ACT II

ANTEROOM OF PIONEER HALL

Scene. Anteroom of Pioneer Hall. It is ten-thirty P.M. The room is large and bare. Its walls are of logs, stuffed between with brown moss. Street door to rear, in centre. Doors, window-frames, and sashes of rough, unstained pine boards. At one side of door is wisp-broom for brushing snow from moccasins. On either side of door is an ordinary small-paned window, and beneath either window is a rough wooden bench. Under benches are large out-door moccasins, left there after the manner of overshoes, by their owners. In available space on rear wall, many wooden pegs, on which are hanging furs, parkas, hats, wraps, etc. Midway between front and rear, and at equal distances between centre and sides, running at full blast, are two large wood-burning stoves. Alongside each stove is a wood-box filled with firewood. On right, a window. On left, wide doorway, open, connecting with ballroom. Through doorway come occasional snatches of dance-music, bursts of laughter and of voices. Because it is very cold, street door is kept closed, and is opened by doorkeeper only when some one knocks, and then only long enough for that one to enter. All parleying is done on inside with door closed. Prince, as doorkeeper, is standing at rear by street door. Men and women, in costume, are disappearing through door to left, from where come strains of a waltz.

PRINCE

(Drawing up his shoulders, as if cold.) B-r-r!

(Crosses rapidly to lejt and peers through doorway into ballroom, looking jor somebody. Holds up his finger and beckons.) Here, you, Billy! More fire! Hi yu skookum fire!

(Enter Indian, who proceeds to fire up both stoves.)

(Prince stands looking into ballroom. A knock is heard at street door. He returns and opens door.)

(A Man enters, masked and in heavy fur overcoat.)

PRINCE

(Hastily closing door.)

Hello.

(The Man hesitates, looks around, and starts to cross to left.)

PRINCE

(Plucking him by the arm.)

Well?

MAN

(Pausing, and then, as if discovering reason for his detention.)

Oh!

(Sits down on bench and proceeds to remove moccasins.)

PRINCE

Masks must be lifted at the door, you know.

MAN

(In muffled voice.)

And give myself away? Oh, no.

PRINCE

The doorkeeper's lips are sealed. I give nobody's identity away. Come on, let's see who you are.

(Reaches out and lifts mask.)

Jack Denison!

MAN

(In clear voice.)

Yours truly, Prince, my boy.

PRINCE

But you can't come in here, old man.

MAN

And why not?

PRINCE

(Stuttering and stammering.)

Why—I—they're damned select—it's the women, you know—and I—they—well, they made me doorkeeper, and—

(Breaking down.)

—you know well enough yourself, Jack.

MAN

(Rising as though to go, and in angry tones.) By God, you can come down to Jack Denison's joint all right, and buck Jack Denison's faro layout all right, and have a social drink with him all right; but when Jack Denison comes up to your doings, you turn'm down like he had smallpox.

PRINCE

It's not my fault. It's the women, I tell you. They're running the show.

MAN

(Wheedlingly.)

You might let a fellow in just for a peep. Nobody'll know. I'll clear out before they unmask.

PRINCE

(Pleadingly.)

I can't really, old man, I—

(Catches sight oj Mrs. McFee, who appears in doorway to left.)

Look at her! Get out quick!

(Places hand on his shoulder in friendly way and starts to shove him out.)

MAN

(Catching sight of Mrs. McFee.)

Wow!

(With bodily expression of fear, shrinks behind Prince and allows himself to be shoved out.)

MRS. McFEE

(Crossing over to Prince, and suspiciously.) Who might that body be?

PRINCE

(Wiping his brow.)

One of the unelect, I am sorry to say, Mrs. McFee.

MRS. McFEE

A gambler man, I take it?

(Prince nods.)

But I can no see, Mr. Prince, why you should conduct negotiations inside the door, contameenating the air with the bodily presence of the children of sin.

PRINCE

(Slight note of anger in his voice.)

Do you know how cold it is, Mrs. McFee?

MRS. MCFEE

I have no given it a thought.

