And her name is—
(In natural voice, laughing.) Loraine.
VANDERLIP
(With relief in voice.)
You fooled me all right, Loraine. You said you weren't coming to the ball.
LORAINE
I didn't intend to, but everything was packed and ready for the start, and I had nothing to do. So I came.
(A pause.)
Floyd, don't you think you've been dancing with that Mrs. Eppingwell rather frequently?
VANDERLIP
No, I don't.
LORAINE
You've danced every dance with her.
VANDERLIP
Somebody else is dancing with her now.
LORAINE
And, in consequence, you are not dancing at all.
VANDERLIP
(Making movement to take her into ballroom.)
Come, then, let us dance it together.
LORAINE
(Pouting.)
No.
VANDERLIP
(Persuasively.)
Aw, come on.
LORAINE
No.
VANDERLIP
All right, then, don't.
(He stands stolid and silent.)
LORAINE
(After a pause, softly, hesitatingly, tears in voice, etc.)
Floyd—I—
(Breaks down and weeps in feminine way.) (Vanderlip is soft as mush at once. His arm is around her, and she is drawn close to him.)
VANDERLIP
There, there, dear. You know I love you.
LORAINE
(Still weeping.)
I—I am jealous, Floyd. I know it, but I can't help it. You are a man to touch women's hearts. They can't help loving you, and—and—
VANDERLIP
(Showing that he is secretly pleased.)
Oh, pshaw. Anyway, you are the one woman, or I wouldn't be taking you down river to-night.
(Prince has gone to left and is looking into ballroom, so they are unobserved.)
LORAINE
(Recovering.)
Yes, yes, I know. Forgive me. And now I must be going.
(They move to rear to street door. He helps her on with moccasins and street wraps.) Aren't you coming, too?
VANDERLIP
(Opening door jor her.)
No, not yet. But I'll be on time.
(She glances at Prince's back, lifts mask, and raises face for kiss. He bends and kisses her.)
LORAINE
At the water-hole.
VANDERLIP
At twelve sharp.
(She kisses him again, clings to him, and goes out.)
(At sound of door shutting, Prince turns around, then returns to street door.)
PRINCE
Hello!
VANDERLIP
Hello. How d'ye like the job?
PRINCE
I wouldn't undertake it again for all the gold in Klondike.
VANDERLIP
Losing all your friends, eh?
PRINCE
Half of them. They, will butt in, and I have to turn them away. Oh, it's hospitality, you bet. I've been with them on trail, I've eaten their food and slept in their blankets, and now I turn them away from the merrymaking of myself and my friends.
(A knock is heard at door.)
There's one, now.
(Opens door.)
No, it's only Sitka Charley.
(Enter Sitka Charley, who draws Vanderlip to one side.)
SITKA CHARLEY
You come?
VANDERLIP
No, I tell you. No.
SITKA CHARLEY
No come?
VANDERLIP
(Explosively.)
NO!
SITKA CHARLEY
Then um Freda come. She say, you no come, she come. Sure.
VANDERLIP
Come here?
(He shakes his head and laughs incredulously.)
Not on your life.
SITKA CHARLEY
(Starting toward street door.)
No come?
VANDERLIP
(Explosively.)
NO!
(Exit Sitka Charley.)
(Vanderlip goes to rear, takes off domino, disclosing himself as a cowboy. Hangs domino on wall. Takes down from wall a sombrero, which he puts on head. Makes exit to left.)
(Prince, who is now alone, walks over to stove at left, adjusts damper, and warms his hands.)
(The street door is cautiously opened, without knocking, and Sitka Charley puts head inside and peers around. Withdraws head.)
(Street door is again cautiously opened, this time the masked face of a woman appearing, and then Freda, in long cloak, enters. She removes street moccasins, revealing dancing slippers on her feet, and puts moccasins under bench close to door. She removes cloak, and reveals herself in a striking evening gown. As she turns her back to hang cloak on wall, Prince happens to see her. She starts toward ballroom, but he steps in her way and stops her.)
PRINCE
I beg your pardon.
(She waits silently.)
I am the doorkeeper, you know.
(A pause.)
The instructions are that all masks must be lifted at the door.
(Still silence On part of Freda. The situation is awkward for Prince, and he begins again.)
I don't know who you are, but the rules are imperative. I must see your face.
(Steps forward and lifts his hand to raise mask.)
FREDA
(Quickly stepping back and speaking in a slightly muffled voice.)
