u W V PS 635 .Z9 1144 Copy 1 The RED GROSS NURSE A PLAY IN SIX SCENES Giving the Actual Experiences of an American Girl. BY Mrs. Sue Froman Matthews Author of Grandmother, A Tale of Old Kentucky, etc.. In Collaboration With Miss Lida Hafford Kentucky State Supervisor, American Red Cross Price, Tvrenty-flve Cents Copyright, 1917, by Mrs. Sue Froman Matthews and Miss Lida Hafford. All Rights Reserved. PLEASE READ CAREFULLY The acting rights of this play are reserved by the authors. Performance is strictly forbidden, unless their express consent has been obtained. Attention is called to the penalties provided by law for any in- fringements of their rights, as follows : "Sec. 4966. Any person publicly performing or represent- ing any dramatic or musical composition for which copy- right has been obtained, without the consent of the proprie- tor of said dramatic or musical composer, or his heirs or assigns, shall be liable for damages therefor, such damage in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dollars for every sub- sequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilfui and for profit, such person or persons shall be guilty of a misdemeanor, and upon conviction be imprisoned for a period not exceeding one year." U. S. Revised Statutes, Title 60, Chap. 3. For permission to present "The Red Cross Nurse,** Address the authors at 1930 Duker Avenue, Louisville, Ky. FEB 16 1913 ©cm 489 91 SCENES OF THE PLAY. SCENE I. A Red Cross Work Room. SCENE II. Farewell Gathering. SCENE III. A Battle Field at Verdun. SCENE IV. Base Hospital — Surgical Ward. SCENE V. Same — Convalescent Ward. SCENE VI. Back in America. CHARACTERS. Red Cross Nurse Yetta Sherman ^, . . { Leonora Howe Musicians I g^r^ G^yle Elocutionist Anne Kathryn Coghill Soloist Dolly Evans "Long Boy" Sarah Salyers Ella Mundy Juliet Goslee, Bride's Alaids J Ruth Ramey, Isabel Calvert Ruth Bet Coghill kAnnolia Pr>'or Maid of Honor Grace Tandy Best Man Harold Ramey Minister John Norman Flower Girl Mildred Winslow Ring Bearer Wm. Geier Deatherage Hero John Way Boy Scout Norman Llewellyn Mary Caroline Conway Mary Emily Donaldson Ida Cooper Pryor Alarguerite Grobmyer Wink Stringfellow LMaud Deweese, etc. Red Cross Workers (as many as practicable) 'John Bovard T. M. Minish Soldiers J Wm. Adkinson (as many as practicable) | Jos. Green Stanley Grobmeyer .Earl Whitehead, etc. Note. — The ladies and gentlemen, whose names appear above opposite the different characters were the ones who took part in "The Red Cross Nurse," at its first presentation. THE RED CROSS NURSE. Scene I. Soldiers march through audience to stage. Boy Scout picketing in front of the curtain. A tiny girl in Red Cross Uniform sings "Three Cheers for the Red, White and Blue." A Red Cross Wofk Room. (Piano, table, scissors, machine, chairs, banners, etc. Girls dressed in white, with Red Cross coif. Anne Kathr>'n Coghill working on a jacket; Mary Caroline Conway sewing on a pair of pajamas; Isabel Calvert sewing on a machine, etc., all talking and working busily when the curtain rises.) Leonora Howe — Knitting is harder to do than sewing, but it is more aristocratic. Mary Caroline — What makes you think so? Sarah Salyers — Because the ladies of the New York 400 knit. Don't you remember the woman who knitted a pair of socks and sent them to a soldier, with a perfumed note, saying, "Accept these with my love and prayers. I got one a little small, but it will stretch, and the other I tried to make larger. If it is too large, it will shrink after it once gets wet in the trenches." The soldier used one to carry his cigars in and the other for a knapsack. (Knock at the door, enter Maud Deweese, in street attire. Anne Kathryn greets her and presents her to the other girls.) Maud Deweese — I have decided, girls, that I will join the Red Cross and work with you, too. Won't you teach me to knit a wash-cloth? Anne Kathryn — 'Why, yes, if you insist upon learning to knit the wash-cloths, but there are so many other things which are more important. Wouldn't you like to see what we are doing? Maud Deweese — Why, yes, I surely would. Anne Kathryn — Well, then, if you are going to join our work room, you must have a cap. Dolly, see if you can't find one for Maud. (While the cap is being put on, the girls comment on how becoming it is, etc.) Anne Kathryn — Now, Isabel, show Maud what