J.HARTLEY MANNERS ciass__,,a rn 7^ Book ^f j5 j\ i3 , Copyright N"._ f/EL. CDBfRIGtiO' D£FOSI!C DRAMATIC WORKS OF J. HARTLEY MANNERS THE NATIONAL ANTHEM BY J. HARTLEY MANNERS The National, Anthem The Harp of Life A Play in Three Acts Three Plays God's Outcast: All Clear and God of My Faith Happiness and Two Other Plays Wreckage A Drama in Three Acts Out There A Dramatic Composition in Three Parts, on the World War The Wooing of Eve A Comedy in Three Acts THE NATIONAL ANTHEM A DRAMA BY J. HARTLEY MANNERS NEW XBJT YORK GEORGE H. DORAN COMPANY COPYRIGHT, 1922, BY J. HARTLEY MANNERS ALL BIGHTS RESEBVED, IXCLUOIXO THOSS OF TBAiJSLATIOK THE NATIONAL ANTHKM. I PRINTED IN THE UNITED STATES OF AMERICA JAN -9 '23 TO LAURETTE TAYLOR AND HER LOYAL ASSOCIATES who did so much to make it memorable, 1 dedicate this play, in admiration and high regard. Thi Attthob [Reproduction of Original Programme.] Produced at Henry Miller's Theatre, New York, on Monday, January 23rd, 1922. LAURETTE TAYLOR in THE NATIONAL ANTHEM A Play in Four Acts By J. Hartley Manners Produced under the Personal Direction of the Author Management of A. L. Erlanger and George C. Tyler [vi] [Original Programme: Continued] MARIAN HALE MADELINE TRENT MAUD-ETHEL ETTA ARTHUR CARLTON JOHN K. CARLTON TOM CARROL REUBEN HALE JIM PICKET NED SCOOFY DR. VIRANDE WAITER The Characters Laurette Taylor Miss Lillian Kemble Cooper Miss Jo Wallace Miss Greta Kemble Cooper Mr. Ralph Morgan Mr. Dodson Mitchell Mr. Frank M. Thomas Mr. Richie Ling Mr. Robert Hudson Mr. Ray Wilson Mr. Paul Porcasi Mr. William Armstrong The Scenes Act I — northchester Summer Act II NEW YORK Act III PARIS Act IV THE SAME Winter Spring The Afternoon of the Tenth Day [vii] FOREWORD THE NATIONAL ANTHEM OF CIVILIZATION This is the Age of the Young. Civilization is to be built anew by them. The old standards have been found wanting. They brought about destruction. New ones are to be founded — by the Young. The War shattered the old: stunned the middle-aged. The ideals they had clung to so long disappeared. It is for them to give all they have — their strength, their faith, to help the Young found the new Civilization. The call has gone out to Youth. How has it been answered.'' Those of them who came back from the War, having done all that was asked of them, instinctively flew to forgetfulness of what they had suflFered. It was natural. It has always been the outcome of conflict. After the fight the craving to forget in pleasure. But — those who were too j'oung to brave the dangers of 1914-1918, now reaching an age when they can help.? How have they responded.'' Alas ! they, too, have followed the craving for pleasure, without the excuse of Service nobly given. [ix] FOREWORD They are following it to-day — undisciplined, unli- censedj degrading. The old and the middle-aged are too feeble, too dis- couraged to check them. They meekly yield to the reck- less importunity of the conscience-less Young. Just as it is the duty of Age to protect Youth so that it may re-create civilization so it is the mission of Youth to step bravely to the Front and accept the responsibility it has been born to shoulder. Too many give not a thought to their very evident duty. From morn until night how often they think only of how the hours may be speeded in unhealthy activities, ribald conversation and the most vulgar of sensuous ex- citement. There are three curses to-day menacing the Young: — drink, the blare of the dancing-craze and the automobile. Drinking has become romantic. Dancing, shorn of all its old-time beauty, is but a pandering to the dawn of awakening lusts. The automobile driven by mere children, is the crown- ing example of the New Freedom. Through its mis-use have arisen many modern tragedies : tragedies of Youth. The old deference and respect of boy to girl, young man to young woman has passed. The girl exacts none: the boy has no instinct to proffer it. Rudeness has taken the place of courtesy. Slang, in- nuendo, and crude douhle-entendre provide the major portion of their conversation. The old are pushed into the back-ground, [x] FOREWORD They have taken their places there without a murmur. Tired, world-weary, they wait for the final release. The Young rarely think of them. When they speak of them it is with some current, happy turn-of-phrase — "Dumb-bells," They are objects of derision since pity, to-day, finds no place in Youth's curriculum. Religion has been banished: a sop to children and the weak-minded. "Good-times" is the slogan. And back of Youth beat the tom-toms, and blare the horns, and scream the discords of modern civilization's saturnalia — Jazz. It has the Young by the throat. It is the post-graduation from Youth to Manhood, from girl to woman. It is the diploma, the mark of the really civilized ! Jazz! What a mental picture rises as one sees the word in print. Civilization chants its tune as an anthem. And bodies writhe and intermingle and brains rattle in skulls as the ghastly jigging procession circles under blazing lights to the cheap, deafening 'music' ( !) of the tire-less orchestras. It will pass. It must — if the new civilization is to be founded. Jazz represents, in part, the revolt against restriction: against Puritanism: and the century-old fight — age ver- sus youth. To-day the struggle is less intense since [xi] FOREWORD Youth has thrown off such nineteenth-century shackles as veneration and affection. How seldom one sees the mingling of old and young. How beneficial it might be to both. Cromwell, amongst other lesser things, proved that barriers create incentives. So Prohibition has brought the hip-flask and exalted its wearer to the ranks of heroism. Anti-vice societies occupy columns in the newspapers with their activities. And Youth greedily snatches at the modern dance for the quickening of lusts and the auto- mobile for their gratification. Restrictive laws weaken character. Protect people from themselves by law and you foster a race of weaklings. The publicity given to societies who, in banishing segregated vice spread it all through healthy communi- ties, is a keen incentive to a section of the Young with no ideals, no reverence, no respect. It arouses unhealthy curiosity, morbid cravings and premature passions. And so the sexes mingle in degrading embrace to tunes the Indian and the Negro would despise, and emulate publicly the indecency philanthropic men and women are spending time and money to check among the less- fortunate classes. Jazz has become a Dance of Death — the Death of Youth. Decency, veneration and mutual respect are left be- hind with the cloaks and hats in the tiring-rooias of the jazz-palaces. [xii] FOREWORD How long will it last? Until the dawn of the new Youth proclaims the coming of the new Civilization. Jazz is but the symbol of this generation. It is not the cause of the present decadence: it is the outcome of it. With higher thought, nobler ideals and a return to mutual respect and reverence jazz will revert to whence it came — to the haunts of the degenerate and the hope- lessly vicious. And Youth must do this. Youth must awaken to the glorious possibilities that stretch before it. How wonderful it is to be Young to-day ! There is so much to do. Society must be re-established with such of the old customs as we can still look back on with pride at having lived amidst and sorrow at their passing, added to a newer and higher standard. Only the Young can accomplish this re-building. I think they will. We are living amidst the re-action from years of pri- vation and suffering. In its turn will come re-action against the present vulgar and debasing practises. And the votaries of to-day will look back, years to come, in dismay and remember with loathing the degraded spectacle they presented to the people of their time. The to-morrow of Youth will come. They will rise from the slough they are in to-day. [xiii] FOREWORD They will throw themselves heart-whole into helping a war-distracted world to re-build itself. Manliness will no longer be a synonym for black- guardism: it will be once more the sj^mbol of the gentle. Girls and young women will cease to emulate the move- ments and demeanor of the harlot in public places and return to the grace and beauty of the women of former generations. Rhythm of movement will return to the dance and music will be restored to the ball-room. To-day hideousness, roughness^ discord and loud- mouthed coarseness delight Youth. In the near future they will have lost their magic. The world was fashioned in beauty. Man has made it temporarily hideous. Beauty is our birth-right. It is for this generation to restore it. To bring back grace and courtesy: man's high regard for woman: her instinctive looking upward to him. Above all must be restored veneration for God, coun- try and home. How long must we wait? Until Youth awakens to its obligations. Then, and then only, will we have a world-beautiful, guided by reverence, and peopled by men and women of high hope, unbounded faith and mutual admiration and love. J. Hartley Manners. August, 1922 [xiv] CONTENTS PAGE Foreword: THE NATIONAL ANTHEM OF CIVILIZATION vii Act I: NORTHCHESTER 15 Act II: NEW YORK 82 Act III: PARIS 142 Act IV: THE AFTERNOON OF THE TENTH DAY 177 THE PEOPLE OF THE PLAY Marian Hale Madeleine Trent Etta Maud-Ethel John K. Carlton Reuben Hale Arthur Carlton Tom Carrol Jim Picket Ned Scoofy Dr. Virande Waiter Act I: NOBTHCHESTER Act II: NEW YORK Act III: PARIS Act IV : THE SAME. THE AFTERNOON OF THE TENTH DAY Written 1921 THE NATIONAL ANTHEM THE NATIONAL ANTHEM Act I: NORTHCHESTER The back-porch of a country club in Northchester. Afternoon. From within the club for some little time before the curtain rises an excellent orchestra is heard playing a series of stirring jazz tunes popular during the year 1920. After the curtain has risen little waves of chatter and youthful laughter rise and fall from the club house as the dancers approach and recede from the windows. The porch has several small tables with chairs grouped around them and on the lawn stretch- ing from the porch are several more. At one of them is seated John K. Carlton, a vigorous, powerful man of fifty-five. He is in a well-cut traveling suit; wears a light grey hat. All the details of his attire suggest a man of considerable means and no small personal pride. Shoes, socks, shirt and tie are of unusual quality and a single pearl pin matches the grey of his clothes. He listens to the spirited jazz music and unconsciously keeps time to its infectious gaiety with his head, his fingers and his feet, though to judge by the stern, [15] THE NATIONAL ANTHEM somewhat grim expression on his face his mind is far from dancing. A sunburnt ground attendant, in shirt-sleeves, the shirt rolled up and held by elastic bands, tools in hand, crosses from behind the club-house. As he hears the music his steps quicken and he disappears jigging awkwardly and humming the tune. Two small caddies appear from the right of the lawm with nets on poles, chatting and laughing. They also hear the music; one ejaculates : "Gee" and taking the other by the shoulders they jazz clumsily off. A Waiter comes from within, down the steps, with a tray on which is a long glass of lemonade with straws. He goes to the table at which Carlton is seated, puts glass down and hands Carlton a check to sign. Whilst he is signing it the Waiter jazzes unconsciously to the mu- sic. Carlton hands the waiter the check who instantly stops jazzing. CARLTON I've signed my son's name. I'm not a member. WAITER [^Glances at clieck.l Oh, yes, Sir. Mr. Arthur Carl- ton. That will be all right. [Involuntarily twitching to dance."] CARLTON What's the name of that ? [Indicating music.'] WAITER "You'd be surprised." Some snap to it. Sir. [Carl- ton drinks through the straws.] [16] Act I: NORTHCHESTER [Waiter shuffles off to the club-house swaying his shoulders to the tune. As he reaches the steps a jolly-looking man of middle-age, dressed for golf, knee-breeches, rolled stockings, low shoes, flannel shirt, open at the collar, and thin grey sweater, carrying coat on arm and mopping his forehead, comes out of the club-house. He is Reuben Hale. He speaks to the waiter, who says "Yes, sir" and disappears into the club-house. Hale goes straight down to Carlton who rises to greet him. They shake hands warmly. During the scene that follows the dance-music occasionally stops, followed by sus- tained hand-clapping ; then the dance is taken up again.^ HALE Spafford told me you were out here. Hoav are you? CARLTON Fine. You look well. HALE Never better. CARLTON Dancing.'' HALE Not yet. Just finished eighteen holes of golf. I may have a turn or two presently. CARLTON [^Amused and disgusted.]^ Ye don't say? HALE I'm crazy about it. It keeps us old 'uns young. [17] THE NATIONAL ANTHEM CARLTON And the young 'uns old. HALE Oh, I don't know. A bit of fun is all right. Marian's inside somewhere. Dancing with Arthur likely as not. CARLTON Is she? HALE What are you doing here.^ CARLTON I've come for Arthur. HALE Oh? CARLTON His mother wants him for a bit at Bar Harbor. HALE I don't think he'll want to go. CARLTON He'll go. HALE He's been the life and the soul of the season here. CARLTON More life than soul from what I hear. HALE [Laughing good-naturedly.] That's true, too. [Waiter brings White Rock with glasses, ice, etc. Hale signs check. Waiter is again markedly affected by the music and sidles off to it.] [18] Act I: NORTHCHESTER HALE [^Takes a flask from his hip-pocket and pours liquor in glass. Holds up flask to Carlton.] Have some? CARLTON [Shakes his head negatively. '\ Huh-huh. HALE Haven't cut it out, have ye? CARLTON No. Just at meals and one or two before I turn in. HALE I was going to say. At our time of life. [Drinks deeply and heartily; gives a breathless, satisfied sigh.