You will be sorry if you see my face.
PRINCE
I have been made sorry by more than one face I've seen to-night and turned away from the door.
FREDA
But in my case you will be sorry for quite a different reason.
PRINCE
(Curiously.)
For what reason, then, pray?
FREDA
Because, after seeing my face, you will not turn me away.
PRINCE
(With certitude.)
Then there will be no reason for me to turn you away.
FREDA
On the contrary, all the reason in the world. But you won't.
(Prince laughs incredulously. Mrs. Mc-Fee appears in doorway to left, looks suspiciously at them, and disappears.)
So it will be better, Stanley, if you let me in without seeing my face.
PRINCE
(Starting at her use of his given name.) You know me!—er—well!
FREDA
And you know me well. Now let me pass. Some day I will tell you about it, my reason for coming here, and you will be glad.
(She starts as though to go to the ballroom.)
PRINCE
(Springing in her way and seizing her arm.)
No you don't, my lady! Enough fooling. Let me see your face.
FREDA
There have been times when you treated me less roughly. For the sake of those times, let me pass.
PRINCE
(Still retaining hold on her arm, and after hesitating for a moment.)
No, it's a bluff you're running on me. I don't know who you are, but I'm going to find out.
(He lifts free hand toward her mask.)
FREDA
You will be sorry.
(He hesitates.)
Be in ignorance of me, and let me pass. It will be better so.
PRINCE
If you have no right, I'll not let you pass anyway. Now let me see you.
(Still holding her by one arm, he tries to lift mask.)
(Mrs. McFee appears in doorway to left and watches suspiciously.)
(Sitka Charley knocks and then enters through street door, Prince giving a quick glance in his direction and ascertaining that it is all right for him to enter.)
FREDA
(In natural voice.)
Stanley!
PRINCE
(Releasing her and speaking with awe.) No! Not you!
(Freda lifts her mask, her back to Mrs. McFee, and for several seconds, her face serious with resolve, her eyes flashing, she gazes upon him. She lowers mask, and makes as though to start toward door to left. He hesitates, stands aside, then hesitates again.)
It is all my social standing in Dawson is worth, to—to let you pass.
FREDA
(Mockingly.)
I told you you would be sorry.
(Seriously.)
There is Sitka Charley. I want to speak to him. And there's that psalm-singer in the doorway. Don't let her suspect me.
PRINCE
I shall resign my post.
FREDA
Resign? You will be of more help to me if you retain it.
PRINCE
I have been unfaithful to it. Pass, Freda, pass. Who am I to say you nay?
(He leaves her and returns to street door. Freda goes over to Sitka Charley. Mrs. McFee disappears jrom doorway, but reappears one or two times to stare suspiciously.)
FREDA
How is Vanderlip dressed? What does he look like?
SITKA CHARLEY
Um all the same long black dress, like um woman.
FREDA
Dressed as a woman!
SITKA CHARLEY
(Shaking his head.)
No dress woman. Um like—um—um—like um priest man.
(Makes motion of hand around head to describe hood of domino, and motion down to his feet to describe length of domino.)
Um long black, like priest man.
(A domino, with lady on arm, appears in doorway, as though about to enter, then changing mind, disappears.)
Look see! Just like that. That um Vanderlip.
FREDA
All right, Charley. I understand. And now for you. Flossie can't get here too quickly. You must take dogs, fresh dogs, up the trail, and when you meet her, put her on your sled, and race in with her as fast as you can. Tell her Vanderlip sent you and is waiting for her.
SITKA CHARLEY
(Dubiously.)
Um dogs, fresh dogs, have not got.
FREDA
Take my dogs. You know them.
SITKA CHARLEY
(Enthusiastically.)
Um best dogs in Klondike. Sure.
FREDA
And bring Flossie straight to my cabin. Don't stop anywhere else for anything. Right up to the door and in with her. Understand?
SITKA CHARLEY
Um Vanderlip there?
FREDA
Yes, Vanderlip will be there waiting for her.
(Starts him toward street door.)
Now hurry.
(Exit Sitka Charley.)
(To Prince, who is standing forlornly at his post.)
I'm sorry, Stanley, but I had to do this thing. Now I want to find Floyd Vanderlip.
PRINCE
You'll find him in the ballroom. Black domino—you know his height.
FREDA
(Resting one hand on his arm and laughing cheerily.)
There, there, don't look so glum. All is not lost. Nobody will know me, and I'll be gone in five minutes.