you are making. Isabel — Why, this is a surgeon's apron. (Puts it on.) I am just taking off the pockets which some one has put on this apron. You know no surgeon would ever have time to use a pocket, and some of those dreadful little germs might collect in there and jump out when the surgeon is operating. Ruth Ramey — (Promenading up and down) — Just look at this shoulder wrap that I am making. It is just like the old-fashioned nightingale. Sarah Salyers— Say, girls, how does that differ from the German aeroplane? ALL— We give up. Sarah— It has wings, but is 'armless. Anne Kathryn — I am knitting a sleeveless sweater. It is just like the old-fashioned hug-me-tight. This is the twent3'-third one I have made. Mary Caroline — Did you send them all to the same boy? Anne Kathryn — No. silly, how could one boy wear twen- ty-three sweaters? Leonora Howe — I am knitting a wristlet. I think it is nicer to send to one's lover than a sweater, for it holds his hand, and that is so much more dignified. Maud — She always was such a bashful little thing. Ruth Bet Coghill — Have you seen the hospital bed shirt ? This one was made to open in the front, so that the pocket rests calmly on the shoulder blade, instead of over the heart, where it belongs, and I am mak- ing it over now. Mary Caroline — (Holding up pair of pajamas) — Well, you aren't any more industrious than I am. This is the third pair of pajamas I have made today. Sara Gayle — Say, girls, you all know that prim old maid, a sister-in-law of Dr. Henderson? ^LL— Yes. Sara — Well, she came to the Red Cross rooms the other day, and said that she would be glad to sew for the Red Cross, but she must request that these white garments be called Summer Suits, for she should blush in thinking she was sewing on a pair of gen- tleman's pajamas. (All laugh). Isabel — Just like her. Annolia — Well, this is the most interesting of all — the "Comfort Kit." (She takes out the articles, one by one, holding them up and explaining what they are.) Girls, you see this trench mirror? It is made of highly polished steel and is as clear as a French mirror. It will not break either. The boys wear it over their hearts, and they say it has saved many a soldier's life. Ella Mundy— 'Wouldn't it be interesting if that very mir- ror would save one of our brother's lives? Annolia — And here's his pipe. You see he will have a few dreams. Ella Mundy — Yes, pipe dreams. Marguerite — And, girls, here's a tablet. I have written my name and address on the fly-leaf. If he writes to me, I will let you know about it. GIRLS — All right, don't you forget. Annolia — And that finishes my "kit." Sara Salyers — Seems to me that everything went into that kit but milk. (All laugh.) Mary Caroline — You might add a cake of milk choco- late. Maud — Ida Cooper, what are you doing? Ida Cooper — Oh, I cannot tell a lie. I am knitting a sock. They say that I have done better than any of the other girls, for I have knit one inch in two days. Anne Kathryn — Listen, girls, yesterday, old Mrs. Mason came down from the mountains and asked to knit some socks, because so many of the mountain boys have been drafted. She was given some yarn and needles and, really, she knit one pair in two hours. But, when they were handed to Mrs. Winslow, she looked them over and, holding them up, said, "See, here, you have left out the heel and have not knit out the toe." "Oh," said Mrs. Mason, "Them's jist like I make 'em for my man, and he will wear one pair all winter and never need darning." "But their toes will get cold," urged Mrs. Winslow. The old lady replied, "A leetle might, but a man's heel is tough hide." Mary Emily — I think I could make a good suggestion to the army officers. Jidiet — Wise little girls, what is it? Mary Emily — Don't you think some plan could be found by which the socks could be taken off of the soldiers who are killed and saved for the live ones? 