^ Ha ! I needed that. Any fanatic who would take it away from a man after eighteen holes on a hot day is a public menace. [Carlton laughs drily.'] That's what this particular part of the porch is for. CARLTON Is it? HALE Tea and lemonade on the /ro«f-porch where they can watch the tennis: — respectability. Flasks and mineral water on the 6acAr-porch. Damnation. Splendid isola- tion. Me! [Finishes drink and laughs.] CARLTON No women, eh ? HALE No women? You wait till the dance is over. That's their table. [Pointing to one on porch.] And why [19] THE NATIONAL ANTHEM shouldn't they? If they want it? Not a bit of harm. Dance it off, and have some more. Does 'efn good. CARLTON I've wondered. HALE Ye needn't. As nice a bunch of healthy, good-looking girls as you want to see. Full of life and fun. Not an atom of harm in one of 'em. CARLTON What a favored spot you've dropped into. HALE That's why your boy loves it. CARLTON I can quite believe it. Especially the back-porch. HALE I never saw a young man get more out of life. Bright and jolly all day and every day. And you've come to take him away ? CARLTON Yes. And about time. — Eh? HALE Oh; I don't know. CARLTON Don't you? HALE No, I don't. No harm in him. CARLTON Not much good either, Reuben. • [20] Act I: NORTHCHESTER HALE Oh! Get out. What is he? Twenty-four? [Carl- ton nods.] What's the use of being young if ye don't act young? We get old quick enough. CARLTON That's about all you can say for Arthur. He's young. And, being the son of a rich man, there is no harm in anything he does. [Takes out letter and looks at it.] Arrested twice in ten days for speeding. Turned out of one of those damned, low-lived, dancing road-houses one night last week, and has made himself a general nuisance to all the decent members of the club ever since he's been here. [Holds up letter.] How about it? HALE I'm decent, John, and I like him. Who's filled you up with that stuff? [Pointing to letter.] Old Crashaw, eh? He don't belong to a man's club. He should join a sewing-bee. ... I know all about it. The bicycle cop arrests us all. They've got tired fining me. And as for the road-house, someone had been rude to Marian, and Arthur punched him. And I'm damn glad he did. And so ought you be. CARLTON [Looks at him keenly.] Rude to your daughter, eh? Yes. A little party of them drove over to "Mossy Grove." A nice enough place. The right people around [21] THE NATIONAL ANTHEM here go to have a chat and a dance once in a while. And some fellow from New York tried to butt in and Arthur wouldn't stand for it. CARLTON You let Marian go to rooJ-houses? HALE Why not? AVhere's the harm? CARLTON Maybe not. ... I wouldn't like my girl to go around in that sort of company. HALE Rubbish. They all go. Marian loves to dance and she's crazy about Arthur. CARLTON Oh? Is that so? HALE They're always together. CARLTON And you don't mind? HALE Mind? I'm just as fond of him as she is. CARLTON I see. . . . I'd mind, Reuben, if he was your son and Marian my daughter. [22] Act I: NORTHCHESTER HALE [Laughing heartily.^ Oh, come off, John. . . . Let 'em have a good time amongst themselves. It's better than the young men rotting around cities with the other sort, take it from me. I don't know any boy I like as well as I do Arthur. He's quite one of the family. Beats me at golf in the morning; licks everyone at tennis in the afternoon, with Marian as his partner; and twice a week takes my money at "auction." CARLTON [Grimly.^ Quite one of the family. Would you like to have him really in it? HALE Sure I would. If Marian wanted to. CARLTON Reuben ! A charming girl like Marian — and — Arthur! HALE Why not? CARLTON She deserves something better than my drunken whelp of a son. HALE Here ! Here ! CARLTON What else is he.'' HALE If it comes to that you haven't done much to make him anything else. [23] THE NATIONAL ANTHEM CARLTON I gave up any hope of doing it long ago. I don't have to take a yard-stick to measure a man. I employ too many. At his age I was responsible for a hundred men and could handle 'em, too. I didn't get to that by golf, tennis, "auction" and dancing either. HALE How do you know Arthur couldn't? Why didn't you give him a push-ofF if you wanted him to follow you.'' CARLTON Because I knew he wasn't worth it. HALE Oh, come. . . . CARLTON He was kicked out of two schools. Spent a drunken year at college and I was asked to take him away. Now he's a parasitic loafer living on me and his mother. [With an ejaculation of disgust.'] What's the use of wasting thought on him? PIALE You just shirk the job, eh? CARLTON No. I chucked it. . . . Let him do as he likes. Why not cut off supplies and make him work ? That's what I'd have done instead of throwing my hands up and putting the blame on him. [24] Act I: NORTHCHESTER CARLTON No, Reuben, you wouldn't. . . . Not Arthur. There are too many in the penitentiaries as it is. That's where he'd have finished up if I left him to shift for himself. . . . He can have all the money he wants. ... It isn't that. He has no character, Reuben. . . . Pretty tough for me to have to say it. ... I wouldn't have if you hadn't told me your girl liked him. . . . Keep her away from Arthur's kind. ... I like Marian. HALE And I like Arthur. In spite of his faults. . . . Marian knows them as well as I do. He's a clean, manly boy. Straight as a string. Drinks a bit too much once in awhile. What of it? Who doesn't.'' Especially now that we are told we mustn't. ... I hate to hear you talk about him that way, John. CARLTON Not more than I do to have to, Reuben. HALE Going to take him away? . . . Now? CARLTON Yes. Tonight. They've been writing this sort of letter to his mother — it isn't the only one — and she's worried. She'd like him with her for a bit. HALE Wow! . . . That's tough. The tennis-tournament next week. He and Marian are sure to win the doubles. Golf handicap the following Thursday. And a mas- [25] THE NATIONAL ANTHEM querade when the prizes'll be given. . . . Too bad. . . . Marian'll be upset too. . . . She's really fond of him, John. CARLTON Think she wants to marry him? HALE I wouldn't be surprised. . . . We've never talked about it. CARLTON And you'd let her? HALE Sure I would. All I care about is to see her happy and if Arthur's the one to do it I'm satisfied. CARLTON You never had much sense^ Reuben. HALE [Laughs good-humouredly.^ I've had enough to en- joy every minute of my life. So's my girl. CARLTON Wake up. Get her out of the drinking, jazzing set. She's worth better than that. HALE [Laughing. '\ There's no harm in it. Young people will have their fun all the world over. It happens to be the kind they like this generation. It will pass and something else will take its place. Worse, maybe. . . . It's always the way with restrictions. Ye don't form character by "Don'ts" ! I've nevey believed in them. [26] Act I: NORTHCHESTER Make blue-laws and it's fun to break 'em. . . . After a bit the novelty will wear off. It'll be exciting no longer. The zest will have gone. . . . That's all our young peo- ple are doing. Having a good time. By and bye it won't seem so good and maybe they'll sit home around the radiator and knit, and talk about us, same as we are about them. . . . Not a bit of harm in any of 'em as far as I can see. CARLTON You're very cheery about it. You don't have to handle thousands of working-men growing more and more dis- contented every day just because of the very things Arthur and his kind are doing. They don't see why they should do without something they've had all their lives while my son can get all he wants. And you say "no harm" ! HALE None at all. As long as they do it in their homes and their clubs. CARLTON Is that so.'' HALE Where's the harm? CARLTON The man that keeps the golf-course in shape sees them — on the back-porch. The caddies see 'em. And they go back to their wretched little homes and spread it. It's eating in like a cancer. . . . Everywhere. . . . I know because lots of 'em work for me. . . . And a [27] THE NATIONAL ANTHEM pretty sullen lot the workmen of today are becoming because of the Arthurs. And you say "No harm at all." [The dance-music rises to a wild pitch aided by the scream of the laughing-horn and the beating of tom- toms. Thru and above the noise the merry laughter of the dancers floats out happily thru the windows. Carlton has to stop for a moment, the crash is so insistent. He gives an ejaculation of fervent dis- gust. When the music quiets down he goes on vehemently. ] Listen to that damned senseless, barbaric discord. The kind of sound you'd expect Indians or negroes to beat out when they're frenzied with rum. . . . Listen ! You can hear their brains rattling in their skulls. God ! It's become like a national anthem ! Whenever a band strikes up a jazz I feel like standing up and taking my hat oiF. It is our national anthem ! [The music stopped a few seconds before he finished speaking. There is a, good deal of chatter and laughter as two young men and two young girls come out of the club-house, very hot, very happy. They are mopping perspiring brows panting with healthy exhaustion and humming the jazz music that disturbs Carlton so greatly. They group around a table amidst much scratching of wooden chairs on the wooden porch. The young men (Jim Picket and Ned Scoofy) produce flasks from their pockets. Waiter brings glasses, water, and min- eral waters. Ned signs check, and Waiter takes it into the club-house. As they mix drinks the young [28] Act I: NOit i KuHliS i liR people chatter vigorously/. The two older men stop talking and listen.^ ETTA What a stunning band ! JIM Arthur brought it from "Mossy-Grove." MAUD-ETHEL That accounts for the number of encores. NED The leader took his signal from Arthur. ETTA As long as Marian could keep going we had to. JIM / didn't mind. Did you? MAUD-ETHEIi It was too heavenly. NED Think I've improved? ETTA Not so's you could notice it. NED I take lessons twice a week in the winter. ETTA And practice on me in the summer .'' Thanks. [Takes glass from Jim.] [29] THE NATIONAL ANTHEM NED I always expect a hand on my shoulder in the middle of the floor and a voice saying: "Here! Stop that struggle !" MAUD-ETHEL Don't be discouraged, Ned. It will come to you quite suddenly. It did me. I was an awful lemon last year. Remember? Thanks. [Takes glass from him.'\ [Silence as they all drink earnestly rvith glowing sat- isfaction.'] JIM [Resting a moment between gulps.^ Give me a Jazz- thirst ! Ha ! NED Good stuflF. JIM Fine. ETTA Great. MAUD-ETHEIi Not so bad. NED How much? JIM A hundred and fifty. NED Good enough. Got some "five-star" last week. Right off the boat! JIM [Holding up his glass. ] This is the stuff to drink out of doors. I think the country's a great place. A bath in the cold, salt water — and then a cocktail. A long [30] Act I: NORTHCHESTER tramp over a wind-blown golf-course and wliat a joy is a "high-ball." A hot set of tennis and a cool gin-and- seltzer. Then at night you jazz and drink and drink and jazz and sleep? — Why ye sleep like a top. Great place the country. [DrinA*.] How are you off for gin, Ned .'' NED Oh, that's easy. I make my own. ETTA Do you? MAUD-ETHEL Thanks for timely warning. NED Couldn't tell the difference. Come in on your way home and I'll mix you the nicest little home-brew you've ever tasted. MAUD-ETHEL No amateur stuff for me. NED Nix on the "amateur stuff." You couldn't tell it from "Gordon." Honest you couldn't. After a swim the other morning we were all a bit chilly so into the car, up to the Villa and out with the old shaker. I had three before lunch and felt great. Arthur punished poe. He's crazy about it. He got the prescription from me and starts making it tomorrow. CARLTON [To Hale.] Not if I know it. [31] THE NATIONAL ANTHEM JIM My chauffeur makes tlie finest beer. Really fine. . . . I gave him the house to himself one night for a little party and next morning I counted twenty-eight "emp- ties" by the cold, grey light. Ttventy-eight! MAUD-ETHEL I hate beer. Do you like beer? [To Etta.] ETTA Not when I can get this. [Finishing her drink.'\ JIM He keeps us all in beer. A week ahead always. NED Some chauffeur. JIM He drives for me as an amusement, I think. To prove an alibi. I bet he makes enough on the side to buy a "Rolls-Royce." When I see a "traveling" look in his eye I raise his wages. ETTA Arthur needs a chauffeur. [They all laugh.l MAUD-ETHEL Next time Arthur's "pinched" they'll put him in jail. ETTA Where can they be? JIM I thought they were following us. [32] Act I: NORTHCHESTER NED They said they were. ETTA Is he going to dance with Marian all the afternoon? NED Guess so. MAUD-ETHEL Perhaps she wouldn't let him join us. [Holding up glass.] This! JIM [Laughs.] Not a chance. NED I should say not. JIM Arthur's a natural-born, free-for-all, two-handed drinker. [Carlton looks at Hale. Hale laughs.] NED Marian'd have a fine time making him "dry." ETTA I don't know. If he really loves her. MAUD-ETHEL He loves her all right. Poor Arthur. ETTA Might be the best thing for him. He needs a strong hand on his drinking-arm. [Pantomimes restraining someone from drinking.] [33] THE NATIONAL ANTHEM JIM Arthur would as soon quit breathing as drinking. ETTA Rather. MAUD-ETHEL Oh, I don't know. He might. For a month or two. If she'd marry him. ETTA He had a proposing look in his eye when he whirled past us just now. MAUD-ETHEL. Perhaps she's lured him to the lemonade-porch. ETTA I love the idea. Sacred and profane drinking-porches. I wonder if he's proposed on the sacred porch ? MAUD-ETHEL And she's saying, "Yes, if you'll sip through two straws for the rest of your days." [All laugh.'] ETTA Marian doesn't know she's alive. Hasn't had a drink in her life. MAUD-ETHEL She hasn't had a drink but you mustn't say she isn't alive. JIM No, indeed. Marian seems to go at top speed without gasoline. [34] Act I: NORTHCHESTER ETTA Still she'd be all the brighter for a "spot" now and again. MAUD-ETHEL I'd hate to see her take it. She's so full of pep with- out it. CARLTON [Rising and crossing to club-house steps. ^ Let's see if they're there. HALE Right you are. We may be in at the death of a lemonade. [Walking with him.'] CARLTON Or Arthur. Those his pals? HALE Some of 'em. CARLTON They would be. HALE No harm in 'em. CARLTON According to you there's no harm in anything. [Glares at the young people.] HALE [Cheerily — smiling at them as they look up, nudge each other and indicate the two parents.] Hello ! En- joying yourselves.'' JIM Resting between rounds. [35] THE NATIONAL ANTHEM NED And refreshing. JIM Join us? NED Come on. Skipper. HALE Had mine. But I'll remember it. Ask me later. MAUD-ETHEL Don't forget our dance. ETTA And ours. HALE [Heartily.'] I won't. I'll be around to claim 'em. ETTA Don't forget. HALE Right you are. [Hale and Carlton go into the club-houte.l ETTA He's a dear. MAUD-ETHEL Sweet. ETTA Does everything Marian does. Refuses her nothing. He's something like a father. JIM Who's his friend? NED Didn't think much of him. Did you see the parting look? [36] Act I: NORTHCHESTER ETTA Just like my Dad. Everything I do is wrong. Poor old dumb-bell. JIM Let us have a quick one before the next dance. [Mixes drink.] I had the shock of my life bringing this down. I got out of the taxi at Grand Central station, see.'' and gave the grip to the porter. Just as we got inside I saw a fellow looking at the bag curiously and following the porter. I made up my mind if he started to examine it I'd go straight through the gate, deny I owned it or ever saw the porter. ETTA How thrilling. What happened? [Taking her glass and sipping it.] JIM Well, you see I had to think pretty fast. NED Some effort. JIM The porter went through and the fellow followed. Just nodded to the man at the gate. Never showed a ticket or anything. I felt "goose-fleshy" all over, see? NED Sure. JIM A dozen at one hundred and fifty dollars rattling in the bag and the sleuth following, see? We got to the train. The porter stopped to ask me the number of my [37] THE NATIONAL ANTHEM seat. I didn't take the slightest notice of him. Just walked on ahead. Got on the platform of the car and looked back as though waiting for someone. Porter came up, "Leave it there," I murmured, without looking at him, indicating the train-platform outside the parlor- car. Slipped some change into his hand just in time. Up came the sleuth. I went in and took my seat. He followed. Sat just across from me. NED The dirty dog. ETTA What did you do? MAUD-ETHEL He's making it up. JIM I just sat and sat. Never even looked at him. Just felt he was there. When we got near Northchester I sauntered out on the platform. NED ETTA Sauntered ! Fine. Shut up, Ned. JIM I stood near the bag without moving or touching it. NED A trying moment. You've got me, Jim. JIM When the train stopped I got down on the platform. NED Without the "grip"!!!!??? [38] Act I: NORTHCHESTER JIM Of course! The sleuth had followed and was stand- ing in the doorway. ETTA I can't bear it. JIM There I stood. NED And he stood. MAUD-ETHEL They both stood. ETTA And the liquor stood. It's too thrilling ! JIM The signal was given. The train began to move. I jumped on the platform, grabbed the grip NED He grabbed the grip. JIM Jumped off and stood panting, the precious bag grasped firmly in my fingers. NED And the sleuth ? JIM Walked back into the car as the train disappeared. ETTA [Exhausted.] What nerve. MAUD-ETHEL, Heroic. [39] THE NATIONAL ANTHEM NED Nerve? I should say so. To ever tell it. Say, give the end at the beginning, if you ever have the cheek to repeat it. JIM Wellj you knew the end. Ain't you drinking it? [^The band starts again. They all jump up and amid much scratching of chairs, powdering of faces, and laughing chatter they go to the club-house steps. Arthur and Marian appear from the club-house.