(Mrs. McFee appears in doorway to left. Looks at them standing together.)
(Freda crosses to left and goes out, Mrs. McFee standing aside and looking at her closely.)
(Mrs. McFee crosses to Prince.)
MRS. McFEE
Who might that woman be, Mr. Prince?
PRINCE
(Coldly.)
The doorkeeper's lips are sealed. Those were my instructions. The doorkeeper can disclose identities to nobody.
MRS. McFEE
But to me—
PRINCE
(Interrupting icily.)
To nobody. You are made no exception, Mrs. McFee. And furthermore, I'm going to resign.
MRS. McFEE
Resign!
PRINCE
And right now. And whoever takes my place—you'd better put a mask on him, or he'll lose all his friends as I have.
MRS. MCFEE
(Insinuatingly.)
Your friends, the kind of men and women you turned from this door?
PRINCE
(Angrily.)
Yes, my friends, men and women, children of sin, lost, hopeless wretches,—my friends.
MRS. McFEE
(Sniffing and tossing her head, and very frigidly.)
I believe it is just as well, Mr. Prince. I had my doots of you all along. There is no telling what base creatures you have admitted. I shall get an honorable man to guard the door. I shall inform the committee—
PRINCE
(Interrupting.)
Get him! Get him! Go get him! You can't be any too quick for me!
MRS. MCFEE
(Beginning angrily.)
You are a shame and a disgrace, and when I bring your conduct before the committee—
PRINCE
(Interrupting.)
If you don't go right away and get some one to take my place, I'll throw open the door and call in the scum of the town.
(Makes a motion to open door.)
MRS. McFEE
(Aghast, throwing up arms.)
No! No! Dinna be rash!
(She hastens away into ballroom.)
(Several couples have entered from ballroom and are promenading, among them Capt. Eppingwell, by himself, in domino.) (Enter Sitka Charley through street door, looking for some one. He mistakes Capt. Eppingwell for Vanderlip.)
SITKA CHARLEY
Hello, Vanderlip. You no come Freda's cabin you catch um hell, sure.
CAPT. EPPINGWELL
(Starting, and in disguised voice.)
Hello. What's Freda want with me.
SITKA CHARLEY
(Recognizing that it is not Vanderlip's voice, and surprised.)
You no Vanderlip?
CAPT. EPPINGWELL
(Imitating Sitka Charley's voice.)
No. Me Sitka Charley.
SITKA CHARLEY
What for, crazymans? Me Sitka Charley.
CAPT. EPPINGWELL
Me Sitka Charley.
SITKA CHARLEY
No, me.
CAPT. EPPINGWELL
No, me.
(He suddenly takes off domino, disclosing himself in make-up of Sitka Charley. Sitka Charley gazes at him dumbfounded. Rubs his eyes.)
You buy um dogs, good dogs, I sell.
SITKA CHARLEY
You me. Who me?
(Rubs his eyes.)
What for? Everybody crazy. Me crazy too.
CAPT. EPPINGWELL
(Struck by an idea, he puts on domino again, and drags Sitka Charley by arm to back of room.)
Come on, we'll have some fun.
(Feels in pocket of overcoat hanging on wall and brings out a mask, which he puts on Sitka Charley.)
Now for fun!
(Capt. Eppingwell takes Sitka Charley to left, thrusts him into ballroom, and remains in doorway, watching.)
(Enter Freda. Capt. Eppingwell stands aside for her to pass. But she stops and measures his height and build with her eye.)
FREDA
(Softly.)
At last I've found you, Floyd.
CAPT. EPPINGWELL
I like that, guessing me the first time. And who are you?
FREDA
(Surprised.)
Oh! It was a mistake.
(Starts to leave him, but he follows her, detaining her.)
CAPT. EPPINGWELL
Not so fast, fair lady. I've an idea you'll dance—
(Looks at his dance-card.)
—the next quadrille, let us say.
FREDA
I think it's engaged. I've lost my programme.
CAPT. EPPINGWELL
(Putting hand inside domino and bringing forth a programme.)
I have a spare one. Allow me.
(He writes on card.)
(Enter Sitka Charley from left, running away from Clown, who is striking him on back with bladder.)
FREDA
Thank you. The next quadrille then. (Looking at Sitka Charley.)
There is somebody I wish to speak to. Good-by.
CAPT. EPPINGWELL
(Standing aside.)
Good-by.
(Mrs. McFee enters from left with man, whom she takes to street door and who relieves Prince, who makes exit to left.)
