Ky. Winter of 1919. Act. 1L Dining Room in the Lanham Home. A month later. Act. in. Scene 1. — Parlor Hotel Grunewald, New Or- leans. A week later. Scene 2. — Captain McGinnis' Room, Hotel Grunewald. ACT I Scene — The Lanham Library in Louisville, Ky. A hand- some old-fashioned house. The room looks out on the smart street of the town. Big windows on the left. En- trance from the broad hall through double doors center. Broad double doors on R. covered with curtains, lead into the dining room. Outside in the hall broad stairs ca7i be seen leading up to the rooms above. These must be practical as at times in the action they will be used. The furniture is a mixture of the old and the new, as though showing two elements in the house. Mahogany two hundreds years old is mixed here and there with smart modern furniture, making a combination that, while rich and comfortable, ivould cause a modern dec- orator to expire in a delirium of horror. But every- thing shows wealth and position and every piece taken individually is in good taste. A big board sofa is placed facing front, showing the fireplace is there. A hand- some screen U. 8. B. partly cuts off the room on that side. The deeply recessed windows afford cushioned seats. Time — A winter afternoon in 1919. Discovered — At the rise, Billy Arkwright is on the stage alone. He is seated on the divan facing front before the fire, imagined to be where the foot-lights are. About him is that "Do or die" air of the man who has come to make a proposal and is going through ivith it no matter what happens. He is obviously nervous. He crosses and recrosses his legs, moves about on the seat, rises, tvalks to and fro, obviously going over a speech and arguments in his mind. Reseats himself on the sofa, turns half sideways, goes through pantomime talking to imaginary girl. Talks to himself so that the audieyice must get it from, his lips, his expression, his pantomime, business with pillow, "Florence, I love you — I've loved you always, I want you to marry me." He pulls out his watch, looks at it again, frowns, as a man well satis- fied, anxious to have it over with. Goes over, rings bell on R., then returns to L. C Billy Arkwright is about twenty-six, tall, dark, slen- der, handsome. His face, his figure, his manner all show unmistakably the breeding that comes from several hun- dred years of gentlemen ancestors. He has both the good points and the had points of his class to a marked degree. Physically brave, honest, honorable, he yet lacks the moral fibre to make a real success of his life if he had to do so. He does not think very fast and he cannot think deeply, but he is courteous, he loves everybody and everybody loves him for his nature and weaknesses. His chief weakness is conviviality. He will drink with anybody and he can't stand much. Nora answers the bell, entering center. She is an Irish woman in her forties, with remains of unusual good looks and the air of the privileged servant who has been in the family at least twenty-five years and nursed the daughter of the house. She is thin, her face is sharp and her tongue can be sharper when she lets it be. Between Arkwright and Nora is the air of people who have known each other for years. Nora is dressed in a maid's costume. Billy {Elaborately consulting his watch.) Nora, does it always take young ladies just half an hour to dress ? Nora No, sir — sometimes it takes much longer. Billy Humph ! {Severely.) I've been waiting on Miss Florence Lanham exactly thirty- two minutes. Nora Well, Mr. Arkwright, to my certain knowledge we've all been waiting on you a couple of years. Billy {Severely.) Nora, you take base advantage of the fact that once you used to spank me. Nora And Miss Florence, too — I never knew which of you needed it the most. {Pause.) Billy Are you sure Miss Florence is at home? Nora Well, she always is to you, sir. Billy OH! Nora Besides, I think she was expecting you. Billy ( Quickly — nervously. ) What makes you say that? Nora Well, sir, I've noticed ever since she got back from France, Miss Florence has been sort of — er — expecting something — BiLIiY Something — er — a — pleasant ? Nora Well, sir, sometimes it's pleasant and sometimes it ain't — but they all like to have it over with. Billy Oh! Nora I'll tell Miss Lanham you are waiting, sir. {Turns to exit center.) Billy (Xs to Nora.) Oh, Nora. {Going up — she pauses and half