^ [Marian Hale is a buoyant, breezy, fascinating, spoilt young lady without a care for today or a thought of the morrow. Born to delight others she finds supreme pleasure in doing it. Withal there is a look in her frank, steady eyes that suggests deptha that have not, so far, been sounded.^ [Arthur Carlton, slim, tense, athletic, carries his twenty-four years with an air. He has great per- sonal magnetism and charm. Happy, fearless, quirotic to a fault. While the merry, laughing eyes attract the unthinking to the more exacting judge of character the lower part of the face is sadly disap- pointing. It betrays irresolution, over-indulgence and considerable latent brutality. Self-willed, un- controllable, potentially supremely selfish. The bal- ance-wheel of discipline is noticeably wanting.^ [No two people could be more opposite than Arthur and Marian. In that lies the impelling attraction each has for the other.} [40] Act I: NORTHCHESTER ETTA Why, Marian, where have you been? JIM I've some left. [Holding up flask to Arthur.] ARTHUR Thanks. I've just had some tea. [Laughs. The treo young men both laugh. Nudge Arthur, indicating Marian.] NED May I have this dance.'' MARIAN No, Ned. NED All right. Keep me one. ETTA Hold our table down. JIM Order a gallon of "White Rock." NED We'll have a million-dollar thirst after this dance. MAUD-ETHEL Oh, you spoonies ! [They all go into the club-house laughing and chat- ting.] ARTHUR You don't want to dance? [41] THE NATIONAL ANTHEM MARIAN No. Unless you do? ARTHUR I don't. . . . Do sit down. MARIAN In sound of the music .^ [Jazzing to music. J ARTHUR Yes. MARIAN Right. [Sits.] There. ARTHUR It's very good of you. [Looks affectionately at her.] MARIAN What is } ARTHUR Letting me see so much of you. MARIAN I like seeing you. ARTHUR Do you? MARIAN Yes. ARTHUR Really.?" MARIAN If I didn't, you can be sure of one thing — I wouldn't. ARTHUR No; I soDpose not. [42] Act I: NORTHCHESTER MARIAN Oh, you may be sure of it. ARTHUR I felt rather guilty — as though I were poaching — at first. MARIAN Why? ARTHUR I thought you liked Tom Carrol — at first. MARIAN I did. ARTHUR I thought so. MARIAN And I do. ARTHUR Oh? Do you? MARIAN And I always will. . . . But I like you better. ARTHUR Isn't that fine. ... I hoped you did. . . . Much better ? MARIAN Quite a good deal. ARTHUR Enough to some day — marry me? MARIAN Almost enough for that — some day. ARTHUR Oh, Marian. [43] THE NATIONAL ANTHEM MARIAN Almost! ARTHUR [^Discouraged.] But not quite? MARIAN I might — quite — if ARTHUR If what? [Eagerly; despondently.'] MARIAN By-and-bye. ARTHUR No. Tell me now. MARIAN Not just now, Arthur. ARTHUR All right. ... I hate "If's". . . . You will tell me.'' MARIAN Oh, yes. I'll tell you. ARTHUR Fancy you liking me as much as that ! . . . Why ? MARIAN [Looking shyly at him.] You're such good fun. It's jolly being with you. ARTHUR [His eyes dancing.] Is it.'' MARIAN Jolly. [44] Act I: NORTHCHESTER ARTHUR That's the way I feel about you. I feel I want to have you around always. . . . Feel that way about me? , MARIAN Yes. ARTHUR All the time? MARIAN Most of the time. You're a wonderful partner at tennis. You dance better than anyone I know and sit a horse like a soldier. . . . And you're nice to Dad. ARTHUR I'm crazy about him. MARIAN You're always light-hearted and irresponsible. Will- ing to get down on all-fours and play games with any- one. You're a perfect companion, Arthur. ARTHUR You don't know how conceited you make me. MARIAN That's another thing I like you for. ARTHUR Conceit ? MARIAN Because you're not. ARTHUR I never had any cause to be, until now. But if I were to say "Marian, will you be my wife?" and you said "Yes, Arthur, I will" I'd feel ten feet taller and a heap bigger. [45] THE NATIONAL ANTHEM MARIAN Say it. ARTHUR Marian^ will you be my wife? MARIAN Yes, Arthur, I will. ARTHUR [Rising to his toes and expanding his chest.l Oh! I feel great! If we weren't out here I'd embrace you. [Arthur makes a movement to embrace her when the Waiter enters, crosses over to table, clears away glasses Carlton and Hale used, and carries them into club-house. Arthur whips out a flask from his hip-pocket, picks up one of the clean glasses, pours some liquor into it and mineral-water, holds up the glass."] ARTHUR To the union of Arthur and Marian. May they be as jolly companions married as they are single. [Drinks.] MARIAN Now I'm going to tell you the "If." [He pauses, lowers the glass and looks at her.] You must make me one promise. Only one. [Points to glass.^ That. . . . It won't do, Arthur. ARTHUR I'll stop it altogether, if you say so. Say, "Arthur, I want you never to drink again" and I'll say "Marian ! I'll throw this glass away and never, never, never drink any more. So help me !" Say it ! . . . Come ! [46] Act I: NORTHCHESTER MARIAN I don't want you to make any such promise. To be either a hard-drinker or a total-abstainer shows lack of character. To take it occasionally is perfectly all right. Perfectly. It makes you happ}?^, jolly, agreeable. But when 3^ou take more than j^ou should you seem to be a different Arthur from the one I love. . . . And you've been doing it pretty often of late. ARTHUR I know. . . . You're quite right. . . . Disgusting of me. . . . That's the last. [Throzcs remainder of liquor out of glass.^ Until we're married. MARIAN Oh! Then ^-ou'll really begin.'' ARTHUR No. No. Of course not. . . . Just at the wedding? Eh.? MARIAN I don't want you to stop. Take it as my father does. He enjoys it but never takes so much that he makes himself a nuisance. ARTHUR And / have .? MARIAN Yes. You have. And it's hurt me and made me ashamed. The other night at that Inn I felt I never wanted to go out with you again. I was miserable. . . . But in the morning I forgave you. You were plucky and the only one who defended me. . . . But it was [47] THE NATIONAL ANTHEM brutal the way you attacked that man. It wasn't you. It was some terrible, murderous potentiality in you. \^Shivers.'\ It wasn't you. ARTHUR [Gloomily.'] I know. I xvas VERY [Breahs MARIAN Why can't you take a little and stop? ARTHUR I don't know. I began too young, I suppose. We all drank at college. [Laughs boyishly.] The great game was to take enough to make your head go round one way, then go to an amusement park and get on a merry-go- round going tlie other. Straighten it out. It seemed the manly thing to do. And no one interfered. They seemed to expect it of us. Until they wrote home to take me away. MARIAN Didn't your father interfere.'' ARTHUR [Disdainfully.] Father! He'd like me to drink my- self to death. Then he'd be rid of me. MARIAN [Shoched.] Arthur! ARTHUR It's so. He despises me. Always has. MARIAN Why.> [48] Act I: NORTHCHESTER ARTHUR I didn't come up to his expectations. MARIAN That's no reason for despising you. ARTHUR Well, I do him. So it's a stand-off. He thinks only of his business. Never known him to enjoy himself like your father does. When I didn't string along and be enthusiastic about adding up figures in the office and refused to learn how to handle basic pig-iron he just dropped me. Cut me out. Wliy, there have been times at home when he hasn't spoken a dozen words to me in a month. And they were so bitter they sizzled on his tongue. MARIAN Didn't he bring you up to do anything? ARTHUR No. When I showed no interest in "basic-pig" he lost all interest in me. MARIAN And you didn't make yourself interested in anything? ARTHUR Not much. You see, Marian, I haven't any brain really. MARIAN You've just amused yourself and been contented with that? [49] THE NATIONAL ANTHEM ARTHUR [Siillenly.'l I guess that about lets me out. What can I do? I hate Law. Medicine makes me sick. Politics too messy. I'd hate being inquired into. And business is just an unnecessary drudge. What's there to do? America's too small for a young man. I want to travel. See other countries. We're too cramped here. Our lives are so little. So — nothing. . . . \^Suddenly.^ Let us marry and go all over the world. MARIAN Can we? ARTHUR Your father wouldn't mind. MARIAN Would yours? ARTHUR I wouldn't ask him. I'd just go. I can get all I want from my mother and I have a bit of my own from a grandmother. Come on. Let's. MARIAN It would be exciting. ARTHUR There's an awful lot to see. We could stay away years. MARIAN Oh, no. Not years. ARTHUR Well — a year. One year. Get away from all this half-living. Getting arrested is an event ! . . . Punch- ing a sucker's head the last word in excitement. We are [50] Act I: NORTHCHESTER a cheap, provincial lot. . . . Let's go away to the older countries and learn how to live. MARIAN I'll talk it over at home. ARTHUR [Urgently.] They'll let you do anything you want. MARIAN Still it's nice to talk it over at home just the same. ARTHUR I may find something big I can do. Fery big. MARIAN [Smiling.] Enormous! [Moves body, head and fingers to the j ass-music] ARTHUR How small we must seem to other countries ! MARIAN I wonder if we do.'' ARTHUR Look at all the men like my father. Grubbing all their lives. Grinding. Piling up money. MARIAN You have the fun of spending it. ARTHUR We can do all kinds of things, you and I. Become real powers. You can buy anything with money abroad. [51] THE NATIONAL ANTHEM MARIAX But we'll come back? ARTHUR Oh, I suppose so. Some time. If we can stand it and you really wanted to. MARIAN I would want to. You see — I like our country. And I think it very vast. I don't know how we seem to for- eigners, but I can't help feeling they don't think us so very insignificant; that they're a little bit afraid of us and they like us on their side in time of trouble. ... I think the farther you get away from the United States the more you'll realize how really big we are. ARTHUR Oh, yes. Acres of dirt. I mean the people. MARIAN So do I. This doesn't represent America, Arthur. You don't know your own country. / don't. But I want to know it. See it. Feel its power. Because — I love it. ARTHUR Oh, as to that, we all do. But you can't close your eyes to our provincialism. MARIAN Then let's open our minds to all that isn't provincial. It's the only country I know. The only country I'm fond of. I want to know it fully, completely. ... It •would be fun seeing the others first. "Who knows America that only America knows?" [52] Act I: NORTHCHESTER ARTHUR We'll begin with Paris. MARIAN You are provincial, [^Laughs. '\ Just the same sort of thing all over again. Games, jazz, drinking — not with French people either, Arthur, but with our own kind. [^Reproachfully.'] Arthur! [Laughs.] ARTHUR Well, anywhere you like. I'll give you a map of the world and you stick in little flags wherever you want to go. MARIAN That would be wonderful. [Seeing that he is dejected about Paris.] We might begin with Paris. ARTHUR [Brightening; trying not to be too enthusiastic] Just as you like. MARIAN And then all through France among the peasants. ARTHUR [Dejected again.] Anywhere! Anywhere at all! So long as you are with me. It's wonderful of you to prom- ise to marry me. ... I love you, Marian. MARIAN And I love you, Arthur. ARTHUR I'll do everything I can to make a "GO" of it. [53] THE NATIONAL ANTHEM MARIAN So will I. ARTHUR And as to this [Touching glass.^ I promise you, across my heart, nothing until after we're married. And after that just what you think is right. [Tom Carrol, a young, handsome, determined-looking man of twenty-eight, comes out from the club- house. He is in a traveling-suit and just off the train. Marian greets him wa-rmly although she is a little embarrassed. Arthur rather shyly and distantly.] MARIAN [Shaking his hand.] We thought you'd forgotten us. ARTHUR Hello, Tom. [Shakes his hand then looks away.] I've been tied up in town. Weeks of it. In all the heat. I'm onl}'^ down now for the week-end. But I've got what I've been trying for so long. I've convinced them at last I'm indispensable. . . . Marian! They've taken me into the firm. Isn't that fine, Arthur.^ I'm to be their representative abroad. ARTHUR Abroad? MARIAN I'm so glad. TOM I start in a few weeks. London, Paris, Rome, Ma- [54] Act I: NORTHCHESTER drid, Egypt, India. All the places I've always wanted to go to. Isn't it lucl y.'' Very. ARTHUR I should say so. TOM So I [Turning to Arthur.] Do you mind if I have a few moments alone with Marian.'' ... Or am I interrupting? ARTHUR [Half -angrily.] Well, as a matter of fact MARIAN Not at all, Tom. [Arthur looks savagely at Marian.] Of course we were going in to dance. TOM There'll be many more. Let me have just this one. Here. Will you? MARIAN Why of course. But TOM Please do. ARTHUR [Angrily.'\ Wouldn't another time ? TOM Just a few minutes. If you don't mind very much. ARTHUR [Looks again at Marian who makes signs for him to [55] THE NATIONAL ANTHEM go.] Oh! All right. I'll be just inside. Mind — only a few minutes. TOM That's all. I'll call you. [Arthur glares savagely at Tom's innocent hack and goes into the club-house.] TOM It is nice seeing you again. Like this. I've missed you SO much this summer. So much. But it's been worth it. Because it's made it possible for me to do something that was out of the question last year. . . . [Hesitates.] I'm not very good at saying things — when I feel a great deal. . . . 