(Freda joins in pursuit of Sitka Charley and drives Clown away.)
(Mrs. McFee watches Freda and Sitka Charley.)
FREDA
(Severely.)
I thought you had started up the trail with the dogs long ago. Anything the matter?
SITKA CHARLEY
Me come back speak to you. Me think, um Lisznayi woman wait at water-hole, no Vanderlip come, maybe she make much trouble. Much better Lisznayi woman go long way off. Maybe I think very good tell Lisznayi woman lie. Maybe say Vanderlip meet her twenty mile down trail. One Indian man take her on sled twenty mile down trail, then she sure make no trouble.
FREDA
(Laughing.)
A good idea. You hurry and fix it up, quick, and then start after Flossie.
(Sitka Charley starts to go.)
One moment, Charley. Ten miles down river is Salmon Stake. One missionary man lives at Salmon Stake. Tell Indian man to take Lisznayi woman to missionary house and knock on door. Missionary man gets out of bed and lets them in. Indian man tells missionary man that Lisznayi woman come to see him, come to be good woman.
(She laughs merrily.)
Understand?
SITKA CHARLEY
(Laughing silently.)
Very good. Dam good. All right.
FREDA
(Turning to leave him.)
And hurry as fast as you can.
(Freda, looking over one after another of couples and groups, and watched suspiciously by Mrs. McFee, continues search for Vanderlip and goes to left.)
(Sitka Charley starts toward street door, but is interrupted by Mrs. McFee.)
MRS. MCFEE
Who is that woman?
SITKA CHARLEY
Um crazy womans maybe.
MRS. McFEE
But who is she?
SITKA CHARLEY
(Stirring the air with his hand to describe general mix-up.)
Everybody somebody; somebody nobody; nobody anybody. What for? Sitka Charley no Sitka Charley. Sitka Charley somebody else. Somebody else Sitka Charley.
MRS. McFEE
(With a sour smile of appreciation.)
You do it very well. Allow me to congratulate you.
SITKA CHARLEY
What for long words? Sitka Charley don't know long words.
MRS. McFEE
Oh, I know you, Captain Eppingwell.
SITKA CHARLEY
Me no Captain Eppingwell. Me Sitka Charley.
MRS. MCFEE
You do it excellently. Even I would be almost deceived, I assure you, Captain Eppingwell.
SITKA CHARLEY
Me Captain Eppingwell?
MRS. McFEE
Of course you are. I knew you at once.
SITKA CHARLEY
Mrs. Eppingwell my squaw?
MRS. MCFEE
Yes, and Mrs. Eppingwell is your wife. Now tell me who that woman was.
SITKA CHARLEY
(After holding head in both hands.)
Me no drink whiskey all day. Yet me all the same drunk. Me no me. Me Captain Eppingwell. Me have one fine squaw. Wow! (Soberly, holding one hand to head and shaking head.)
Sitka Charley much sick. Sitka Charley go home. (Starts for street door, but Mrs. McFee detains him.)
MRS. McFEE
No, no, Captain, you are coming with me to see how the supper is being laid, and you are going to tell me who that woman is.
(Sitka Charley does not want to go, but, vainly protesting, is lugged off by Mrs. McFee through door to left.)
(Capt. Eppingwell, who has lingered about, watches them got and when gone he takes off domino, hangs same on wall, and discloses himself in make-up of Sitka Charley. He proceeds to put wood in stove to right.)
(Freda enters from left and sees Capt. Eppingwell bending over woodbox. She crosses over to him in an angry, determined way.)
FREDA
(Very severely.)
Still here! When I asked you to hurry!
(Capt. Eppingwell straightens up abruptly.)
Shame on you, Charley. Now go, as fast as you can.
CAPT. EPPINGWELL
(Imitating Sitka Charley.)
What for go? You buy dogs? I sell dogs, good dogs.
FREDA
(With petulant dismay.)
Oh! You again!
CAPT. EPPINGWELL
Me Sitka Charley.
FREDA
You are the man in the domino. I might have known you were not Sitka Charley. You are taller.
CAPT. EPPINGWELL
(Natural voice.)
And in the domino you mistook me because of my height.
(Freda starts.)
Oh, I know. The man you seek is about my height, eh?
FREDA
Who are you?
CAPT. EPPINGWELL
Who are you?
FREDA
You don't know me. I am a new arrival in Dawson. I came in over the ice.