turns.) Will you fix it — so — er — we — sh — are not disturbed? Nora {Turns straight front, a grin comes to her face, she nods, he nods.) I understand, sir — ^^^ {Goes to door, half pauses, affectionately.) Good luck, Mr. Billy — now, get it over with. {She exits C. Billy draws the long breath of a man setting himself for an ordeal. There is a light noise outside the center door. Nerving himself Billy strides to the door, gulps a couple of times, prepares to begin with a rush.) Billy {As door slams, speaks icith rush, L. of door.) Florence, I've been waiting for — Gen. McInerny For me, Mr, Arkwright ? Billy {Aghast.) Huh ! Not b}^ a damned sight — {Turns D. C. in disgust.) (General McInerny is a West Pointer who has gone up fast on account of the War. lie is a man between forty-five and fifty, of average height or a trifle un- der, beginning to enlarge a little at the waist — a smooth faced, keen eyed man of the world. And like 10 most West Pointers he has a good idea of the main chance and the advantages of the right sort of mar- riage. ) {It is obvious that all the joy has gone out of life for Billy. He comes down, sits disgustedly L. end of sofa. The General looks at him keenly, moves down, takes another chair R. C, a long pause.) General Do you ever notice, Mr. Arkwrig-ht, the atmosphere of places? Now I'm peculiarly sensitive to it — Billy {Grumpy.) Really — never would have guessed it — {Pause.) General Take this Lanham house, for instance — there's an atmos- phere about this room that's unmistakable — an atmosphere — warmth of cordiality — why, I've never entered the house that I haven't felt perfectly at home. {Sits on chair R. of davenport.) Billy {Sits on sofa C.) I remember in France you used to tell us, General Mc- Inerny, it doesn't take a great deal to make on old soldier feel at home. General Precisely. {Pause — Billy glares at his watch.) BlIiLY Forty minutes ! General {Looks at his watch.) Just five o'clock. Billy {Innocently.) Time for retreat, General — General Generals don't stand retreat, Lieutenant — Billy {Indicating his clothes.) Neither do civilians. General. {Pa^tse.) General You 've known Miss Lanham a long time ? Billy When the first settlers built a fort on this river to keep away the Indians there was a family of Lanhams and a 11 family of Arkwrights — General Mayflower ? Billy No — Virginia. General Wonderful girl, Miss Lanham, energetic, efficient, prompt. Billy Yes, prompt — forty-two minutes. {Looks at watch.) General Never will forget the first time I met her — (Billy doesn't pay much attention though General talks on, pleased with his own ideas.) It was at the San Mihiel Show — Billy San Mihiel? General Yes, after you had been transferred to the Argonne, we were getting troops up into position before the show started. I had gone forward past the Brigade 0. P. It was black as your hat — had just gotten to one place where there was a shaded light when who should I find there but a girl handing out hot chocolate to the doughboys as they came by. It was Miss Lanham. BlLLY' Flo! General She was a Red Cross canteen girl but that wasn't exciting enough, I suppose, for there she v/as right up almost in the front-line with a Salvation Army get-up handing out chocolate to the boys. Hell, any man would fight Avhen they saw women like that, you know — Billy You did not let her stay, did you ? General Of course not— ordered her back in a hurry — {Pause — chuckles. ) Found out afterwards she didn 't go ! Billy Just like Flo — I never could make her do anything — General Wonderful girl. {Pause.) For some lucky man she '11 make a wonderful wife. Billy {Pause. Rises — looks at the General ivith sudden 12 alarm and suspicion — the General shifts uncomfort- ahly.) Now I know what you're here for — General {Stammering.) Nothing of the sort — {Stands up.) Billy Oh, yes, it is — all dressed up in your new uniform and all 3'our decorations — you're here to-day to propose to her — General Kidiculous ! Billy {Moving L.) I agree with you — ? General {XstoL.) Well, really, Mr. Arkwright, since you take that tone I don't see what would be so ridiculous about a proposal by me. Billy {Turning to General.) Florence Lanham's not the girl to waste herself on an old man. General {Facing Billy front of sofa.) Waste herself ! Indeed ! While I do not think this sort of discussion is in the best taste still since you have forced it, I must say that I consider Miss Lanhara too intelligent a lady to throw herself away on a young whippersnapper — Billy {Going to C. in front of sofa.) Declare yourself — are you or aren't you? General Why I— 1 ! Billy Well, if you won't declare yourself I will — I came here to propose this afternoon. Now give me a chance. General {X to C. Pause.) Well, since you are so bold about the matter, Mr. Ark- wright, I'll be equally frank — that is what I came for this afternoon. {They look at each other. Pause.) Belly {Suggestively. Sits L. end of sofa.) I was here first. 