1 do now. Can you guess ? MARIAN [7n distress.] Oh, Tom! Tom! TOM This turn of luck has changed everything for me. Everything. I don't have to struggle any more. Things have been made easy. And so — Marian — at last I can — I want you to MARIAN Don't, Tom. Don't. TOM Why? MARIAN I have just promised Arthur I'll marry him. TOM [Aghast, sits back in chair.] Arthur! [56]' Act I: NORTHCHESTER MARIAN Yes. TOM [Under his breath.'] My God! [He goes perfectly limp-l Arthur! God! MARIAN Don't take it like that, Tom. TOM I never thought. ... It seemed — you cared for me — a few months ago. MARIAN I did. Very, very much. I do now. I always will care for you, Tom. But not in the same way I care for Arthur. He seems to need me. You are so self-con- tained. Your life is in your hands. You know what to do with it. Arthur — seems to need me. ... I am so sorry for you, Tom. TOM If I'd asked you six months ago — would you have .'' MARIAN Yes — I would. TOM What a fool! What a hesitating, doubting fool I've been ! MARIAN You mustn't feel that way, Tom. Now that I know liovv much I love Arthur I know what I felt for you was not quite the same. . . . Not the same kind of love. . . . And it would have been dreadful for us both if I found out afterward I loved him more than I did you. Wouldn't it? [57] THE NATIONAL ANTHEM TOM [Clenching his hands and heating them together,^ What a fool! . . . Arthur! MARIAN You see we like the same things. Games, dancing, amusing people around us. Jokes about everything. Care free. Irresponsible. TOM But xoe liked fun together, games, dancing. The same things, Marian. MARIAN [In distress.'] I know. I'm just trying to excuse myself. Oh, I'm so sorry you ever liked me. That I let you like me. . . . And I did. I know I did. It makes me feel so cruel. . . . But we can't help being cruel when we love, can we, Tom.'' TOM No, I suppose we can't. Love seems to have no code. We just love and that's all there is to it. And I'll always love you. Always. I feel rather stunned. I came here so full of my news. Able at last to ask you. I thought 3^ou mightn't accept me — just at first. But I'd have waited — I'd have waited. . . . Now all that's gone. . . . Arthur! MARIAN [Starts ai his contemptuous tone, looks curiously at him.^ Don't you like him? TOM You're going to marry him. That's enough. What does it matter whether I ? Shall I call him back? [58] Act I: NORTHCHESTER MARIAN Do let us be pals as we used to be. . . . You'll hurt me if you don't. . . . Because I like you, Tom, very, very much. . . . Let's be pals. . . . Will you? TOM All right, Marian, MARIAN And don't think too badly of Arthur. . . . He's really splendid. . . . And he loves me. . . . Don't think badly of him. Will you.'' TOM I won't, Marian. ARTHUR [Hurries down the steps and goes to them.'\ My father's here. MARIAN Oh.? ARTHUR He saw me. He's with your father. They're coming here. MARIAN I'm so glad. Arthur — I've told Tom. . . . And he congratulates us both. Don't you? TOM Yes. Of course. ARTHUR Thanks, Tom. TOM I hope you'll both be [Carlton followed hy Hale comes quichly down the steps. Tom toices advantage of the interruption to go into the club-house.] [59] THE NATIONAL ANTHEM CARLTON [To Arthur.] I've been looking for you everywhere. ARTHUR You can't have looked very hard. MARIAN How do you do, Mr. Carlton. CARLTON [Shaking hands very quickly with Aer.] How do you do. Miss Hale. HALE Dance this with your father? MARIAN I want to talk to Mr. Carlton. CARLTON He wants to talk to Arthur. Come on. Don't be ashamed of me. MARIAN Ashamed? Why, you're the best dancer in the room. HALE Ha ! [Laughs.l MARIAN For your age and weight. HALE Don't qualify it! Don't qualify it! I'm as young as the next man and [spanning his •waist'\ a perfect [60] Act I: NORTHCHESTER MARIAN Forty-six. — I'm going to jazz with this young man, Arthur^ and then I want to talk with your father. Come on. [They jazz together toward the club-house, indicat- ing Hale's stomach.] It's like dancing with someone who's in Europe. HALE Here^ Marian! [They sing snatch of "Daddy" as they disappear, dancing into the club-house.^ CARLTON [Looking grimly at his son.] Well? ARTHUR [Sullenly.] Well.? CARLTON You don't seem very glad to see me. ARTHUR I'm not. CARLTON No. You're not. ARTHUR I never am^ if it comes to that. CARLTON I guess that's about what it comes to. . . , You've been making a fine exhibition of yourself. ARTHUR Have I .'' CARLTON What do you call it.^* ARTHUR I don't call it anything. I leave that to you'»-! [61] THE NATIONAL ANTHEM CARLTON Well, I call it pretty damn disgraceful. Fined twice. Driving around drunk. ARTHUR [Hotli/.1 I wasn't. CARLTON Thrown out of a dancing-dive — drunk! ARTHUR That's a lie. CARLTON Here. Cut that out. ARTHUR I wasn't drunk any of those times. CARLTON You must have been damn near it then. ARTHUR Who told you? CARLTON Your mother. ARTHUR Who told her.?* CARLTON Some of your club friends. . . . You know they're about "fed-up" with you. ARTHUR Who are "fed-up" with me.'' CARLTON The decent people around here. ARTHUR They haven't told me so. [62] Act I: NORTHCHESTER CARLTON They shouldn't need to. . . . You shouldn't have to be thrown out everywhere. College. Road-house. Now a club. ARTHUR I don't believe it. CARLTON See here, you've said that once before. Say it again and I'll twist yer neck, ye young hound. . . . I tell you it is so! ... I don't care what they do to you. Your mother does. More fool she. . . . She wants you home. And I've come to fetch you. ARTHUR [Aghast.] Home ! CARLTON [Takes out watch.] There's a train in — let me see — 5.15 — [Fingers on dial tracing figures] in fifty minutes. So you have time for a jazz, a few more drinks, then change into something you can travel in. . . . I'll wait here. ARTHUR I can't go. CARLTON Oh, yes, you can. And what's more — you're going. ARTHUR [Distractedly.] I tell you I can't. . . . Not now . . . I'll come later. . . . Next week — for a day or two — I can't now. CARLTON I'm not used to telling people to do the same thing twice. And I'm not going to begin with you. [63] THE NATIONAL ANTHEM ARTHUR I tell you I can't — and what's more I won't. CARLTON Do you want me to make an example of you before your club friends? Because that's what I'm going to do if you're not very careful. I'll drag you by the collar every foot of the way to the depot, starting from this lawn. ARTHUR [Almost crying with disappointment and rage.'\ I can't go away now. CARLTON You're going home and you're not coming back here again. You've disgraced us enough. . . . Don't you look at me like that — why I [Suddenly takes him by the wrist and turns it.] ARTHUR [Screaming with pain.] Don't. By God I'll kill you. Don't. [Struggles fiercely — sinks dowm on one knee.] Oh! . . . Don't! [Carlton suddenly releases him, throws him away from him. Arthur springs up on the defensive wringing his injured wrist.] CARLTON [Sneering and smiling malignantly.] Golf and ten- nis-muscles, eh? Pap! That's what they are. Pap. Mine were moulded in a foundry. As a laborer. . . . Don't forget that when you're dashing around in a ten- [64] Act I: NORTHCHESTER thousand-dollar car — drunk. You're the son of a la- borer. Keep it in mind. You loafer! [The music has stopped. Chatter of voices is heard and figures can be seen moving near the club-house windows.^ ARTHUR [Excitedly; eagerly; chattering with wounded vanity.'] Don't say anything before them. I'll change. [Indicating his clothes.] CARLTON If you're not back here in twenty minutes I'll fetch you. ARTHUR All right. I'll— I'll [Runs full tilt into the side entrance to the club-house. Hale and Marian come through the center win- dows. They are both laughing happily. She is on his arm. As they come down the steps they see Carlton. Hale instantly takes Marian in his arms and they jazz over to the angry and disgusted parent.] MARIAN [Disengaging herself, breathlessly.'] Where's Ar- thur? CARLTON Gone in to change. MARIAN Change what? CARLTON Only his clothes. [65] THE NATIONAL ANTHEM MARIAN Why? CARLTON We're going in by the 5.15. MARIAN In? CARLTON Home. Bar Harbor. MARIAN Oh! CARLTON His mother wants him. MARIAN Is she ill? CARLTON Worrying. Marian What a shame. [To her father.'] Isn't it? HALE Tell him your news. Go on. [To Carlton.] Got a little surprise for you, unless Arthur's told you already. MARIAN Has he? CARLTON What? MARIAN About our engagement? CARLTON No. He didn't tell me. MARIAN Well, we are engaged. [66] Act I: NORTHCHESTER CARLTON That SO? [Grimli/.l Since when? MARIAN [Looking at her wrist watch.'] Since eighteen minutes and twenty-three seconds. HALE [Laughing loudly as he watches Carlton's face.ll I warned you. CARLTON He didn't say a word about it. HALE Perhaps you didn't give him a chance. CARLTON Now I come to think about it I didn't. [To Hale.] Well? What have you to say about it? HALE Me? Tickled to death. [Laughing again.] You know what I think about Arthur. CARLTON I don't fancy your daughter knows what I think about him. [To Marian.] Do you? MARIAN No. What do you? CARLTON If you were my daughter I'd rather see you marry the man who sweeps up the tennis-court than Arthur. MARIAN But I'm not your daughter, Mr. Carlton, and I love Arthur and I'm going to marry him. [r>7] THE NATIONAL ANTHEM CARLTON Well, you've got courage anyway. And you seem to know your own mind too. MARIAN I do. CARLTON You'll need both when you get Arthur on your hands. I've had him for twenty-four years. So I know. MARIAN It seems to have sat pretty lightly on you — for twenty- four years. CARLTON Oh, no, it hasn't. You don't suppose I take any pride in a son like Arthur? MARIAN It might have been better for you both if you had, Mr. Carlton. CARLTON See here, my girl. I like you too well to see you throw yourself away on my drunken good-for-nothing. Don't do it. MARIAN After all, Mr. Carlton, if he is, which I don't admit, a good-for-nothing, whose fault is it? You've had the shaping and making of him for twenty-four years. You may be a splendid man of affairs. You must be. But you might have given some of the intelligence you've used in building up your business to building up your son's character. [68] Act I: NORTHCHESTER CARLTON He hasn't any to build. MARIAN Well, I differ about that. ... If, after we marry, you can still call him a drunken-good-for-nothing blame it on me. Up to now, whatever your son's weaknesses may be, the blame is mostly yours. CARLTON All right. Mine if you like. MARIAN You know responsibility doesn't end with paying one's son's way through school, college and afterwards. That makes for good-for-nothings. If you let a boy see you have no pride or faith in him, then sooner or later he'll justify your want of faith. You're going to change your opinion of Arthur, Mr. Carlton. CARLTON That sounds fine. Fine. . . . Now I want to tell you what you're up against so that you go into the bargain with your eyes open. MARIAN You don't have to tell me he was sent down from college for drunkenness. I know it. He told me. But you may be interested to know that from today he has promised me to never drink too much again. CARLTON Fine ! Fine ! MARIAN Did he ever promise you that? [69] THE NATIONAL ANTHEM CARLTON About once a month. Oftener if he was in debt. MARIAN He'll keep the promise he's made me. CARLTON Maybe you're right. I hope you are. If you cure him you'll be the first. I've seen more than you have of men and beasts and there's precious little difference between them when you get down to tin-tacks. If they're just naturally vicious nothing this side of the grave will get it out of them. You can beat 'em and pet 'em and get on their good side and have them all straightened out fine as silk and without a second's warning back they go to their old tricks. Seen it in beasts. Seen it in men. Arthur's one of them. He's naturally vicious. MARIAN He's not. CARLTON Ever seen him ride a horse? MARIAN Often. CARLTON Ever looked at its mouth when he's done riding it? MARIAN No. Why? CARLTON Look at it next time. Ever see him with a dog? There isn't a dog at home that will go near him. And the horses come back to the stables sweaty and bloody [70] Act I: NORTHCHESTER and no good for days. . . . Watch a man with animals if you want to get a line on him. . , . They'd treat hu- man beings the same. . . . Ever see him in one of his tempers .'* MARIAN [^Laughs.l Often. I love his tempers. They're quick and loud and devastating . . . and over in two seconds. They're very picturesque. And he's never so charming as when he's asking to be forgiven after one of them. CARLTON Fine. Fine. You've got him right, I can see that. MARIAN Why, at tennis, the other day, — remember Father.'' — the umpire called three balls running, out, that were inches in and he flared up, swore a mighty swear and threw his racquet right across the court into the bay. Then in a second it was all over. They brought him a new racquet and he ran out the set and the match, advanced to shake hands with his opponent, who walked furiously off the court. Arthur muttered "Damn poor sportsman" and we all shrieked. HALE The high-light of the afternoon. No harm in it. None at all. CARLTON - [Looks at Hale grimly.] No, of course not. [To Marian.] If you hapiDcned to be the subject of one of those picturesque, devastating outbursts he'd treat you [71] THE NATIONAL ANTHEM like the racquet and they wouldn't be able to bring him another and go on with the game. MARIAN You don't understand him. I do. He's grown physi- cally but not mentally. That's what high-priced schools do for boys when their fathers take no interest in them. They develop their bodies, mostly. He's been traveling with a swift set who mistake noise for having a joyous time. It's only a phase, iMr. Carlton. HALE Sure. Not the slightest bit of CARLTON Harm? MARIAN Of course not. He adores me and I do him. I'm going to make him all over again into a fine man. You gave in. I'm going to stick. There are too few Arthurs. Too few picturesque, devastating men-children of twen- ty-four. They are the bright spots in this grey old world. CARLTON Oh, they are. No mistake about that. They're the bright-spots all right. I've seen a lot of picturesque, de- vastating drunkards of twenty-four. Especially when I went to take Arthur away. He was right in the middle of them. Wait till they're fort}', if they ever get that far. Not so picturesque maybe, but damned devastated. . . . Anyway you're going into it with your eyes open. MARIAN Wide open. Then you have no objection to me? [72] Act I: NORTHCHESTER CARLTON I'm a bit afraid for you, that's all. MARIAN Don't be. I'll save Arthur. CARLTON I see. The maternal instinct. That's how rotters like Arthur get hold of nice girls like you. The maternal instinct. Nature put the ball-and-chain on you all right when they gave you that. . . . Too bad you didn't pick out a decent, clean fellow instead of a mess you've got to put together. MARIAN You're cruel ! Cruel ! I wouldn't try to save you. You're so hard, so un-charming ! Arthur's — Arthur's [^Breaks off in anger and tears.