'Twould make less knitting to do. Ruth — And doubtless there are more dead than live soldiers. Sarah Salyers — Well, let's change the subject and talk about something more cheerful. See this operating legging? This is put on the soldier, when the oper- ation is not on the lower limbs, to keep up his vitality and the circulation of the blood. I have just composed a poem about the operating legging. If you like, I will read it to you. "I'll tell you a secret, don't mention it, please, Let's make just oodles and oodles of these And send them over about December one, Just as the holiday season's begun. Imagine old Santa Claus' dismay (Somewhere in France on Christmas day) When he sees a million socks like this. And has to fill them with Christmas gifts." Ida Cooper Pryor — Well, I don't agree with you on that. Sarah — Why, what's the matter? Ida Cooper — Why, that "Somewhere in France." Sarah — What's the matter with that? Ida Cooper — Our soldiers will be in Berlin on Christmas Eve. (All cheer). Grace Tandy — Well, this is a bed sock made out of scraps, because, you know in war times you can't afford to waste anything. It wouldn't be a bad idea to have a million of these on the other side of the mantle Christmas Eve, would it? Ida Cooper — Say, girls, I saw something the other night that I never will get over. Girls — What was that? Ida Cooper — The moon. (Ever>^body groans). Marguerite — Say, that reminds me. You have read of the Albinos, who have pink eyes? Well, yesterday, I met a lady who had lovely eyes : one was brown and the other was blue. Both pretty eyes, but so odd. Sara Gayle — Well, I saw a girl who, from her forehead straight down her nose, across her mouth and down to her throat, the whole left side of her face was black. (Sara follows with her finger down her face, when she is telling the story, marking the line). Ella Mundy — How odd, and the other side white? Sara — Oh! No, the other side was black, too. Anne Kathryn — Go on, girls, and practice those songs. Mr. Green may call on you any day to sing at one of his conventions. Wink — He has already held h^s State Convention, Anne Kathryn — Don't you know he is now on the Na- tional Committee, and is organizing State Con- ventions all over the country? Leonora — He'll never ask us to sing in (make local hits), but he may ask us to sing in . Juliet — ^You have an unworthy opinion of our ability. (Knock). Enter Boy Scout — Here's a telegram for Miss Yetta. Anne Kathryn — Well, she hasn't been here this after- noon. You will have to take that to her home. Grac^— What do you suppose that telegram is? Sarah — Oh, I suppose it's a message from one of her many suitors. Anne Kathryn — I wonder — ^Well, girls, go on with your practicing. (Dolly, Maud, Isabel, Grace, Sarah gather around the piano and sing several patriotic songs; then they begin on "Good-Bye Germany." All sing "Uncle Sam is Fix- ing up for War.") Sarah — Let's not stand here like a lot of kids. Stand out here and sing, imagining we have a fine audience of great men and politicians. Mary Emily — Who, for instance? Sarah — William Jennings Bryan, Theodore Roosevelt, Mr. James Garfield and the Honorable Mr. Greene. Ruth Bet — And Mr. (make local hits) and Air. . Orace — They aren't politicians. Isabel — Mr. (some one-horse politician). Leonora — (Striking the piano hard). Sing. (They all sing "Uncle Sam ") Sarah — Oh, wait, I wasn't ready. (They begin again "Uncle Sam ") Sarah — I beg your pardon, my music is upside down. (They begin again "Uncle Sam is Fixing up for War.") Sarah — It seems to me he is already fixed. Dolly — Please don't stop and spoil our singing. (All sing "Uncle Sam ." Sarah's music slips and falls on the floor.) Sarah — Well, that w^asn't my fault. Dolly — Well, whose fault was it? Sarah — Mr. was looking at me. (All sing "Uncle Sam is Fixing up for War.") Sarah — I flatted that d or else you were sharp. Dolly — You are generally FLAT. Sarah— WtW, you think you are SHARP. Mary Caroline — You are like the girl v/ho said she could sing soprano as well as any one, only she sang it a little lower. Ruth Bet — Imagine the harmony. Marguerite — Girls, do quit squabbHng and practice. Sarah — All right, we'll sing this time, for third time's charm. (All sing — "Uncle Sam "). Sarah — No, this isn't the third time, it's the fifth. Dolly — Please, Sarah, pay attention and let's all begin with the first chord. Isabel — No more fooling. (Leonora begins at the prelude and Sarah sings out full and strong with the first note, then stops and stares at the others.) Dolly — Don't you know the prelude from the chord to begin with? Sarah — But you said to begin with the first chord. Isabel — Seven is our lucky number. We'll sing this time, and if you don't sing, we'll sing without you. (All sing the whole song well.) Enter — Yeita. (In street attire.) Yetta — Your song was too happy. My mood is for something more serious. Mary Emily — You, serious? It is the first time; what can have happened? Yetta — My application to go as Red Cross nurse has been accepted. I sail next week. Wink — But aren't you glad? You have been praying for it for months. 