13 General {Looks at Billy and sits.) I would suggest in view of — Billy Nothing doing — that "age before beauty" stuff don't go with me. (Both sit obstinately.) (General sits R. end of sofa.) (Long pause.) General See here, young man, doesn't it strike you we a.re acting like a couple of asses? (They turn and look at each other.) Billy Speak for yourself. General. General But if we both stay — Billy I'll match you — (Up.) General You're on — (Up.) (Swing around to R. and L. end of table. Each pro- duces a coin, stand at the table just back of the divan. As they put their coins down.) May the best man win ! Billy Hell, no — may I win ! General We'll see. John Rutherford {At the door.) Hello — everybody — General Damn ! (John Rutherford is tall, clean cut, good looking, good manners, good clothes, twenty-five, and thinks on Tuesdays sometimes. ) {Comes down — takes in picture. Back of table C.) Rutherford Matching ? May I get in ? Billy Don't know — (Looks at General.) Say, Eutherford, when was the last time you proposed to Flo? 14 Rutherford You 've got your nerve asking that ! Billy {To General.) Isn't he an ass? You know, every fellow in the town takes Flo like the measles — {To Rutherford.) When was it? Last week? (Rutherford hesitates — shakes his head.) Rutherford {Hesitates.) Well — well — I haven't seen her since yesterday. Billy You belong in — Rutherford {Putting down his money.) Let me get this — what are we matching for ? Billy Odd man wins — the other two get out and give him a chance — Rutherford They don 't quit for good ? Billy No, for this afternoon — Rutherford Oh, I can ask to-raorrow just as well. {Position — General R. of table, Rutherford hack of table, Bii;LY L. of table.) Billy Yes, it might be a good idea to give her a day's rest — ' Everybody down — {Nods — they put coins down.) Everybody up. {All lift hands.) Rutherford Heads — General Heads — Billy Heads — damn it. Florence Lanham {At the door.) I hope I didn 't keep anybody waiting. {All grab their coins and look innocent.) Billy {Looks at watch.) Fifty minutes late, and then comes a minute too soon — 15 (Florence Lanham is twenty-07ie, about five feet four inches with fair hair and blue eyes. One's first im- pression is ivhat an unusually beautiful person. To the ordinary observer this impression of beauty, of self-possession, of assurance, continues, but the discrim- inating man finds something disturbing. Proud, im- patient of restraint, impulsive, lovable, and withal pos- sessed of tremendous nervous energy, here is a crowded single-track mind which makes of her life a series of rear-end collisions. When the inevitable obstacle that should have been foreseen arises, she is apt to blame fate and override it rather than to blame herself and try to get around it. She has never had anything she did not want ferociously and never gotten anything she did not tire of immediately.) {Positioji, training, ivealih, have conspired to make her a snob, but she hates snobs when she knows them. Withal there is tremendous happiness in store for her and the right man who shall conquer her.) Flo {As the men leave the table.) This is jolly ! Awfully nice of you to drop in. (Gives right harid to General — left hand to Ruther- ford — nods to Billy.) Hello, Billy. (Billy takes his own left hand tviih his right, shakes it.) Billy dharmed, I'm sure — General {Very much the courtier.) You are always worth waiting for, Miss Lanham. Flo Thank you, General. {Sits on sofa L. Billy wheels the tea table in front of her.) Rutherford You certainly came just in time. Flo Why? Rutherford "Well, two of us were about to go. {Sits R. of Flo.) Flo Which two ? Billy {Promptly.) 