^ CARLTON Arthur's 24, has his hair and his figure. That's the only difference, my dear. HALE Oh, come, come, Marian. Let's all be happy about this. MARIAN [^Gasping.'] I — am — happy. But — he — frightens me. . . .It's not natural to hate one's son like that. To say such cruel things. HALE [Soothing her.] There! There! Come, John, let's all be happy and hopeful about it. [73] THE NATIONAL ANTHEM CARLTON I'm not so happy or hoijeful. Marian, now that you blame me for being responsible for Arthur's want of character, what has your father done with making yours? MARIAN He's understood me; humoured me; kept a loose-rein on me so that I've never been conscious of it. CARLTON [Slowly and firmly. '\ You try to ride Arthur on a loose rein and you'll break your neck. MARIAN It's terrible to hear you talk of your son like that. You're so cruel. . . . Why can't you let him stay — just for tonight? . . . It's our engagement day. . . . Please don't take him away, [Carlton shakes his head.] HALE Come, be a sport, John. CARLTON I'm not a sport, Reuben, and he's going. MARIAN I know now why Arthur hates you. You've treated him like that ever since he was a child. CARLTON I don't care how much he hates me. But his mother doesn't hate me and I won't have her worried for a hundred pups like him. [74] Act I: NORTHCHESTER HALE Now, where's the harm ? MARIAN I shall tell Arthur not to go. CARLTON I wouldn't do that if I were you, Marian. He'd want to obey you and he's got to me. I've got a temper, too. And he knows it. I'd throw him into the bay just as he did the racquet, if he asked for it. MARIAN [^Quietly and distinctly ,~\ He will not go with you, Mr. Carlton. CARLTON He'll be out here dressed to travel with me in less than five minutes. Stay here and see who he'll obey. MARIAN Very well, Mr. Carlton, I'll stay. [The hand has stopped. Maud-Ethel, Etta, Jim and Ned come down the steps and go towards their table, chatting and laughing. The Waiter brings fresh glasses and clears away the old ones, has check signed by Ned, then sees Hale beckoning him, crosses over to table where the two men were standing and takes order from Hale. Asks Carl- ton who shakes his head, exits into club-house. Whilst this is being done Etta has called Marian over to her. They start talking, then walk arm in arm to the club-house steps. Marian goes into the [75] THE NATIONAL ANTHEM club-house. Etta goes back to her friends. Carl- ton has sunk heavily into a chair, sat back and lighted a cigar. Hale looks at him, laughs, starts to speak, changes his mind, takes out a pipe, lights it, and smokes it with great enjoyment. Then takes out his watch and watches the minutes passing, now and again glancing at Carlton with a humorous twinkle in his eye.] MAUD-ETHEL What's up with Arthur? ETTA Don't look now. That's his father over there. [The other three turn at once end look at Carlton, He happens to be looking in their direction and scowls at them. Hale beams at them. They in- stantly look away.] Stupid. I told you not to! [They look at each other meaningly. Jim whistles, a low, long plaintive whistle. Ned imitates Carl- ton's scowl and his determined manner of sitting in his chair. Maud-Ethel shows the whites of her eyes and brings her fingers together as though praying. The txvo young men mix and pass refresh- ments during the following.] MAUD-ETHEL Why has Arthur changed? Isn't he going to dance anymore ? ETTA Don't know. He just asked me, looking as black and [76] Act I: NORTHCHESTER angry as that old fuss looks over there, to ask Marian quietly, very quietly, to go into the club-house and meet him in the little room off the club-office. JIM Bet there's been a row. NED Have half your bet, if you get any takers. MAUD-ETHEL Fathers ought to be barred from clubs. ETTA Not Marian's. MAUD-ETHEL Well, all the others, including mine. JIM I second that. NED Carried. MAUD-ETHEL And all mothers, barring none! JIM Object. NED Sustained. I vote for the young mothers. Some of them are smarter than flappers. MAUD-ETHEL Married people should have clubs of their own. JIM Where would you get your scandal from.'' I know [77] THE NATIONAL ANTHEM a good story about a young mother. There was a young mother who had a ETTA Sshh ! Not so loud. He's listening. \^They all look at Carlton, then giggling and whis- pering, exeunt into the club-house.^ HALE What's become of Marian? CARLTON Gone in to tell him not to go. HALE Think so.? CARLTONT Sure. HALE Who'll he obey? CARLTON Me. HALE Think so? CARLTON Sure. HALE Why not let them have this evening together anyway? CARLTON No. Just cranky? That's it. It's not my way. HALE CARLTON HALE [78] Act I: NORTHCHESTER CARLTON It's mine. HALE That's looking for trouble. I dodge it. CARLTON He'll have the trouble. He's not going to bluff me. HALE Suppose you do carry him off. What good'll it do you? CARLTON Do what I set out to do. Done it all my life. HALE Never think of the other fellow? CARLTON Never, HALE You'll lose Arthur altogether that way. CARLTON I wish to God I could. HALE Well, I wouldn't like to lose Marian, no matter what happened. We're pals, Marian and I, in spite of our awkward relationship. CARLTON You've got a real woman for a child. I've got a — Oh, quit HALE I wish you could look at it same as I do. If there was any kick coming I should be the one to have it. [79] THE NATIONAL ANTHEM CARLTON I don't care about him being engaged or marrying. It isn't that. [Pounding table. '\ But when it comes to pitting his will against mine one has to give way and it won't be me. [The Waiter comes from the club-house, hands Hale a letter and goes back to the club-house. Hale reads the letter; his broxcs knit; he gives an ejacu- lation; then he laughs gaily.^ HALE John, you won't take him to Bar Harbor tonight. He's gone. CARLTON Gone? Where. HALE [Reads letter.] "Dear Dad, Arthur has obeyed me. By the time you get this we will be speeding fifty miles an hour on a loose rein to the State of Connecticut. There we will be married. I will phone you after the ceremony and we will all dine together and you can give us your blessing. We are sorry to do it this way but Mr. Carlton was so unreasonable what else could we do? Give him our love. Till tonight. Daddy dear. Your loving, dutiful and obedient daughter, Marian." [Carlton makes an impulsive movement.'] HALE You're not going to try and stop 'em? Nothing silly like that, John? [80] Act I: NORTHCHESTER CARLTON Stop 'em! Stop 'em! [Laughs.'] Why should I ? That's for i/ou to do if you want to. I've got him off my hands for good. That's the end of my chapter. The next will be at Marian's. Poor Marian. HALE Join us at dinner tonight.'' CARLTON No, thank ye. I'll carry the good news to his mother. Good-bye, Reuben. HALE Good-bye, John. Cheer up. CARLTON Sure I will. I hope you're right, Reuben — that no harm will come of it. [Goes axcay quickly.] [The band flares up suddenly into a spirited dance. Hale brightens at the delightful discord and smil- ing contentedly, humming the tune, he leisurely goes into the club-house.] THE END OF ACT I [81] Act II: NEW YORK A charmingly furnished "Rest-Room" connected with a private hall-room in a fashianable New York hotel. Through the closed folding-doors can be heard spirited and delightful dance-music mingled with the chatter of happy voices and joyous laughter. Tom Carrol is moving restlessly and nervously about the room. The sounds seem to distract him. There is evidently no gaiety in his thoughts. In from the pas ie comes a tall, slender, distinguished-looking youi lady of twenty-six. She has the authority of manner and the quality of voice of one accustomed to self-disci- pline and who has found in a voca.tion the outlet a woman needs for self -development. Madeleine Trent is one of the recent actresses who have en- deared themselves to the less jaded of the New York theatre-goers. She greets Tom warmly. He brightens at her greeting, and momentarily forgets his brooding thonghts. TOM [Smiling with genuine pleasure.'] How do you do^ Miss Trent? I saw your play tonight. MADELEINE Did you? How nice! Like it? TOM Very much. And you, if I may say so. [82] Act 11: NEW YORK MADELEINE Oh — do say it. I love to hear nice things. One sometimes reads such horrid ones. TOM Not on you. . . . Surely? MADELEINE Why not? There's no serum one can take against them. ... So Marian and Arthur are off? TOM [Uneasily.^ Yes. MADELEINE I'd like to have gone to the boat but I have a matinee tomorrow. How jolly for them. . . . I go to London next month. TOM Really ? MADELEINE They're taking the whole company. I am so excited about it. TOM It's just the play London will like. MADELEINE Da you think so? Isn't it too American? TOM It couldn't be for London. MADELEINE [Smiling.] Do they understand us as well as that? [83] THE NATIONAL ANTHEM TOM Better. They've had more American plays than their own since 1914. MADELEINE I do hope they'll like it. It's one of the things I've dreamed of. Making a success in London. TOM I'll try and be at your "first-night." My headquar- ters are in London. MADELEINE Isn't that splendid? Do come. And let me know afterwards, will you.'' TOM I'd be glad to. MADELEINE Aren't you excited about going to London? TOM No. I did look forward to it at first. But oh, I don't know — I've rather lost interest. MADELEINE What a shame! TOM Isn't it? MADELEINE It's a great tragedy when one loses interest. I never do now. I spend all my time preparing. TOM Do you? MADELEINE [Nods.'} I didn't realize until I went on the stage how really ignorant I am. I thought I was quite fairly [84] Act II: NEW YORK well educated until I played my first part. I found I couldn't walk, or talk or listen or stand still. I was entirely feet and hands. No body. No brain. No voice. Nothing. TOM [Smiling.^ Judging from tonight you must have learned fast. MADELEINE Thank you. . . . Oh ! but all I have still to learn ! I think it's the hardest profession in the world. And the most absorbing. You should understand music, painting, dancing, fencing, people and have a smattering of other languages — [smiling] — after you've really learned your own. ... I'm trying to. — Then you should know all walks of life. Be able to cry bitterly or be frenzied with rage or go into paroxysms of laughter. Curse, pray, beseech, command. A Queen in one play, a harlot in the next. A Goddess or a servant-girl. And have the imagination to be the character completely the hours you are on the stage. Quite an undertaking for a conventional person who's only known my own silly little group of people. We never thought anything mattered as long as we had a good time. TOM Why did you take it up ? You didn't have to. MADELEINE I thought it was easy ! It looked easy and the people in it seemed so jolly and happy. I had quite a shock when I got my first part — through Arthur. [85] THE NATIONAL ANTHEM TOM Oh? .MADELEINE He rather liked me once upon a time. TOM Ah! MADELEINE He took me one day to a manager and he engaged me on the spot. TOM How fortunate. MADELEINE I found out afterwards it wasn't because I impressed him, but Arthur knew where to get a special brand of liquor the manager liked. At least that's what Arthur said. TOM It sounds feasible. MADELEINE And the part wasn't very important. So I started — a little more than a year ago. It was heart-breaking at first; wretched. But now I enjoy every minute of the day. TOM And night? MADELEINE No. This is an orgy for me. I never go to parties any more. They spoil the whole morning. And I love my mornings now. But I couldn't refuse ISIarian and Arthur. Isn't it wonderful — their marrying? TOM Isn't it? [Evasively.] [86] Act II: NEW YORK MADELEINE I was astonished. She used to talk of you all last year, [//e loohs away.^ It must have been very sud- den. She always was impulsive. What a dear she is ! I met her today dashing about buying everything imag- inable. The car was full of boxes. She had more in her arms. I told her she should wait for Paris and she laughed deliciously and said she'd buy more there. Oh, well! It's a wonderful time in one's life, and one only has it once. TOM I've known some daring exceptions. MADELEINE Marian won't be one. She's the kind that marries once and, hit or miss, sticks to it. [Tom is quite distressed — presses his hand over his forehead.} MADELEINE And Arthur's a perfect dear. And now that he's married, he'll quiet down and be ever so good to Marian. I'm sure of that. [Laughs as she thinks.] Woxddn't it be wonderful if we all met in London or Paris? TOM Wouldn't it? MADELEINE We must try to arrange it. Have a real American dinner. Real American news: a meeting of the clans three thousand miles from New York. [Jim and Xed, fairly zcell lit, come in from the pas- sage.] [87] THE NATIONAL ANTHEM JIM [^Speahing so that by the time he has finished they are facing Tom and Madeleine.] But the funniest part was, when Bill was taking four gallons for a week-end and ran the car right over an embankment. [Almost cries with laughter, then suddenly stops short.^ Hello, Tom. [Shakes hands. ^ NED [Madeleine shakes hands.'\ Fancy you! I haven't seen you around anywhere. And how's Tom.'' [Shakes Tom's hand.^ JIM [Bending over Madeleine.] Renegade. MADELEINE Why? JIM Desertress. You've jilted us. Every party I ask feverishly "Where's Madeleine.''" And they answer gloomily "Not here." Who is he.'' MADELEINE It's a she. JIM Oh? MADELEINE At least I like to think it a she. JIM Well, who is her? [Laughs.l MADELEINE My art. [Laughs. "] [88] Act II: NEW YORK NED Where's the bride? JIM And groom? MADELEINE Dancing, I suppose. I've only just come, JIM Hello. Look. [Points to refreshment table; hurries to it.] NED [Follows him eagerly.'] [Filling glass.] Madeleine? MADELEINE No, thanks. NED Just a spot? MADELEINE Not even a drop. NED Teeny one? [She shakes her head.] Tom? Of course not, you're a dry. [Mij'es his own.] JIM [Coming down to Madeleine, glass in hand.] What's the matter? Feeling blue? MADELEINE [Smiling up at him.] Not at all. Never jollier. JIM Then why not ? [Holding up glass.] MADELEINE I've stopped. [89] THE NATIONAL ANTHEM JIM Why? Can't you get any good stuff? Arthur knows where you can. MADELEINE No. Besides I've a matinee tomorrow. JIM All the more reason. MADELEINE No. — Can't do it any more, Jim. JIM Why, every actress I know takes all she wants. MADELEINE Actress? JIM Sure. MADELEINE Where do they act? JIM Anywhere MADELEINE For instance? JIM Well — musical things, j'ou know. ... I never go to the theatre myself . . . just musical comedy or revue. . . . But I know lots of actresses. . . . Lots. [Smiles broadly as he thinks of them.^ MADELEINE Oh — I see. You mean the "non-commissioned ladies of the stage"? [90] Act II: NEW YORK NED [As the bell rings off in the distance, ranges himself alongside Jim and sings.^ "Look out; here come the damn police, the damn police," JIM [Singing with him.^ "The damn police. Look out; here come the damn police, "The damn police are here."* MADELEINE Then you do go to the theatre. That's from a play. NED [Laughing.^ I know. I thought it was a musical show. JIM So he took me. "Lillian," he called it. [Etta and Maud-Ethel enter in evening dress. Ned and Jim arm in arm march up to them sing- ing the same chorus.'\ ETTA How festive! Hello, Tom. Why Madeleine, dear- est. [Sits beside her.^ maud-ethel Where did you get it.'' [Looking from Ned to Jim.] JIM It's a touching story. Ned and I found a man • Sung in "Liliom." [91] THE NATIONAL ANTHEM MAUD-ETHEL Never mind. . . . Wliy^ Tom. ... I am glad. . . . And the actress. [Kisses Madeleine on both cheeks.