CAPT. EPPINGWELL
(With sudden conviction.)
Now I have you! I met you to-day.
FREDA
(Shaking head.)
No, you didn't.
CAPT. EPPINGWELL
Yes, I did. You are the Lisznayi—I beg pardon—Miss—er—Miss Lisznayi.
FREDA
(Simulating surrender.)
It's a shame to be found out so quickly. Mister—? Mister—?
CAPT. EPPINGWELL
Mr. Sitka Charley.
FREDA
Well, then, Mr. Sitka Charley, I am displeased with you. You are too cunning. I am really vexed, and for punishment I am going to leave you.
(She curtsies deeply, and walks away toward left.)
CAPT. EPPINGWELL
(To himself, as he watches her.)
That voice. That walk! That carriage!
(Scratches head, then suddenly.)
Fooled! Fooled! That's not the Lisznayi!
(He springs after her.)
(A voice, off stage, is heard calling, "Take partners for a quadrille!")
I beg pardon, but this dance is ours.
FREDA
(Drawing watch and looking at it.)
Yes, it is, but really, I must beg off. I—I don't like quadrilles.
(Looks at dance-card.)
There's a waltz two dances down. I'll give you that.
(A man, in costume, appears in doorway to left, and shouts: "One more couple needed! Here, you! One more couple!")
CAPT. EPPINGWELL
(Offering his arm.)
There! We're needed.
(Man in doorway, who has turned around and surveyed ballroom, turns back and calls: "Too late! Sets are full!" Opening bars of dance are heard.)
CAPT. EPPINGWELL
(Seizing Freda in his arms and starting to waltz.)
We'll make a waltz of it here.
(They waltz a jew steps, Freda abandoning herself to it, when she suddenly stops and withdraws herselj from his arms.)
FREDA
Please let me go. You may have that waltz later.
(She looks at watch and betrays her need for haste.)
CAPT. EPPINGWELL
(Very deliberately.)
There is something familiar about you. I have seen you before. I have danced with you before. And—well, I have never danced with the Lisznayi.
FREDA
No, you don't know me.
CAPT. EPPINGWELL
Let me tell you the occasion.
FREDA
(Very restless and desiring to go.)
There has been no occasion.
CAPT. EPPINGWELL
(Firmly.)
Nevertheless, let me tell you. It may interest you.
(Makes appropriate gestures.)
Here was the stove, here the piano. Three-fingered Jack played the fiddle. It was Old Dan Tucker that we danced. Remember?
(She shakes her head.)
There was the doorway to the front, always open. Through it came the clatter of chips, the rattle of roulette balls, the calls of the gamekeepers. And there was the rear door. It opened upon the street. When it opened the frost came through, in a cloud of vapor, rolling along the floor and hiding the feet and legs of the dancers to the knees. And we danced, you and I, we danced Old Dan Tucker.
FREDA
(Innocently.)
How interesting! Tell me, that—that what you described, it is a—a dance-hall? Am I right?
CAPT. EPPINGWELL
(With firm conviction.)
I remember when you came in through the door. The frost rolled in with you, and you wore the most magnificent furs in all the Klondike. And you danced in moccasins, in little red moccasins. Remember?
FREDA
(Still innocently.)
Ah, those furs! Is there a woman in the land who has not heard of them and envied their possessor, this woman you take me for—and I know who you mean—this—this dance-hall artist, this—this Freda Moloof. And how often have you danced with her?—with me, I mean.
CAPT. EPPINGWELL
(Shaken for the moment.)
Once. That one night. But I have seen her several times. Who has not?
FREDA
Her? Me, you mean.
CAPT. EPPINGWELL
(With renewed and emphatic conviction.)
Yes, and one other thing. That accent!
(Gripping her by the arm.)
Freda, it is you!
FREDA
At last I am discovered. Confess, sir, it took you some time.
CAPT. EPPINGWELL
I do confess you puzzled me not a little. But what are you doing here? It's daring, to say the least.
FREDA
(Nonchalantly.)
Oh, I was weary for a change. I was yawning my head off. So I thought I'd come up and see if you and your select friends danced Old Dan Tucker as well as we danced it that—that night.
CAPT. EPPINGWELL
But if you are discovered?
FREDA
Only you could discover me.
CAPT. EPPINGWELL
(With due hesitancy.)
There is trouble brewing, Freda. Frankly, I believe it would be better for you to go.
(Freda laughs long, a mocking, silvery laughter which perplexes and bewilders him.)