16 JACK AND GEN. McINERNY. (The tivo show hostility.) Rutherford Me? GENERi\L Nothing of the sort. (Nora enters, places cake on tea table.) Flo I should say not ! (Nora appears rolling in tea table, from door Rl. Rolls it doivn beside divan in front of group. She tries to pantomime to BiijLY that it's not her fault and she is for him.) Right here, Nora. You needn't wait, Nora. (Nora exits unwillingly, leaving tea wagon, Xing to R. and exits.) (Flo looks from one to the other.) Nora is an old dear, you know, but she's spoiled utterly. {She sits L. end of sofa, begins to serve tea.) If I allowed her to stay she would at least be telling you. General, what she thinks of the Army, and putting Billy in his place. General I'd rather like to see some one put Mr. Arkwright in his place. (Stands.) Billy (L. of Flo standing.) Nora can. Remember the time, Flo, she caught me kissing you and spanked you for leading me into temptation. (All laugh.) Flo I remember nothing — (Flo hands cup, tea and cake to General who takes it to chair R.) General Rum — (Flo puts rum in tea and passes cup to General. Rutherford returns R., while Flo fixes cup for Rutherford. ) All of your servants down here old retainers? For in- stance, that very imposing butler I've seen — with the knee breeches and silk stockings. Flo Knee breeches ; that 's a fad of mother 's. No, indeed — but father discovered he was a slacker and discharged him on the spot. Now that the war is over, however, we are look- 17 ing forward to the joys of competent men-servants once more. As a matter of fact, I notified the Agency to send some to-day. RUTHERP'ORD Should be plenty of ex-soldiers — Billy Imagine — after charging machine guns to come back to passing the soup. I tell you, Flo, advertise — "Wanted one Butler, only D.S.C. men need apply." {Takes cup from Flo, sits L. on chair.) General And if the dinner is dull he can regale us with his ad- ventures. Flo {Mischievously. ) Oh, you think my dinners dull. General? General No — none of that — certainly not. Flo {Judicially.) The tone is doubtful. T see I'll have to convince you. We'll make it a week from to-night — Rutherford Make what ? Flo Dinner, of course — all of you — The Men Thanks, splendid — I'll come — I'll be here all night. {A long pause — the men settle hack determined to stay. ) Billy {Lvxnriously — leaning hack on chair L. of sofa.) I could sit here all night— {The General and Rutherford look at him.) — and then some. General {Rising and Xing to R. hands Rutherford cup.) Going my way, Mr. Rutherford. {Business handing cup and napkin to Rutherford.) Rutherford (Indignant.) Say, I'm no kitchen police. {Xs to sofa.) {Hesitates.) You going to stay, William ? Billy Till the last lone man retires — and don't call me William. 18 Rutherford {Turns to Flo.) Er — a — by the way, Flo — remember what we were dis- cussing yesterday. (Billy sits holt upright — the General turns sharply.) Flo (Startled.) Y— e— s! Rutherford {Leaning toward Flo.) Any chance of changing your mind? Flo {Shakes her head.) No — — 0. Billy {To Rutherford.) Good night! Flo {To General.) Generr,!, won't you have another cupT Billy (Rising.) No, they don't care for any — General Well. I'll be — allow me, please. (Flo hastens to him — they talk in pantomime.) Rutherford {Cheerfidly.) Well — see you to-morrow. (Starts as thour/h to exit — stops, turns to Billy who is grinning at Rutherford.) You needn't grin — fifty you don't put it over, either. Billy Go to the devil ! (General shakes hands — starts out with a hare nod to Billy — who grins at him fearfully. Flo comes down R. C. Billy down L. end of sofa.) Rutherford {At door.) {Taking General's arm as they go out.) Gen ! ! ! (Xs to General.) Gen ! ! ! Didn 't have any better luck than I did. General I'd like to have you in my outfit. {Exit.) (Flo turns to Billy, and they look at each other. It 19 conies over him that the time for proposing has ar- rived. She is cool — friendly — Bii-ly looks at her — is suddenly panic stricken. A long pause.) Flo {Both sit on sofa.) (R. of sofa. After appreciable pause — with rising in- flection.) "Well? Billy Er — a — quite well, thank you? {Another pause — after it has become pronounced.) Flo But— BlLI>Y Flo— {SimiUtaneously, turning to each other.) Billy {Both stop — he moves toward her on sofa.) I beg your pardon — you were saying — Flo {Severely.) There's something the matter with you, Billy. I'll get you some Scotch. {X's to R. Rises.) Billy No. {With determination.) I am going to do this on my own — Flo Do what? Billy What I'm— {Pauses.) Flo Poor Billy-boy — {XtoB.) {Reaches over in friendly fashion — puts her hand on his) Come, tell mother all about it — {Both sit.) Billy {Shaking her hand off — resenting her friendly su- perior air.) {Desperately.) Oh, Flo, can 't you help a fellow out ? Flo Certainly — Now what have you been doing? 