^ Madeleine, my dear, you're too wonderful. Didn't think you could do it. Really I didn't. Did you, Etta? [Jim and Ned mix drinks for Etta and Maud- Ethel.] ETTA I haven't seen it yet. But I'm going. MAUD-ETHEL Oh, you've got to. Madeleine's too adorable. [To Madeleine.] It must be trying to play a good woman. But you make her almost interesting. Really you do. ETTA Is she a good woman? MAUD-ETHEL I should say so. Sticks to one husband and every- thing. Don't you, my dear? [Madeleine smiles and nods.l ETTA How mushy! MAUD-ETHEL Not the way Madeleine plays it. Made me cry, really you did. ETTA It must be fun having a different apartment in every act. That's the kind of part I'd like to play. Some bite to it. [92] Act II: NEW YORK JIM {Handing her glass.} Wliere would you like the apartments, Etta? ETTA I'd like four. Washington Square when she starts out. The forties after she's broken the ice. — The sev- enties when she meets a senator and Riverside Drive when she marries Wall Street and kills herself after her real lover turns up and throws the money in her face. [General laugh during which the young ladies drink.} JIM [To Madeleine.] Change your mind? A quick one? MADELEINE No, thank you. JIM Come on. Show your sporting blood. MADELEINE JIM MADELEINE JIM No, thanks. Really quit? Yes. Never? MADELEINE I can't afford to anj'^ more. JIM It does cost a lot. Still there it is, free and flowing. [Points to table.} [93] THE NATIONAL ANTHEM MADELEINE It costs an actress more than the price, Jim. Face, voice, figure. You can't buy them back. JIM Well — if you don't take anything I don't see what you do witli yourself. Can't sleep all day. All the actresses I've known [Arthur comes in from passage. He has evidently "had a few" earlier in the evening. Is genial, full of spirits. A little noisy. '\ NED Hello — The groom. [Grabs Jim's arm, they advance to meet AmnvR, calling.] Hail! Hail! Hail! [Slaps him on the back — shakes him by the hand — greets him very ostentatiously.] ARTHUR [Laughingly returns the greeting. Then turns to the charmers. Shakes hand with them.] Jolly of you to come. Mad. Marian '11 be so pleased. MADELEINE I had to, Arthur. I wanted to wish you Godspeed and luck. ARTHUR I know. You always wish me luck, don't you? MADELEINE Of course I do. [Meaningly.] And Marian! ARTHUR You brought it to us, Madeleine. You introduced us. [94] Act II: NEW YORK [Sees Tom standing quite near — his face set and hard.] Hello, Tom. [Shakes hands with him.] Why aren't you all dancing? MADELEINE I've only just come. MAUD-ETHEL So have we. We'll dance the next. [Jim and Ned come down each side of Arthur, take his arm and lead him to the refreshment table.'\ JIM You might ask us to have something, eh, Ned.'' NED I rather expected him to. ARTHUR My dear fellow, it's there. Why didn't you help yourselves .'' JIM Not without you. Could we? NED I should say not. I do feel a bit faint. It's so long May I, Arthur? [Winks at Jim.] ARTHUR [Mixing drinks at table.] Why, of course. Stupid of you to have waited for me, MAUD-ETHEL I didn't notice much waiting. ETTA It was the first thing they did. [95] THE NATIONAL ANTHEM JIM We'll jazz all night and carry you on board. ARTHUR I'm game. Hurrah! [Drinks.} Ah! JIM Smooth seas. NED [Holding up glass.} Good liquor on board. JIM The wine of the country in dear old Paris, France. NED Pretty frocks for Marian. JIM Paquin. NED Jewels from Cartier. JIM All the fun of the fair after dark. NED And may you never draw a sober breath until you get tack. JIM The Groom ! The Groom ! Arthur ! NED The Groom ! Arthur ! [Both drink — emptying their glasses.} JIM And one more for good measure. [Drinks and fills glass.'] [96] Act II: NEW YORK NED That's sound. [Fills his.] ARTHUR Right. My turn to give a toast. [Fills his glass, holds it up.] My friends! [Looks smilingly and hap- pily at them all and drinks.] JIM I'm in on that. [DHnks.] NED You can't leave me out. [Drinks,^ To Marian. [Drinks.] JIM Mrs. Arthur. [Drinks.] ARTHUR [Looks at Tom.] You're not drinking? TOM No. I don't. ARTHUR Of course^ I forgot. [Looking insolently at Tom.] Doesn't nauseate you to watch us, does it.'' TOM [Looking steadil;/ at Arthur.] Not in the least. [The music siops. The, doors open from the ball- room and ^Marian and several guests come through the passage Into the room. Arthur meets the others and takes them to the refreshment table. [97] THE NATIONAL ANTHEM Marian is in a charming evening dress: — she is very white and tired. They give her a boisterous wel- come. Amid much chatter she shakes hands with Maud-Ethel; Etta, etc., etc., finally reaches Madeleine whoJn she kisses and sits beside. Dur- ing her passage to Madeleine she is greeted with — ETTA Marian, dear. MAUD-ETHEL You look too adorable. TOM [Nervously.'} How are you, Marian? MARIAN I'm worn out. I've been rushing about since early Tuorning. I nearly sent you a message to excuse me. If I'd only been a guest I would have. That's the delightful thing about being only a guest. A headache, a. sick aunt, or a distant dead relative make splendid excuses. But as a hostess — oh, no! There's aspirin for a headache; for a sick aunt — a doctor; and for a dead, distant relation — a coffin. The hostess is the piper. She calls the tune and must be there to have it played. ... It was so sweet of you all to come. It was Arthur's idea. He felt you'd all like to see us before we go. JIM Good for you, Arthur. We do. NED Didn't we see you meet for the first time? [98] Act II: NEW YORK ETTA And fall in love ? MAUD-ETHEL And spoon all over the club-porch? NED Weren't we there when you bolted? MAUD-ETHEL And made Arthur's awful thing of a father so mad? JIM Who welcomed you to New York from your wedding trip? NED And we're going to give you the send-off of your lives tomorrow morning. JIM We'll keep Arthur company until it's time to start. NED And, like the real pals we are, we'll bear him up the gang-plank. MARIAN [Trying to laugh but more than a little anxious and distressed.} Oh, no. Nothing like that. We'll just have a dance or two. That's all. JIM All? NED With that band ? JIM Lew Isaacs, the "Jazz Demon" from the "Grove"? If we quit before daylight he'd be hurt. [99] THE NATIONAL ANTHEM NED I should say so. He'd sob all down his diamonds. [To Marian.] May I have the next? MARIAN No, Ned. I'm so tired. I can't dance any more tonight. ARTHUR Oh, come. You mustn't throw a chill into everyone. MARIAN [Hurriedly. 1 Why, of course not. Perhaps I'll be all right in a little while. Just now I couldn't. ARTHUR I know what would put you right in a minute. MARIAN What, Arthur.? ARTHUR A little glass of cool, dry, well-iced champagne. Right out of the bucket. See.'' [Pointing to it.'\ MARIAN [Shaking her head and smiling.^ No, dear. [Tom makes a movement forward. Madeleine watches ana:iously.^ JIM It's the very thing, Marian. NED Of course it is. Let me open it. May I, Arthur? I love that expectant moment before the reluctant cork [100] Act II: NEW YORK gives up to the steady pressure of finger and tbumb. May I ? ARTHUR Surest thing you know. [Goes to table ■with Ned: together they open bottle and arrange glasses.^ ETTA Do^ Marian dear. It's too heavenly when you're fagged. MAUD-ETHEL Works like magic with me. Really it does, Marian. MARIAN Awful stuff. Gets up your nose and puckers up your tongue. Brrh ! [Shudders violently. '\ MAUD-ETHEL It's saved me many a time. Oh, many a time. I was so dead after one party I could hardly breathe. One little glass sent me way up to the ether and I floated through two more parties the same night and got home when dawn was breaking fresh as paint. ETTA On one glass? It must have been a long time ago. MAUD-ETHEL Oh, I took a few more to keep me going. ETTA I was going to say. ARTHUR [Going to Marian with gla>ss of champagne.] Here we are. [101] THE NATIONAL ANTHEM MARIAN I'd rather not, Arthur. MADELEINE Don't press her. She doesn't like it. ARTHUR Come on. This glass will have more effect on you than a whole bottle would on me. JIM I should say so. NED Or even two, Arthur. ARTHUR [Pressing Marian.] Just a glass. Then we'll have a dance and by the time it's over, you'll be feeling great. [Waits: then angrily.^ Come on. Don't make such a fuss. [Marian looks quickly at him, takes the glass from him.] Down she goes. JIM Fancy needing coaxing — these days. NED Makes me all creepy. [Shivering.] ETTA It's reaUy rather hectic, Marian's first glass! MAUD-ETHEL The road to ruin. ETTA Such a nice road. [102] Act II: NEW YORK JIBC Paved with broken bottles. ARTHUR [Irritably to Marian.] Come on! NED They're off. MAUD-ETHEL Let's go! [Marian drinks the glass. Tom and Madeleine watch her anxiously. Jim swallows in imitation with her turning to Ned zvho does likewise.^ ETTA [As Madeleine finishes the glass.] Doesn't it feel good? MAUD-ETHEL I'd love to have my first glass again. MARIAN [Shivers; hands glass to Arthur.] How bitter! JIM Put a lump of sugar in the next. ARTHUR Monticello — 1904? Not if I know it. [Goes to table, replaces glass, then goes to door of room and gives signal for dance. The music crashes from the ball-room. Amid much chatter the other guests go into the ball-room. Jim asks Etta, Arthur a^ks Maud-Ethel, Ned asks Made- leine.] [103] THE NATIONAL ANTHEM MARIAN I'd like Madeleine to stay with me, Ned. You and Tom cut in on the others. Do you mind? NED Not a bit. Come on, Tom. [To Marian.] Wait until the fizz gets in its fine work. You'll dance every one. [Goes out.^ TOM May I have one later, Marian? MARIAN Yes, Tom, of course. Close the doors, please, when you go in. And do ask them not to play so loudly. TOM All right I will. l^Goes out, closing the doors. After a few moments the hand quiets down.] MARIAN [Affectionately to Madeleine.] It is nice having you here. MADELEINE I'm sorry you gave in to Arthur. MARIAN What was I to do? I hate a fuss. MADELEINE He shouldn't have insisted. He knew you didn't want to take it. [104] Act II: NEW YORK MARIAN I'm rather glad he did. I don't feel anything like so tired. [Quite animatedly.] I really feel very much better. I do, really. Much. MADELEINE I know. Then it passes and you feel fagged again and then you take anotlier — and another — and so on through an evening and into the night. I've done it. Then in the morning, after a restless, tossing-about, you wake up, your mouth parched, your nerves jumping, your face bagged and drawn, your eyes dull, no interest in anything. [Shivers.] It's not worth it. MARIAN [Laughs brightly.] What a picture ! [Pantomimes the drawn face, the listless movements, the dull eye and the jumping ?ierves.] Is that to be my fate? MADELEINE I'd be doing it now, I suppose, if I hadn't a real in- terest in my life. Something that fills up all my time. I'm so proud of being allowed to be an actress and so jealous about what people say of us that I never give them the slightest chance to belittle the theatre thru anything I do. MARIAN I know you don't. I know. — But please don't think we are going to have any such night as the one you've described. MADELEINE I'm not so sure — as far as Arthur is concerned. It's a shame, Marian. [105] THE NATIONAL ANTHEM MARIAN From the time we go on board he will take nothing until we reach Paris. MADELEINE And then ? This every night? MARIAN Certainly not. MADELEINE That's all they talk about when they get back fi'om Paris. The Americans they met; the good times they had ; the wine they drank. Oh ! One never hears any- thing else among the Jims, the Neds and the Arthurs. MARIAN Madeleine, please, don't put Arthur in that class. MADELEINE He's been in it ever since I've known him. MARIAN He won't be any more. MADELEINE Oh, Marian, you don't know how different life is when you have something to think about. Something to do. I wish you had. MARIAN I have. Taking care of Arthur, [Laughs.] That will take some doing, you think. This is only a little fun. Did 'ems think we were beasts cos we wanted to be silly and dance and drink just before we sailed [106] Act II: NEW YORK away ? Oh, how solemn baby is ! [^Jazses to the faint tune in the distance.'} MADELEINE [Laughing in spite of her wish not fo.] Oh ! Marian. MARIAN [Laughs gleefully.} That's right. Laugh! Even though you are a serious actress and a very prim and respectable one. Laugh! [Suddenly and impulsively putting her arms around Madeleine.] Arthur is such a dear, Madeleine. We've been like two children laugh- ing and chatting and playing games. Not a care. Not even a tijBf, much less a quarrel. It has been so sweet. We'll always be happy and tender and thoughtful of each other. . . . That's the way to keep marriage per- fect. MADELEINE It won't be if you plunge into the same set over there. MARIAN But we won't. We won't. ... I keep telling you we won't. MADELEINE I wish you were going to Italy. That's where I'd love to go. The pictures, the music, the beautiful soft language and the heavenly sky. Not all the cheap New York-ese grafted onto a French city. They never see Paris, really. Just the shops and the race-course, box- ing exhibitions and the foul things put on just for the American visitor. [Lifts her shoulders and drops them in a gesture of disgust] Out half the night and the [107] THE NATIONAL ANTHEM glorious morning gone before they're well enough to start a new day. Ugh! [Shivers.'] Madeleine! You mustn't think we're going to live that kind of life. Don't judge Arthur by tonight. He's excited, naturally. The first time either of us has gone abroad. [Suddenly; seriously.] He's only liked this sort of thing because he's never known anything better. Ned and Jim were his idea of real men because they've made time pass pleasantly for him while he's been with them. But I've been showing him there is another life just as attractive, just as amusing and infinitely more lasting. [Waits, while the music heats out from behind the closed doors.] Why has that kind of music satisfied him .'' Because he never knew, until I took him quite re- cently, the beauty of real music. . . . That was why. Now he wonders how he ever found pleasure in that dis- cord. . . . During the time we have been married I've taken him to some heavenly concerts and the opera. He didn't like them very much at first. But after a while he did. We've looked at beautiful pictures and read absorbing books. It has been like opening a new world to him. He's taken a drink when he wanted it. But that's all. And they've been so seldom — so far be- tween — so — so — unimportant to him. That part of his life is finished. Finished. . . . Poor Arthur. He's never had the opportunity to expand. Wliy, he doesn't know his own country. Hardly his own language. After a trip abroad I'm going all over the United States with him. Show him how wonderful they are and [108] Act II: NEW YORK what real men can be. He has only met the careless- living, never-a-thought-for-the-morrow kind. Men who run round and round in a mouse-trap. After all, what chance has he had.