7^//a— Yes, I am glad. Still the parting with home and friends makes one a little melancholy. Mary Caroline — (Coming forward) — What will we ever do without you? You are the life of all our parties. Ella Mundy — Say, Yetta, be gay and happy one more time for our sakes. Let us give you an old-fash- ioned "Good-bye party," will you? Yetta — Sure. I will enjoy anything you do for me, but it will only make me more sad to leave. Anne Kathryn — Cheer up, Yetta. You will get to see the world, go to France, do a lot of good, have a consciousness of having done a glorious deed, meet your fate and come home and be happy ever after. Yetta — (Seriously) — See France, do good, meet my fate, come home, be happy ever after? I hope your words are prophetic. Marguerite — Suppose a U-boat sinks your ship? Leonora — Then she will be happy ever after, because she is one who is sure of heaven. Sara Gayle — Put away such serious thoughts and let's plan for the party. Dolly, you and Ruth plan the program and Maude and I will get out the invita- tions. Maud — Will you come to my house? ALL — Yes, sure — that's central and you have such a nice, large parlor. Yetta— WeW, good-bye, girls, till tomorrow night. I have to see my grandmother and a lot of friends who are going to feel pretty bad. Sarah — Your grandmother will be the bravest of all, for she has such perfect faith in the Lord doing what she prays for. Yetta — And I have faith in her prayers. Exit. Curtain. Scene II. Farewell. (A parlor, decorated for special occasion. Guests alt in evening dress. Some sitting engaged in low conver- sation, some standing). Curtain rises. Enter — Yetta. Guests look up and greet her, as they naturally would. She greets back, Maud Deweese — (Standing, goes to meet her and leads her to a chair that has been decorated with bunt- ing and placed at the front of the stage opposite the piano. Yetta sits down.) Wink — Yetta, you must try to forget all about the ocean trip and the horrid war and the U-boats, and just for this evening enjoy the program we have pre- pared for you. We have done our best. (A pro- gram of songs, recitations, piano solos, etc., follows, forming the main entertainment of the evening. . Use best talent available.)* Wink — The last on our program is an original song,, composed in love of our guest of honor. Dolly will sing the solo part, and we will all join in the chorus. But, before we sing, I want to present you, Yetta, with a little pocket Testament. The value of it will be in the fact that we have all marked our favorite verses, and written our names on the margin, so that when you read, you will be sure to think of us. Yetta — (Rising), My heart is too full of gladness and sadness to make any kind of a speech, but you know how I appreciate everything, and your own hearts will tell you what I should like to say. Dolly rises and sings. Rest remain seated. Tune (At the Cross. Verses very slowly, chorus faster.)- "Farewell dear girl, we love you well, And all our hearts are true. And when we work or while we play Our thoughts will be with you. Chorus. {Faster). "You'll come back, you'll come back and be glad that you went For the good that you did in the fray. And with peace at home, and the foe subdued, We'll sing and be happy all the day, *"IiOng Boy" sung by tall girl in soldier's coat and hat, and. carrying a gun, adds humorous touch to program. •*'Tra la la, la la la, Tra la la, la la la ; (brightly) The burden of the war rolled away. Tra la la la, la, Tra la, la, la, la. We'll sing and be happy all the day. ^'We know that you are brave and good And under God's own care. And so by faith we'll worry not. But wait for answered prayer. Choriis. '^'You'll come back, you'll come back and be glad that you went. For the good that you did in the fray, And with peace at home and the foe subdued, We'll sing and be happy all the day. "Tra la la, la la la; Tra la la, la la. The burden of the war rolled away. Tra la la la, Tra la la la la, We'll sing and be happy all the day." i^Maiid — Now while we have our refreshments, we will enjoy the Edison. Small dishes of cream and Vvafers brought in. Not much time taken in eating. Music going all the time. — To be used, if prac- ticable.) Ruth and Juliet come forward with a large flag. Yetta rises ; they drape her in the flag. Ruth — Wherever you go, this flag will protect you, because it represents our nation, "and blessed is the nation whose God is the Lord." (Then all form a circle around Yetta and raise hid- den flags and sing to the tune of "Mar>dand, My Mary- land," the song to Old Glory.) "Lift high the banner that we love; Victor>' 'tis singing. Let every nation on the earth, Hear our voices ringing. Choriis. "Yes, lift the lovely banner high ^ Like morning's crimson glory. With field as blue as God's own sky. Every star a stor>'. "Throw down the guns, outsound the bells. In the rocking steeples ; And let our chorus throb and swell O'er a happy people. Chorus. '"Now for our darling flag we sing, ! Pride of all the nation. The flag that never knew a king. Freedom's constellation." Chorus. Curtain., Scene III. Battle Field at Verdun. (With curtain down, let tramping across the stage begin. Curtain up — light indistinct. Refugees fleeing across stage. Refugees with shawls over their heads, several mothers carrying babies on their hip, babies crying. They carry all kinds of bundles, drop them, run back for them. Confusion everywhere. Soldiers march- ing across the stage in rear and, while still marching, curtain down and at least 24 guns shot off, two and three at a time, and then more at intervals. (Curtain rises on dead and wounded soldiers strewn about. Two nurses at work at the back of stage giving water or lifting to better position. Give plenty of time. Near front, the hero painted very white, with some red ink on shirt, one arm fast under him. Yetta, kneehng by him, relieves the cramped arm. John (feebly). Please — take— one — kiss back — to — mother. Yetta — (kisses him long and tenderly. (If the kiss is not real and very long and tender, the whole point of the play is lost.) John — (opens his eyes, looks at Yetta). That kiss brought me back — to life. Yetta — (Smiles down at him, then motions for some one. Two soldiers enter with a stretcher and car- ry him off the stage.) Curtain. Scene IV. Field Hospital. At least three cots occupied by soldiers. Nurses in attendance, taking temperature, etc. On the cot near the front is John. Yetta, sitting beside him, reads aloud the third chapter of First John, Verses 1-3; 11-24. Curtain. Scene V. Convalescent Ward. Several soldiers in convalescent robes, head bandaged, arm in sling, etc., sitting around, nurses in attendance. Boy Scout enters, bringing letters from home. One boy dictating letter to nurse. John and Yetta walking slowly across the stage. Her arm supports him and his arm is across her shoulders. Yetta— Yon are stronger today, aren't you? John— Yes, but I don't want to get all my strength back. Yetta— Why, why? John — I like my support too well. (Yetta makes him comfortable in big, easy chair.) Curtain. Plenty of time should be given to Scenes III., IV., V. An opportunity is given for demonstrating all the gar- ments and surgical dressings made in Red Cross Chap- ters, thus making the play instructive, as well as en- tertaining. Scene VI. Finale. Parlor scene in America. Girls all dressed for even- ing, sit or stand expectantly. Sara comes in, goes to the piano. Dolly comes forward and sings "Oh, Promise Me." Then follows Wagner's Wedding March. The minister enters and stands well to the front with back to audience. Enter bridal party, grouping them- selves to left and right. As bride and bridegroom kneel before the mininster, Anne Kathryn steps forward and says slowly and distinctly, "Do you remember the pro- phecy? Go to France — Do your bit, meet your fate, ■come home and live happy ever after?" Curtain falls. Curtain up with all the players grouped around bridal party. Audience rises and joins in singing "Star Spangled Banner." Patriotic Songs. (i) That Red Cross Girl of Mine. (2) America, Here's My Boy. (3) If I had a Son for each Star in Old Glory. (4) Joan of Arc. (5) Good-Bye, Germany. (6) Long Boy. (7) Over There. (8) The Long, Long Trail. <9) Keep the Home Fires Burning. r LIBRARY OF CONGRESS 00142120100 • Press of Transylvania Printing Co., Lexington, Ky.