20 Billy Aiid I thought it would be so — easy. Flo {Encouragingly. ) Anything is easy if you really set your mind to it — do like you used to do when you took medicine. Shut your eyes and go to it — Come now, tell mother all about it. (Billy desperately shuts his eyes — holding her hand in both of his.) (Flo, taking her hand away.) Billy. Billy No — I mean — will vou be my — Flo ( Teasingly. ) My children 's mother, Billy ? Billy Don't be an idiot. Flo Billy, I believe 3'ou're in love. Billy "VVliat did you think I had — a pain in my tummy. (Pause.) Well, say something — Flo I don't know what to say — Billy Nonsense ! You were never in that fix in your life ! Flo (She is ohviously disturbed but plainly she is inter- ested, even believes herself in love, but something is holding her back, making her try to avoid Billy's pro- posal.) Do I — do I understand, Billy, you are trying to ask to be the father of those children about whom you 're so eloquent ? Billy (Takes her hand.) Flo, I want to marry you — Flo (Teasing to cover her own feelings.) Oh, I'm sure your intentions are honorable — Billy (Piteously.) Please, Flo, stop teasing me — Flo (With genuine regret and feeUtig.) Billy— 21 Billy {Taking her hand again.) Say ves, dear — Flo I — I wish I could, Biliy — Billy {In surprise, horror and misery.) Flo, you don't mean that — Flo I can't, Billy, I just can't — Billy Why? Flo Don 't ask me that — Billy {hi the violent eynotion of his love and the feeling of a man crossed the first rime in his life.) Don 't — Hell ! You think I 'm going to let you turn me down without finding out why! {His anger and force move her much more than his pleading, then feeling he hasn't been a gentleman he weakens.) Forgive me — I don't mean to talk that way, but — oh, Flo, can 't vou see this is everything to me ? Flo {With sympathy.) Billy! Billy Everything, Flo — -why, ever since we were kids I've never thought of any one but you. There hasn't been a time since I can remember that I haven't looked forward to that day when we would be married. Flo {Moved — speaking softly. ) Yes, — I used to think so too — Billy We both tliouglit so all our lives — why, we can't remember when we weren't sweethearts. Flo {Weakly.) Billy, don't— Billy Everybody that knows us expects us to be married — Flo I can't marry you now — I just can't. BiLIiY Why? 22 Flo There's a reason. BlI.LY Hanir the reason — is it because I've been n bit wild, p^lo? If it is I'll cut it out. Honestly I will— I'll be the pood little man who brings the steak home under his arm three hundred and sixty-five days in the year — ' Flo {Amused and softly.) You clear boy — Billy I'll be your slave, Flo — I'll do anything — everything you want me to. {She looks at him, hut he does not realize that he is oii the wrong track.) Flo I don't want you to do anything, Billy — no man gets a woman by doing anything for her-- (Pause.) Billy {With sudden suspicion releases her hand and rises.) You didn't fall in love or make any promise to any man you met over there, did you ? Flo {Her armor penetrated — gasps guiltily, stalls.) What an absurd idea. Billy I should think so— you aren't the kind of girl to become interested in any man you didn't know all about — {When he is not looking she siveeps him with one glance that shoivs how little he really knows her ) Flo {Her words contradicting her looks.) Of course not — Billy After all, what could you know about a man you just met in Frrnce? Flo ( Eagerly. ) Yes, they all look alike, don 't they— in uniform ? But can you imagine me becoming interested in any one not well born, Billy? Billy (Takinq her hand again.) Hardly! The Lanhams aren't that way — {Sits. Pause.) Oh, why can't you love me, Flo — give me some reason — at 23 least, I'm a gentleman — (Throughout the whole scene PYo must have shown that she has been powerfully moved — that she believes she loves him and several times she has wanted to go to him but has been held back by some strong reasan.) Flo (Obviously casting about for a reason.) I reckon that's is, Billy — you were always too much the gentleman. Billy (In amazement.) Too much the gentleman ? Flo Yes, — you've always been just that — my slave — you've never made me do anything — a woman has to be made to do things, Billy. Don't you understand? Oh, a lot of suffragettes can preach to the end of time, but that doesn't alter Nature, and when I hear one of them declaring, "No man ever made me do anything," I always feel like say- ing, ''Yes, but don't you wish he had." And face to face with her own soul, if she's a regular woman, every time she'll say, "Yes." Billy (The idea sinking in — in amazement.) Has anybody ever made you do anything, Flo? Flo (After a pause — softly.) Yes— Billy Who was he ? Flo That doesn't matter — now — Billy (Jealously.) What was it — where was it — Flo It was at San Mihiel — Billy (Exclaiming.) The General ! Flo (Impaiiently.) Oh, goodness, no, the General couldn't make anybody do anything ! Billy (Relieved.) Oh? 24 Flo It was the morning of the attack — I'd gotten up ne-ir the front and was putting out hot chocolate to the boys — the General ordered me back, but I slipped around out of his sight and kept on. The shells were coming over pretty fast when some of the Infantry marched past to take posi- tion. I offered a cup of chocolate to a Captain. He passed it on to one of his men, then asked me how the Divil I got there. I told him I walked and he said I better walk back again. I laughed at him. Next he ordered me back. I refused to go. Then he called me a damn plucky little fool, boxed my ears as though I'd been a naughty child, and sent me to the rear crying with rage, my head ringing and a soldier holding each elbow. Billy (Savagely.) He struck you ! Flo Hard ! I don 't believe he realized his strength — Billy The cowardly brute — who was he? Flo (Strong feeling shoiving through her words.) He was — a man — Billy And you said you weren't interested in anybody — what's his name ? Flo That doesn't matter— now. Billy Well, it does matter. I'll — Flo There's nothing you can do — now. Billy Why? Flo ( Simply. ) He's dead. (Pause.) With a distinguished service cross — Billy For boxing your ears? Flo For extraordinary heroism in capturing a machine gun and killing five Germans single handed. You see he didn't limit himself to striking women — Billy 25 All the same he was a big rough-necked brute. Flo But don't you wish you'd done it? All of it, Billy — even boxing my ears? Billy There's been lots of times I wanted to — Flo (Turns to him.) I wish you had — Oh, Billy, why didn't you make me love you — why didn't you make me marry you before you went over there ? It would have saved me so much ! Billy {Takes her hand.) I — I wanted to, Flo — but I — I'm not making any grand- stand play, but — well — I thought I might get knocked off over there and it wouldn 't be fair to you — Flo As though a woman ever asked a man to be fair when she loved him ! Billy (Eagerly.) You did love me? Flo Yes, Billy, I thought I did— Billy Then I'll make certain of it — I'll make you love me if I have to beat you three times a day— (8he is closer to him than she has been yet, half amused, half wistful, wholly moved — puts her hand on his — softly. ) Flo Billy, I— (Feeling she is about to yield, Billy turns to her im- pulsively just as Mrs. Lanham enters, accompanied by Elizabeth Lanham.) (Mrs. Lanham is short, she is fat, she is handsome with the distinction and the manner that it is popu- larly supposed takes three generations to acquire. She has more than a fair appreciation of the honor it will be to any man to become her son-in-law and she is deter- mined to choose a son-in-law worthy of her. More- over she has never forgotten that she was once a great beauty and that she made a worthy marriage. She is about sixty years old. Ineligible young men have been knowii to call her ''the dragon," but she does not know many ineligible young men. She is abso- lutely without humor.) 