^" His home influences were of the worst. A mother, nervy and peevish and hysterical. A father who alternately cursed or beat him. Then spoiled him. Not one of the boys he chummed with cared for anything except shirking in class and amusing them- selves out of it. Naturally Arthur drifted with the rest. Then he finally got to college. There he met an older set who drank, talked obscenely, racketed nightly in the nearby town and were thrown out of cabarets. ... But there is really nothing vicious about him. Just habits, contracted through the wilful indifference of his father. Parents cannot, must not be indifferent, Madeleine. It's a divine office, being a parent. [Madeleine kisses /ler.] When we get home we will form a new circle of friends who will stimulate the finer things in him. I have dreamed it all. ... If I fail it will be my own fault, not Arthur's. He could liave lived his life without me. I couldn't have lived mine, Madeleine, without him. [Stares out into the future.] If he goes back it will be because I've not had patience enough — strength enough — or loved deeply enough. MADELEINE Of course he won't go back. I am so sorry I said what I did. Stupid of me. There. [Puts her hand on Marian's.] Forgive me. Everything is going to turn out splendidly. Oh ! And we'll meet on the other side. [109] THE NATIONAL ANTHEM [Marian looks at her.} Yes^ we will. They're taking the play to London — and me. Next month. MARIAN Isn't that wonderful! I'm so glad. MADELEINE Tom is coming to my "first-night." You and Arthur could fly over, sup with me^ and be back in Paris the next morning. MARIAN We will. That's another thing I want to interest Arthur in. The theatre that matters. The real theatre. Plays like the one you're in. Not brassy music^ nudity, common jokes and the laughter of fools. [^Laughing gleefully.'] It's like taking a little child by the hand and showing him all the things I like. Poor Arthur's seen nothing worth while. It has been fun taking him to all the places I wouldn't think of telling my jazz- friends I knew anything about. It's been such fun. \^Some of the dancers return. Their partners bring them refreshments. Jim, Arthur and Ned imme- diately go to the table as though drawn there thru an impelling force. Corks begin to pop, siphons hiss, ice rattles in the glasses. The two delightful girls, Etta and Maud-Ethel, sink in great exhaus- tion on chairs and proceed to fan themselves with minute and somewhat damp handkerchiefs. Tom lounges over near Marian. Jim and Ned loyally bring Maud-Ethel and Etta refreshments. Ar- thur drinks copiously, then brings Marian a glass of champagne at the end of the following.] [110] Act II: NEW YORK MAUD-ETHEL Better, dear? MARIAN Ever so much. ETTA You were very wise to stay here. MAUD-ETHEL Wasn't she? MARIAN Why? ETTA The floor's too sticky for words. MAUD-ETHEIi I hate the band so near. ETTA It's too loud for a small room. MAUD-ETHEL And Tom wouldn't cut in. Just sulked at the door. ETTA Come into the next one and get some life into it. [Jim hands glass.^ Thanks. MAUD-ETHEL [Takes a glass; sips it; makes a "wry face.} I don't like it tonight. ETTA Nor I. MAUD-ETHEL Sickly. ETTA No taste at all to me. [Ill] THE NATIONAL ANTHEM JIM Monticello — 1904! NED It's too bad about you. Getting bored? ETTA Fed up. MAUD-ETHEL I'm sick of jazz. ETTA And tliis. [Hands glass back to Ned.] JIM [Sidles up to Madeleine as though he was "fed-up" "with Etta and Maud-Ethel.] You know, Madeleine — of course I don't go to the theatre myself — except girl- shows — but tell me, do they really make love on the stage ? MADELEINE What do you think.'* JIM Oh, I don't know. Haven't thought about it really. Of course I don't go myself. But you hear things. I've been told they really do. And that the leading- man is always in love with the leading-woman and she with him. MADELEINE Have you really? JIM Heard it heaps of times. MADELEINE So they don't have to act.'' Just play themselves? Make real love, in public, eight times a week? [112] Act II: NEW YORK JIM Of course, I don't know. You see I never- MADELEINE — go yourself? JIM No. — But when they embrace and all that — do they really feel it.'' MADELEINE Would it please you to think they did.'' JIM I fancy the public likes to think it. Gives them a bit of "extra." Eh.'' MADELEINE Would the public like to think real blood was spilled when someone was killed on the stage? JIM Oh, well, you know MADELEINE If they want real embraces why not real murders? JIM See what you mean. Of course I don't go. MADELEINE You should. I'd like to have an intelligent man's viewpoint. JIM Perhaps I will. MADELEINE Do. [ll.?] THE NATIONAL ANTHEM ARTHUR [Very flushed — a little unsteady but very happy — ■ holds out glass to Marian.] Why, you look a thousand percent more yourself. Less faded an' everything. You look sparkling. See what one little glass will do. Give this one a chance. MARIAN No more, dear. ARTHUR Come on, let's be jolly. MARIAN I'm quite jolly enough. ARTHUR Nothing on board ship. Not a drop. That's a promise. Just tonight. Last time in the old country. Here we go. MARIAN [Shakes her head."] No, Artliur. ARTHUR Just to please me. Won't ask you again. Madeleine and Tom would freeze any party. Let 'em see you're a "good fellow." Just sip it and show 'em an example. MARIAN \To stop any further discussion sips it and hands glass back to Arthur.] There. ARTHUR That's the stuff. [To Tom.] See? Do you good too. Then you wouldn't stand around as if you didn't know you were alive. [114] Act II: NEW YORK TOM I am afraid I'm rather a damper. No. A dryer. [Laughs uproariously as he turns to Ned and Jim. He is growing more unsteady and noisier momentarily.^ Hear that? Tom said to me — of course he's not drinking anything — he said to me he was a damper on the party and I said "No, Tom/' I said, "No! You're a dryer!" [He laughs loudly. '\ [Jim looks at Ned and sobs on his shoulder.]^ ARTHUR [Turns to Maud-Ethel atid Etta.] Must tell you. Tom said to me — [The hand starts again, drowning Arthur's voice; he goes on telling his story to the amazed young ladies: when the music reaches a few quiet bars Arthur is heard shrieking.] I said "No, Tom, you're a dryer!" [He is almost in- articulate, so overcame is he by his brilliant mot.] ETTA Did you really say that? maud-ethel Too wonderful! [As Arthur lurches over to tell Madeleine, chuck- ling to himself, Maud-Ethel a7id Etta look at each other, then turn to Ned and Jim. The four turn to each other and proceed to discuss him, tho ex- actly what they say cannot be heard thru the in- [115] THE NATIONAL ANTHEM sistence of Isaac's band. They start into the dance room but the girls, thru a quiet bar of the music, can be heard protesting.^ ETTA But it's so hot. MAUD-ETHEL And noisy. . . . ETTA I'm going after this one. MAUD-ETHEL So am I. [They disappear into the room.'\ ARTHUR l^Going to Madeleine.] Hear what I said to Tom? MADELINE Yes I did. [As they move toward the dance room.] ARTHUR I suppose it was bad, eh.'' MADELEINE It was priceless, Arthur. ARTHUR I get a good one once in awhile. Hear what I said about Jim's home-brew [As the band swells up he calls out.] Not so loud. Damn it — we're not in a barn. [Band plays softly. . . . Marian takes Tom's arm.] TOM Don't dance if you're tired. [116] Act II: NEW YORK MARIAN I'm not. Arthur's prescription did that. Tiredness all gone. TOM I'm sorry you took it^ Marian. MARIAN Why? There's no harm TOM [Checking her.] Ah! I can almost hear your father. MARIAN But is there? One glass. TOM You shouldn't have given in to him. Make him do what 1/ou want. MARIAN He does. TOM Does he? MARIAN Yes. TOM Oh, Marian. I'm afraid. Afraid. You've been mar- ried three months and here are the same thoughtless empty-headed, loud-mouthed toughs around you. MARIAN They haven't been for the last three months. Arthur wanted them tonight to come just to say "Good-bye." That's all. After tonight we'll never see them again. At any rate very rarely. [117] THE NATIONAL ANTHEM TOM When you were engaged Arthur was never going to drink again, MARIAN No, Tom. Drink too much. There's quite a di£fer- ence. TOM He's drunk now. MARIAN He's not. TOM Very nearly. He'll be quite, before this breaks up. MARIAN And why not? It's the last time. TOM IShaking his head.'] He's been "last-timing" ever since I've known him. [Looking intently at her.] I am afraid, Marian. MARIAN [Sharply.] Don't be ridiculous, Tom. TOM I'm sorry I said that. I shouldn't have come tonight. MARIAN I'm glad you came. I wanted you to come. TOM I felt as you were going away — and — I — didn't know when I'd see you again. ... So I came. . . . Now — shall we dance? [118] Act II: NEW YORK MARIAN [Sits: pouts.'] No. ... I don't know whether I'm more hurt or angry at this continual criticism of Arthur. It's so unfair. . . . What has he done .'' As thousands of others do. . . . And their wives don't have delegates waiting in line to condole with, or caution, or shake their heads and say "I'm afraid." I want neither pity nor advice, and I certainly don't want people going about being frightened for me. . . . It's too stupid. ... I'm really a little tired of it, Tom. . . . [Tapping her shoe impatiently on the carpet.l More than a little angry . . . and quite a good deal hurt. . . . First Madeleine . . . then you. . . . After all, even though Madeleine is my friend, it doesn't give her the privilege of criticizing my husband. . . . That's mine. — And I won't share it with anyone. . . . And because you liked me TOM [Simply; earnestly.'] I love you, Marian. MARIAN If you did TOM I do. MARIAN Then whatever I do should be right because I do it. TOM It is. MARIAN You're very diflScult to argue with. ... I won't have Arthur found fault with. . . . Why, even you and Made- leine grudge me a glass of champagne because Arthur [119] THE NATIONAL ANTHEM gave it me. . . . Childish ! — Absurd ! — Friendship has its rights — yes. — But it also has its limits. — And I must say that's the limit. — One glass ! — You must love me a lot to want to deprive me of that little "drop of com- fort." — And I so tired. — You knew that. — I'm sur- prisedj Tom. Really surprised. — And hurt. — Oh, I shall be glad to get away from all this carping and criticism. . . . At least Arthur makes no eflfort to con- ceal whatever he does. ... If he exceeds the speed-limit he always does it where a, traffic-policeman can see him. — And if he wants to hit anyone he doesn't do it in secret. Oh, no. Everyone can see. . . . His faults are on the surface — and they're the easiest corrected. I'm tired of it . . . disgusted with it. . . . [Facing Tom.] I'll hear nothing more against him from anyone. [Sees the pained look in his eyes.^ Sorry Tom. ... I know you mean it for the best. ... It came at the wrong time. . . . Sorry. TOM You're quite right, Marian. I asked for a snubbing. I deserved it. MARIAN No ! No ! Not a snubbing . . . horrid little word. — And you mustn't take it like that. Come take the frown off your face. — Be jolly. — Laugh. — Come, smile, like the Tom I like so much. . . . Come. . . . Smile. . . • [Tom smiles half-heartedly.^ You can do much better than that. . . . Grouchy old dear. Now I'll dance. [He puts his hand through her arm.] [As they go forvards the room the hand stops and [120] Act II: NEW YORK some of the crowd filter back. Ned and Jim go to the table as though faint. Etta and Maud-Ethel, in the last stages of boredom and fatigue, seek chairs near each other. ... Arthur cow.es in last with Madeleine.] ARTHUR I thought you were going to dance? [Glancing at Marian, theji at Tom.] MARIAN I am. The next. ARTHUR [Glaring at Tom.] Haven't cut that out too? Have you? TOM Oh, no, Arthur. [Forcing a genial smile.'\ [Ned and Jim bring refreshments to Maud-Ethel and Etta. Madeleine sits near Marian. Ar- thur goes to table and pours out and drinks sev- eral times. He takes o-ne, turns away, thinks again and then as tho magnetised by the table goes back and has a third. Then he fills a glass and, trying to avoid spilling contents and at the same time keep a straight course with a certain dignity, goes to Marian. . . . Meanwhile the following dialogue has taken place.^ JIM [Now quite mellow, approaches Madeleine surrepti- tiously and stands looking intently at her; she lookst up and smiles; he smiles down at Aer.] Do you be- lieve in complexes? [121] THE NATIONAL ANTHEM MADELEINE ISmiling.'} What kind? JIM Any kind? MADELEINE Which one is worrying you? JIM I haven't quite got on to it yet. But I know I have some from what I hear. MADELEINE The most complex are the really simple-minded. JIM Are they? MADELEINE Usually. They love to attach importance to every- thing they do — particularly to what they dream. It gives them a fictitious valuation to themselves. JIM That so? I don't know much about it. Just what I hear. — What's the inferiority one? Sounds a bird. MADELEINE The inferiority complex is the cloak the inefficient wear to cover their inadequacy. JIM That so? [Disappointed.] Thought it was somc- thing quite different . . . I've got it! [122] Act II: NEW YORK MADELEINE Have you? JIM Sure. Breaks out all over me when I talk to you. [She laughs.'\ What am I to do about it? MADELEINE Talk me right out of your system to a sympathetic listener, JIM Couldn't I talk it out with you? MADELEINE That would aggravate it. JIM Tell you what — I'll see your play tomorrow night — altho' I've a complex against the theatre. — I'll go to the mat with it. MADELEINE How brave of you ! JIM And I'm going to talk about you to everyone — be- cause you're the first actress I've ever known who takes herself seriously and doesn't drink — or nothing. Didn't think there was such a thing, I'll go tomorrow night. — Mark me. — I owe it to myself — and to my complex. NED [Calling from tahle.l Jim — Come here. JIM [To Madeleine.] 