Come, come. What's the matter?
(Freda continues to laugh.)
What's struck you so funny?
FREDA
(Quieting down, but holding hand to side.) It is better than I dreamed.
CAPT. EPPINGWELL
What is better?
FREDA
My make-up.
Capt. Eppingwell (In doubt.)
Make-up?
FREDA
The make-up under my make-up, if you please.
CAPT. EPPINGWELL
(With a faint glimmer of conviction this time.)
But the accent! You can't get away from it.
FREDA
Far be it from me to get away from it. On the contrary, I sought after it, and I flatter myself that I got it pretty close to the original. I'd like to meet this Freda. I'll wager my accent is nearer hers than her own is.
CAPT. EPPINGWELL
(Completely beaten, slowly.)
Then who the deuce are you? Where could you have learned that accent?
FREDA
(As one will tell a story.)
Why, I was caught in a storm over on Indian River. We were compelled to seek shelter in a little cabin, and whom should we find there, likewise driven in by the storm, but this Freda Moloof. There was no standing on ceremony nor conventionality. It was life or death, and in I went. We were storm-bound two days. And she was very kind to me.
(A pause, then, voice tender and sympathetic.)
I felt so sorry for her.
(A pause.)
CAPT. EPPINGWELL
(Impatiently.)
Well?
FREDA
Well, I studied her, that is all.
CAPT. EPPINGWELL
(Triumphantly.)
Now I have you! You are the woman reporter of the Kansas City Star!
FREDA
(Mockingly.)
Think so? Think so?
(She laughs.)
Now I am really going to leave you. I must. But don't forget that waltz.
(She walks away and makes exit to left.)
CAPT. EPPINGWELL
(In utter bewilderment, watching her till she disappears.)
Well, I'll be damned.
(He puts on domino and follows after her, still intent on discovering her identity, and makes exit to left.)
(The quadrille is over, and as he passes out, couples begin to enter from left.)
(Mrs. McFee and Sitka Charley enter from left. She still holds him captive, hanging on his arm.)
MRS. McFEE
(Ingratiatingly, making as near a simper as her sour mouth and age will permit.) You might have asked me to dance, Captain.
SITKA CHARLEY
(Rolling his head.)
Me no dance. Me much sick. Me crazy. Me drunk. Me go home.
(Strives to get to street door, but she clings to his arm and holds him back.)
MRS. McFEE
Dinna you think by now, Captain, that you've convinced me what a fine actor you are?
SITKA CHARLEY
(Striving for street door, but being held back, in final break-down of patience.)
What for, dam fool woman you?
MRS. McFEE
(Dropping his arm and recoiling.)
Oh!
SITKA CHARLEY
(In a rage, dancing about.)
Crazy! Fool! Dam! What for?
MRS. McFEE
Oh! Oh! And I thought you were a gentleman! You have insulted me!
SITKA CHARLEY
(Raging.)
Sure! Me insult. Much insult. Dam! Dam! Dam!
MRS. McFEE
Oh! This cannot be Captain Eppingwell. 'Tis some base creature from the town. I am contameenated!
(Sticks fingers in ears and screams shrilly.) (Many come running jrom ballroom at sound of screams. Sitka Charley still rages, shouting, "Dam! Dam! Dam!")
(Capt. Eppingwell comes in with some lady on arm and joins an onlooking group near stove to right. He still wears domino.)
MRS. McFEE
(To onlookers.)
This vile creature has insulted me. Where is the doorkeeper?
(Turns and beckons Doorkeeper.)
Come you, Mr. McFarline, and eject this beast.
(Doorkeeper starts forward. Clown startles Sitka Charley by unexpectedly hitting him a resounding blow with bladder between the shoulders. Sitka Charley runs in and out amongst people, pursued by Doorkeeper and Clown. The Doorkeeper is slow and ponderous, and falls down. At the moment he falls, Sitka Charley dashes into group where stands Capt. Eppingwell, whom he strips, with one rush, of domino. Sitka Charley swiftly puts domino on himself and dashes, on, still pursued by Clown, who is striking him with bladder. Both make exit to left.)
(Doorkeeper, getting up, mistakes Capt. Eppingwell for Sitka Charley, and proceeds to eject him. Capt. Eppingwell resists. Mrs. McFee urges on the Doorkeeper. In struggle, Capt. Eppingwell's mask comes off. Doorkeeper, in amazement, lets go of him. Capt. Eppingwell is angry, Mrs. McFee dumfounded, everybody excited.—Tableau.)