26 (Elizabeth Lanham is what her mother was at twenty-jive and she will he her mother over again when she reaches that age.) {Both Mrs. Lanham ayid EtjIzabeth are dressed for the street and have evidently just come in. Both take in the situatio'it at a glance and their mutual delight shows that both completely misunderstand it.) Elizabeth (Gaily. Back of table.) What did I tell you, Mother — there they are — wooing and seallawagging — Billy (Rises. Jumps to his feet guiltily. Crosses to chair L.) Don't you believe it, Mrs. Lanham. I am wooing all right but Flo is doing the seallawagging — Mrs. Lanham (Completely mi sunder si anding — comes down to divan.) I'm sure it wasn't very serious seallawagging — and I know you've both made me very happy — Billy! (Kisses Flo — holds out left hand to Billy.) Flo (Gasps.) Mother ! (Billy's face groivs tragically blank, Flo sees the un- fortunate position he is in.) Mrs. Lanham Don't say a word, my mother caught your father and me the same way — we were married very shortly afterwards — Billy (Starts to speak.) But, Mrs. Lanham — (Flo X to B Quickly gives her a quick, thankful look, turns to L. Elizabeth gets to back of table C.) Mrs. Lanham Guess. It wasn't much of a guess. Flo No, it wasn't — Elizabeth Should say not ! Perfectlv obvious. (To Billy.) Wasn't it? Billy (Fhistered.) Yes — yes — s'pose so — (Grins from one to the other.) Elizabeth 27 Do I kiss Billy — under the circumstances? Billy Does she kiss me, Flo — under the circumstances f Flo I wouldn't have her miss it for the world — under the cir- cumstances f Elizabeth {Comes over — kisses BitjLY — sincerely.) I'm awfully glad — we've all been waiting on you and Sis such a long time ! Flo Elizabeth ! Billy Have you ? Flo It's time Billy was going — {Starts up C.) Elizabeth Billy, what makes you so flustered? And Sis — why both of you — {Looks from one to the other, puzzled.) Billy {Obviously greatly eniharrassed — he is eniharrassed for Flo — she for him.) I'm not flustered. Flo {With deadly calm, comes down.) Perhaps, Bess, you'd be flustered if — {Stops short.) Mrs. Lanham {Who hasn't paid much attention.) I think that's very sensible — a short engagement — Elizabeth And a pink wedding — when ? {Looks from one to the other.) Mrs. Lanham I think— Flo I know Billy must be going. Come, Billy ! {Starts up C.) Elizabeth {X to Flo to stop her.) No ! We'll settle this first— when ? Flo Never ! ! Elizabeth and Mrs. Lanham Never? Why?— 28 Flo Yes, never ! You two walked in here and just jumped at a conclusion you both desired — that's all. Billy and I are not engaged, and as far as I know, haven't the slightest in- tention of becoming engaged — Elizabeth Well! Mrs. Lanham But — but — I saw — {With slight suspicion.) You — vou mean you were just — Flo Scallawagging, Mother — scallawagging. (Sits.) (Mrs. Lanham is horror stricken.) Mrs. Lanham {With decision.) 1 don't believe it — Billy You're right, Mrs. Lanham — I was proposing to Flo and — Elizabeth And he didn't get a chance to finish — {Goes into laughter.) Come, Mother. {Goes toward door.) Mrs. Lanham {Shocked to the hottom of her conventional soid.) Elizabeth ! {To others.) Awfully sorry — terribly stupid — but, well — come, Eliza- beth, I think we had better leave the children — alone. {Moves on to go.) (Flo signals to let them go — Billy won't.) Billy Wrong again, Mrs. Lanham — she refused me — Mrs. Lanham Re— wh— {Turns about and sits down R. C. Slowly with great dignity — flatly. ) Well, will somebody tell me the meaning of this? Flo I can't very well marry Billy, if I don't love him. Mother. Mrs. Lanham (To Flo.) Then what do you mean by waiting so long to break his heart? Elizabeth 29 {Coming doivn between chair L. C. and sofa.) Everybody is expecting it of you, Flo — at least you might be accommodating — Flo {Looks over her shoulder.) Well, Sis, why don't you marry him? Elizabeth {Startled, hut the idea is evidently not as distasteful as it might be.) Me! Billy {At same time — involuntary horror.) Good G 1 beg your pardon — Elizabeth {With ivonnded dignity.) CertiiJiii.v, I don't think L ciui add anything to the dis- cussion. {Exit — her feelings miffed.) Mrs. Lanham But, Florence, you must be married sometime — Flo Not necessarily — {Sits on sofa.) Mrs. Lanham {Horrified to the depths of her soul.) Good gracious — I never. {Stops aghast just as Mr. Lanham enters, center.) Mr. Lanham {Coming down L. of Mrs. Lanham.) Hello, Elizabeth said you needed me. Mother. (Mr. ARcniBALD Lanham is iall, slender, with white hair, and a keen patrician, smooth face, that shows in- telligence, humor, and a fundamental kindly outlook on life and its foMes. It is the view point of a man lookmg down on his fellow men. He Jtas inherited wealth and acquired more through the practice of his profession — laivyer. Therefore, to the pride of birth and wealth is added the pride of achievement. If any one told him he was