'S'cuse me. — Don't you do it! — Acting's not serious, , . . Biggest joke — [Going up to [123] THE NATIONAL ANTHEM Jim and Arthur at table.] — Madeleine hands me the biggest laugh [Tom sits by Madeleine and Marian and talks to them.] ETTA I'm so fagged. MAUD-ETHEL My slippers hurt. [Easing them by almost taking them off.] ETTA I saw you dancing with Ned. [Laughs.] MAUD-ETHEL Isn't he terrible? When he doesn't tread on you he tears things. [Fingering portions of her drapery that have suffered.] [Roars of laughter come from the table at bach-, Arthur's predominating. Marian looks at him anxiously. ] MAUD-ETHEL Don't see much change in Arthur, do you? ETTA Yes. . . . He's noisier. MAUD-ETHEL I never saw anyone look less married. ETTA Or any one more than Marian. MAUD-ETHEL Arthur's no cinch of a husband. [124] Act II: NEW YORK ETTA I'll have to give them up when I get back. Too strenuous for me. MAUD-ETHEL Funny. I was thinking that too. — You are flushed. ETTA Am I.'' [Taking mirror from her hand bag and powdering.] So I am. Your hair's all messy, dear. MAUD-ETHEL Thank you, dear. [Fingering her hair.] How nice Madeleine looks ! So cool and everything in its place. ETTA Maud-Ethel, I tell you what. We're jazzing our- selves to bits. MAUD-ETHEL Fimny. I was thinking that too. ETTA What do you say to giving it up for a while? MAUD-ETHEL I wiU. Will you.'' ETTA This is my last for quite some time. MAUD-ETHEL What I was thinking. ETTA Tom looks better than I've seen him. MAUD-ETHEL Doesn't seem to belong here. [Ro today. He'll know! ... I can't bear the waiting. . . . Why isn't he here? . . . It's cruel of him! . . . [To Hale.] For ten days I've thought only of death — death — or life. Which? ... If death, how should I meet it? If life, what will I do with it? . . . What? . . . Day and night that thought has haunted me. . . . All day. All night. . . . Life ? Death ! . . . Last night I slept a little. My long waiting was going to end. I'd know soon. So I slept, and dreamt. Of Arthur. . . . He came to me white and drawn. He stood at the foot of my bed. And he pleaded with me — pleaded that I should die. . . . He said he had to go. I must go with him. ... I entreated him to hold on to life. As I had. That it would mean so much more to us than it ever had because of the terror and pain we'd been through. I begged him not to die. We'd live cleaner, think better, for all we'd suffered. We must live. And he looked at me so sadly, so pityingly. "Poor Marian ! Poor old Marian ! Always making up fairy tales. We've done with life, Marian." And I woke, shivering. , . . And I prayed that I might live. That Arthur might live. [Her eyes rest on Carlton.] [189] THE NATIONAL ANTHEM You see, Mr. Carlton, for the first time in our lives Arthur and I have been forced to think. . . . We were cut down. ... It must have been Fate beckoned me to take that poison and sent Arthur out into the night to save me. Fate ! ... It took us out of life, helpless. Just to lie for ten days and nights — thinking. ... It took him in his strength and crushed him. . . . We've been separated — for a purpose. . . . We both see things differently now. ... I will never be the same again. . . . Nor will Arthur. . . . We'll be "newly arisen" when we meet. . . . And life will be so different. So very, very different. . . . [Thinking.l If I live! Oh, where is the doctor.'' Why doesn't he come? I want to know ! I want to know ! HALE Come ! Come ! Marian ! Where's your courage ? MARIAN I haven't any. I'm afraid. MADELEINE Be quiet, dear. MARIAN [Suddenly, clinging to Madeleine.] Do you think he hnows and doesn't want to tell me? Is that why he doesn't come^ MADELEINE Indeed it isn't. He's often a little late. You're not his only patient. He'd be here if [The hell rings. Marian gives a cry. Madeleine [190] Act IV: AFTERNOON OF TENTH DAY goes to the door and opens it. Tom comes in- Marian gives a faint ejaculation of pleasure on seeing him.^ TOM [To Madeleine.] He's in the hall talking to some people. [Hale and Tom welcome each other warmly: both too moved to speak. Hale motions him to go to Marian. As Tom moves forward Carlton inter- cepts him.] CARLTON You the doctor.'' [Tom looks at him in amazement.] [With forced heartiness, trying to Icmgh.] No, John. This is Tom. Tom Carrol. Mr. Carlton. [Tom and Carlton nod perfunctorily.] [Taking Tom to Marian.] My! She'll be glad to see you. CARLTON Sight gladder to see the doctor. TOM [Taking Marian's hand gently.] Marian! [He can say no more — just looks: the change in her strikes him dumb.] MARIAN [Smiling up at him.] Nice of you to come, Tom. . . . I've heard. . . . He's been every day, father. . . . Every day. [191] THE NATIONAL ANTHEM TOM You're much better. Aren't you? MARIAN Yes, Tom. Anxious. That's all. Anxious. Tired of waiting. TOM He'll be here any moment now, MARIAN You shouldn't have come every day. Not every day, Tom. TOM I wanted to, Marian. MARIAN Dear Tom. . . . [To Hale.] He has been worrying Dr. Virande to call in specialists. TOM Why shouldn't he? MARIAN He did. The last one made me feel I'd get well — for a whole day. TOM He was right. MADELEINE Of course he was. TOM You will. [Bell rings sharply. All stop to look in direction of door. Madeleine opens it softly and Dr. Virande comes quietly into the room. He is a slim, shrewd, [192] Act IV: AFTERNOON OF TENTH DAY middle-aged man, dressed as a distinguished Pa- risian. He carries a small black bag.^ DR. VIRANDE Ah! Bonjour! [To Tom, turns to Marian.] And 'ow is ma petite patient.^ What a colour! Ma foil And the eye so bright ! Dear, dear, dear ! Well, well, well ! \_As he opens the bag and takes out stethoscope and in- strument for taJcing blood-pressure. '\ MADELEINE [^Nodding toward the three men.] Shall they go into the next room.'' DR. VIRANDE Mais non! Non ! Make no diiFerence ! None at all. [Taking Marian's wrist and feeling her pulse: looks at watch. Perfect silence. Marian watches him with dis- tended eyes. He closes watch with a snap.] What 'ave you been doing? Your pulse "beat, beat, beat!" Your eyes "dance, dance, dance." Don't I tell you: "quiet, quiet, quiet? Repose?" [Listens with stetho- scope: again Marian stares out into the future. He re- moves the stethoscope.'] "Jump, jump, jump!" What a heart ! "Pump, pump, pump !" What a girl ! To do what you tell her. [To Madeleine.] And what a nurse to let her be all excitement ! Why ? But why ? Don't I tell you keep 'er so? [Makes gesture of per- fect rest.] And 'ere she is. , "Bub, bub, bub." "Ha ! ha! ha!" [By this time he has fastened the blood-pres- sure instrument.] Very naughty! You not deserve to [193] ' THE NATIONAL ANTHEM get well! Naughty! [To Tom.] You make her this way? TOM llrritabli/.'] No! DR. VIRANDE Someone do. Ah ! I know I You bring her another specialist? Eh? TOM [Angrily.'] I didn't. DR. VIRANDE Not SO loud, if you please. [Takes off instrument: thinks. Removes his glasses and icipes them.] All right. Very good. All finished. MARIAN [With a cry.] I'll live? DR. VIRANDE You will live. MARIAN Madeleine! Father! [Cries as they go to her.] DR. VIRANDE And now ! What you crying about ? But you should laugh ! MARIAN [Laughing and crying.] I am. Doctor. I am. DR. VIRANDE You are very lucky. . . . Very. . . . And you should be very grateful. MARIAN I am. I can never thank you enough. [194] Act IV: AFTERNOON OF TENTH DAY DR. VIRANDE Thank me? How foolish! [Points to Madeleine.] Thank 'er. She save your life. Not me. ... It was the milk save you. Not the drugs I give you. The milk right away. That is what saved you. IPutting on his glasses and looking curiously at Madeleine.] Where you learn that? MADELEINE [Smiling.] My cousin is a doctor. And I've always been interested in poisons. DR. VIRANDE 'Ave you indeed? Next time put in ?ome eggs with the milk and carry a little stomach-pump in your waist- belt. Then you not need a doctor at all, and we don't have to wait all these days, see? [Gathering his instru- ments and putting them in his bag.] Now you eat well, sleep well, think well, an' you'll be fine, 'ealthy young lady again. But no "pump, pump," "ha! ha!" Quiet! Rest. Take things easy. [To Madeleine.] So your cousin is a doctor and you love poisons ! What are you? A nurse? MADELEINE An actress. DR. VIRANDE Ah ! an actress ! Where you play ? MADELEINE In London. I got permission to stay with Mrs. Carlton. [195] THE NATIONAL ANTHEM DR. VIRANDE So ? I do not know 'ow you act, but you are very good nurse. [To Marian.] She save you — not me. MARIAN When can I see my husband.'' DR. VIRANDE [Evasively.] Presently! No 'urry. MARIAN Today.'' [i7e shakes his head.] Tomorrow.^ DR. VIRANDE A week from today — per'aps. MARIAN A week! DR. VIRANDE We'll see. MARIAN But I'm well! I'm strong! Why can't I go today — now? [Trying to rise.] DR. VIRANDE Ah ! ah ! ah ! You want to be ill again ? Lie on your back again? MARIAN No, no ! I'll be careful. Really I will. Only I must DR. VIRANDE What I tell you.-* No excitement! Lie still! There you are. The colour in your cheeks ! Your eyes danc- [196] Act IV: AFTERNOON OF TENTH DAY ing. Quiet, I tell you. . . . One week from now I see you — and if you are quiet and peaceful — all right. MARIAN If I am quiet — and peaceful — may I see him sooner? DR. VIRANDE Per'aps. We will see. [To Madeleine.] You move 'er, yes? From 'ere? MADELEINE Today if you'll let me. DR. VIRANDE You 'ave rooms somewhere? MADELEINE [Hands him slip of paper.] There. DR. VIRANDE [Glances at paper.] That will be good. It is quiet. Go now! Away with you ! The noise ! The din ! Mon Dieu! 'Ow people live in it! Be off. [Madeleine hurries out. Hale motions to Marian to introduce him to Dr. Virande.] MARIAN Oh, doctor! My father! DR. VIRANDE Your father? Where? Who? [Moves across and shakes Carlton warmly by the hand.] I am very glad to meet you. Very glad. [197] THE NATIONAL ANTHEM CARLTON That's fine. So am I to meet you. Now shake hands with her father. [Turning him toward Hale.] DR. VIRANDE Oh! [Looking at Hale.] You 'er father? [Looks at Marian, back to Hale.] Certainement, you are! [Laughs a curious little laugh as he presses Hale's hand: looks at Carlton quizzingly,.] What a mistake! [Madeleine comes in with Marian's hat and cloak which she places on the piano. She then calls to Mr. Carlton who joins her and they both go into the room Arthur used to occupy. '\ hale [Shaking the doctor's hand warmly. '\ Thank ye, doc- tor. Thank ye. . . . And God bless ye ! I'd like to speak to you for a minute outside. DR. VIRANDE You sick? HALE No. . . . I'd like to ask you a few questions. [Tears are in his eyes: his voice breaks,^ DR. VIRANDE All right. [Turns to Marian.] Au revoir! Some Itime tomorrow. And then I see 'ow yon obey me. No more "Zit! Zit! Zit!" Gently! Easy! Softly! So ! [Pantomimes resting placidly. ] Then you be — all right. Yes ? MARIAN I'll sleep tonight. ... I'm going to get well. . . . [198] Act IV: AFTERNOON OF TENTH DAY I'm going to see Arthur. . . . Yes, I'll sleep toniy'ht without drugs. DR. VIRANDE Throw them out o' the window. I 'ope you never 'ave to use them again. Congratulations ! I 'ad to be sure. That is why I keep you waiting so long. A nasty poison. Very nasty. We 'ave to be sure with it. And I am, now. You are safe! Au revoir! [Turns to go. Hale walks with him to door.^ HALE Got quite a practice in Paris, eh.'' DR. VIRANDE Oh, yes. Pretty fair. But a dear friend of mine wrote me from America that it is better there for the doctors. Ver' much better for the doctors. . . . Ver- tigo after the jazz. And the nerves break down from keep going all the time. Oh, ver' much better for the doctors. All the time busy. Still Paris ver' good too. Improving every day. [Goes out with Hale.] MARIAN [Hands Tom back a letter and photographs he has been shewing her.'\ It's nice to see something from home. . . . Oh, I wish I were back. . . . Tom ! Have you seen Arthur? . . . Have you.'' . . . Madeleine won't tell me anything about him. Have you seen him.'' TOM [Looking away; distressed-'^ You love him very much; don't you.'' [199] THE NATIONAL ANTHEM MARIAN Of course I do. . . . But differently now. ... I feel so sorry for him. . . . But I did try to make him happy. To keep his love. ... I was so afraid of los- ing him. . . . Instead of helping him I just let myself drift. ... I tried to be his companion. . . . To please him. ... So I drank when he did: and danced into the night, and shouted with him. . . . But always dur- ing it my heart ached. ... I was so unhappy. [Shivers.] Those horrible days and nights. Noise so that you couldn't think. Laugh for fear you'd cry. Drink to keep yourself going — to deaden feeling. . . . Oh, the tiredness of it. . . . Always tired. . . . To have a pulse beating loudly through you with weari- ness ! \_Shivers as she thinks. ] He's had time to escape the sound that kept us prancing, that hateful, deaden- ing sound. . . . And the drink that made us Pagan. [The band starts loudly in the restaurant. She starts up with a loud cry, stopping her ears. Hale and Madeleine enter and hurry to her. Tom shuts the window. Carlton follows Madeleine into the room.'\ It's horrible ! Horrible ! It's as though all the evil in the world was braying out of those instruments. MADELEINE She hasn't heard it for ten days, Mr. Hale. [Through the closed window comes the mocking, jeer- ing, laughing note of the dance. '\ [200] Act IV: AFTERNOON OF TENTH DAY MARIAN [To her father.'] We've come a long way from God, haven't we? HALE [Trying to he jovial.'] Oh, I don't know. There's not much MARIAN [Smiling.] Harm in it? HALE Not a bit. MARIAN I used to fancy it vivacious. It is only noise, hide- ous noise. . . . There is no zest, no richness, no sparkle, no colour, no fire in the life we've been living. ... I see that now. . . . Just drab, dreary, senseless. . . It's a craze. ... A vulgar excitement that needs drink or drugs to endure it. . . . And the utter weariness after- wards. [Opens •unndoxvs and listens to the dance mu- sic] We have come a long way from God, father. . . . Listen to that ! ... As though lost souls were crying to their Maker while Iheir bodies writhe in indecent rhythm. It is not a holy sound, is it? Oh, father, I feel as tho I could be a prophet to my generation. CARLTON No one listens to a prophet, my dear. HALE Oh, come, Marian, it's not so bad. When you're well and strong we'll have many a jazz together. [201] THE NATIONAL ANTHEM MARIAN No, father. It's lost its magic for me. CARLTON Thank God! I'm glad to hear it. . . . Why it's ridiculous. London is jigging to it. . . . Paris is deaf- ened by it. It has become the National Anthem of Civi- lization. HALE You take it too seriously, John. Tragedies happened before the world ever took to jazzing. MARIAN l^Smiling.] Oh, father! CARLTON Reuben, you're a wonder. No harm in anything. MARIAN I hope Arthur can't hear it where he is. CARLTON l^Very quietly.] I'll bet he does. MARIAN I don't think so. Madeleine tells me the hospital is on a very quiet street. [Madeleine puts Marian's cloak around her and hands her her hat.] I hope they don't stare at me. I couldn't bear it. [Loxvers her veil, trembling.] I couldn't bear it. [202] Act IV: AFTERNOON OF TENTH DAY MADELEINE Of course they won't. We'll go straight thru the hall into the cab. MARIAN Oh, how I want to get away from Paris. I want to go home. . . . You are coming, father? [Hale goes to /ler.] Mr. Carlton? [Carlton nods and goes to the chair for his hat and coat.^ Will you come with us, Tom? TOM I'd like to. [Marian, Madeleine and Tom go out.^ MADELEINE [As she passes out.'] Everything will be sent after us, Mr. Hale. HALE [^Puts on his Imt.] Coming, John? [With a crash a deafening jazz dance starts in the tea- room. Carlton thrusts the windows wide open, listens to it contemptuously for a moment, then raises his hat and bows mockingly to it. As the two men go into the corridor the curtain falls The music ( ! ) can be heard for several seconds after- wards triumphantly and deliriously proclaiming its right to the proud distinction Carlton conferred on it, in this year 1921 : — Civilisation's National Anthem.^ THE END OF THE PLAY [203] Deacidified using the Bookkeeper process. Neutralizing agent; Magnesium Oxide Treatment Date: April 2009 PreservationTechnologies a u/nni n i FsnFR IN COLLECTIONS PRESERVATION