(Sitka Charley dashes in from left, pursued by Clown. Sitka Charley races madly across stage, like a dog with a tin can to its tail, and jerks open street door. Doorkeeper tries to stop him, clutches domino, but Sitka Charley plunges through and slams door after him, leaving domino in hands of Doorkeeper, who is nonplussed for a moment, then walks over and presents it to Capt. Eppingwell.)
(Excitement quiets down. Groups break up and begin to pass off stage to left.)
(Capt. Eppingwell, having lingered in order to recover his breath, goes to left rear and hangs up domino on wall.)
(Vanderlip, in costume of cowboy, and Mrs. Eppingwell are standing talking by stove to right front.)
(Freda enters alone from left and looks about. Recognizes Capt. Eppingwell and goes up to him.)
Capt. Eppingwell (Gallantly.)
Ah, mysterious fair one!
FREDA
(Lightly.)
Surely you have guessed me by now.
CAPT. EPPINGWELL
(Shaking head sadly.)
I was never so befooled in my life. I could swear I know you, but to save me I can't put my finger on you.
FREDA
You may if you wish.
CAPT. EPPINGWELL
(Surprised.)
What?
FREDA
(Seriously.)
I say you may know me if you wish.
CAPT. EPPINGWELL
(Eagerly.)
How?—When?
FREDA
Now.
(He eagerly makes to lift mask and learn her identity. She steps hand quickly, with one hand holding him off.)
No, no; there are certain stipulations.
CAPT. EPPINGWELL
(Displaying in advance a willingness to consent.)
Yes, yes.
FREDA
(Deliberately.)
First, you must ask no questions.
(He nods head.)
Second, you must tell nobody.
(He nods.)
And third, you must point out to me Floyd Vanderlip.
CAPT. EPPINGWELL
(Nodding head.)
I agree. Now who are you?
FREDA
(Laughing.)
But you haven't pointed out Floyd Vanderlip.
CAPT. EPPINGWELL
(Briskly, indicating with his head.)
There he is.
FREDA
(Looking.)
And with whom is he talking?
CAPT. EPPINGWELL
(Starting as though to answer, then changing his mind.)
That was not in the bond. Now who are you?
FREDA
(Mockingly.)
Guess.
CAPT. EPPINGWELL
I call that cruel. I've exhausted my guesses. (Freda lifts mask and gazes at him for several seconds, her face serious, her eyes flashing.)
CAPT. EPPINGWELL
(Giving a long whistle of comprehension.) Freda!
FREDA
Even so, Freda. And I thank you. And I shall have yet more to thank you for. That waltz—you must let me off.
Capt. Eppingwell There is no reason. Let me have it.
FREDA
Impossible. I shall be gone.
(Looks at watch.)
Why, it is half-past eleven! I am going now, in a minute.
Capt. Eppingwell With Vanderlip?
FREDA
With Vanderlip.
Capt. Eppingwell (Earnestly.)
Freda, do you know all the circumstances of this—er—affair? Do you know what you are doing?
FREDA
(Lightly.)....
You are asking questions, sir. It is not in the bond.
Capt. Eppingwell (Giving in.)
Right. I beg your pardon.
(A knock is heard at street door. Doorkeeper opens. Enter messenger, an Indian, in parka and trail costume. He appears tired. He looks about hesitatingly, dazzled by the lights.)
CAPT. EPPINGWELL
(Recognizing messenger, to Freda.) Pardon me, please, a moment. I must speak to that man.
(Walks over to Indian.).
How soon she come?
INDIAN
Come soon. Much dogs. Come fast. One hour maybe. Maybe half-hour.
CAPT. EPPINGWELL
All right. Come along.
(Walks to Mrs. Eppingwell and Vanderlip at stove at right front, Indian at his heels.)
Here's that man I told you of, Maud. You had better speak with him—I beg your pardon, Vanderlip.
VANDERLIP
(Jovially.)
That's all right. Business is business.
MRS. EPPINGWELL
(Sweetly.)
Oh, Mr. Vanderlip, I left my programme on the piano, and I really don't know with whom I have the next dance. Please.
(She steps aside with Indian to talk.)
(Vanderlip starts toward exit to left.) (Capt. Eppingwell starts to rejoin Freda.) (Freda starts to cut off Vanderlip, crossing Capt. Eppingwell.)
CAPT. EPPINGWELL
(Softly.)
Oh, Freda! That waltz.
FREDA
One moment, please.
(Passes on to Vanderlip.)
(Capt. Eppingwell stands gazing.)
(A dance has finished, and couples begin to stray in.)
(Clown and a lady accost Capt. Eppingwell, and the three move along together.)
(Mrs. McFee enters. As she passes by, she looks hard and suspiciously at Freda.)
FREDA
Come with me, Floyd. I want you now.
VANDERLIP
(With mock politeness.)
And who are you, may I ask?
FREDA
Freda.
VANDERLIP
(Beginning explosively.)
What the—
(Then breaking down.)
My God, Freda, what have you come here for?
FREDA
For you.
VANDERLIP
(Hesitatingly.)
I don't understand. You are nothing to me.
FREDA
And never have been anything, remember that, Floyd.
(Conveying the impression that she may be something to him in the immediate future.) But I want you now.
VANDERLIP
And never will be anything, I assure you. (Getting back his courage.)
Faugh! What have you come here for, anyway?
FREDA
For you. And, moreover, you are going to come with me. You are going to let me take your arm, and you see that door there—you are going to take me out through it.
VANDERLIP
(Bellicosely.)
I see myself doing it.
FREDA
Yes, and I see you going on to my cabin.
VANDERLIP
(Interested, curiously.)
To your cabin?
FREDA
Yes, to my cabin. I want to talk with you.
VANDERLIP
This is a good place right here. Talk away.
FREDA
No, you must come with me.
VANDERLIP
(Obstinately.)
Not on your life, Freda. Right here I stay.
FREDA
You have seen a little of me, Floyd; but you have heard more of me.
VANDERLIP
(Interrupting.)
Oh, yes, I have heard that you play with men as a child plays with bubbles. It is a saying in the country. Well,
(Planting himself firmly.)
I am no bubble.
FREDA
(Quietly.)
What time is it, Floyd?
VANDERLIP
(Looking at watch, startled.)
Twenty-five to twelve! Gee! I've got to get out of this!
(Makes a hasty movement, as though to start toward street door. Freda takes his arm.)
What's this?
FREDA
Nothing. Come along. I am in a hurry.
VANDERLIP
Now look here, Freda, I'm not going with you because you're making me. I've got to go anyway. I've got to be elsewhere, and pretty quick.
FREDA
Oh, far from it. I never make anybody do anything. They just—do it.
VANDERLIP
All right, I'll let you come with me, but only outside. I'm not going to your cabin.
FREDA
That is for you to determine. Let us start.
(Mrs. Eppingwell talks with Indian. Mrs. Eppingwell now and again glances anxiously at Freda and Vanderlip; Mrs. McFee is more suspicious than ever, her hands involuntarily clutching and unclutching as though with desire to spring upon Freda and held back only by doubt.)
VANDERLIP
(Absently.)
'I'll have to rush. Got to change my clothes—
FREDA
(Interrupting.)
Not for my cabin. Those clothes are good enough.
VANDERLIP
(Angrily.)
But I tell you I am not going to your cabin.
FREDA
Oh, well, never mind. The first thing is to get out of here. After that we'll see.
VANDERLIP
(Defiantly.)
You bet we'll see.
(They start toward street door, Freda on his arm.)
MRS. EPPINGWELL
(Hurriedly, to Capt. Eppingwell.)
Who is that woman?
CAPT. EPPINGWELL
(Awkwardly.)
How should I know?
MRS. EPPINGWELL
(Reproachfully, and hurriedly.)
Archie! I saw her lift her mask to you a moment ago.
CAPT. EPPINGWELL
I can't tell—I—she—
(Mrs. Eppingwell does not listen further, but hastens to cut off Freda and Vanderlip.)
FREDA
(Seeing Mrs. Eppingwell approaching.) If anybody stops me, Floyd, I shall quarrel, I know.
VANDERLIP
(Frightened.)
For goodness' sake, don't make a scene.
FREDA
Then get me out of here quick. Don't stop. (But Vanderlip stops when cut off by Mrs. Eppingwell.)
MRS. EPPINGWELL
I beg pardon. You are not going, Mr. Vanderlip?
VANDERLIP
(Awkwardly.)
I—yes, I'm going.
Mrs. Eppingwell But those dances?
VANDERLIP
(Hiding embarrassment behind brusqueness.)
I've suddenly recollected something. I'm in a hurry. Please excuse me, Mrs. Eppingwell.
(Freda starts at mention of name.)