PRINCE

Well, it's seventy degrees below zero, and still going down. If that door is open one minute, a refrigerator would be comfortable alongside that ballroom. And if you don't like the way I'm doing things—

(A knock is heard, and he opens door. Sitka Charley squeezes in.)

PRINCE

(Very politely.)

Can Sitka Charley come in, Mrs. McFee?

MRS. McFEE

(Turning to go.)

He is a good body. There is no reason why he should not bide a wee.

(To Sitka Charley.)

But you must go right away again, Charley.

SITKA CHARLEY

(Nods his head, and then to Prince.) Where um Vanderlip?

PRINCE

He's here somewhere. Go and find him.

(Laughter and voices, and many couples enter from lejt, some in costume, several in hooded dominos.)

SITKA CHARLEY

(Recoiling, startled and excited.)

What that?

(Prince laughs.)

What for? Everybody crazy?

PRINCE

(Laughing.)

Button, button, who's got the button. Go and find him.

(Sitka Charley, walking stealthily, like a wild animal in dangerous territory, goes adventuring amongst the maskers.) (After some time, a domino takes Sitka Charley by the arm and leads him apart.)

SITKA CHARLEY

(Dragging back and struggling to escape.) What for, crazymans?

VANDERLIP

Shut up! It's me, Vanderlip. Looking for me?

SITKA CHARLEY

(With relief.)

Um.

VANDERLIP

Anything wrong?

SITKA CHARLEY

(Shaking head.)

No wrong. All right. Um Freda want you come right away.

VANDERLIP

(Surprised.)

Freda! What's she want with me?

SITKA CHARLEY

Um no tell. Um say: "Charley, you go Pioneer Hall quick. All the same one big dance. You catch um Vanderlip. You make um come right away."

VANDERLIP

(Puzzled.)

Where?

SITKA CHARLEY

Um Freda's cabin. You come now?

VANDERLIP

(Thinks for a minute, with a bothered air.) I'll come in a little while. You tell her.

(Turns to rejoin dancers, and speaks over shoulder.)

Dogs all right?

SITKA CHARLEY

Um.

VANDERLIP

Be at the water-hole at twelve o'clock?

SITKA CHARLEY

Um. Sure.

(Sitka Charley gains street door and goes out.)

(A knock is heard at door. Enter Dave Harney, costumed as a Scotch minister. He passes Prince's inspection, removes street moccasins and parka, and walks to the front. His shambling, loose-jointed gait discovers him. There is hand-clapping and laughter, and there are cries of "Harney! Harney!" "Dave Harney!" Crowd singsy "For the sugar-man will catch you if you don't watch out." He accepts the discovery, goes over to stove at right, pulls newspaper out of pocket, and begins to read. The dancers crowd about him, demanding the news. He makes to be offended by them and walks away, reading paper. They follow behind him, still clamoring for the news. He promenades about stage and then makes exit to left, followed by the whole crew, with the exception of one domino and a Court Lady of the time of Louis XVI, who linger by stove to left.)

COURT LADY

Mrs. Eppingwell I haven't seen your make-up, Archie.

CAPT. EPPINGWELL

Domino,

(In disguised voice, declaiming.)

Would that I might claim Archie for myself, there is such affectionate possession in the way you say it. Who is this Archie, sweet lady?

MRS. EPPINGWELL

Come, come, Archie, a truce to fooling. Besides, you can't fool me anyway. Did you get the dogs off?

CAPT. EPPINGWELL

(In natural voice.)

Promptly, and with the one-eyed man. Also a spare man to come back post-haste and let us know their progress.

MRS. EPPINGWELL

Then when should Flossie arrive?

CAPT. EPPINGWELL

We figured it out. Barring accidents, or the unusual, she'll be here by eleven-thirty—at any rate, not later than midnight.

MRS. EPPINGWELL

(Considering.)

Not later than midnight.

CAPT. EPPINGWELL

Of course, after all, one can't tell within an hour.

Mrs. Eppingwell And she is to be brought here?

CAPT. EPPINGWELL

She'll ride the sled right up to the door. A knock, and then, enter Flossie.

MRS. EPPINGWELL

(With gratified smile.)

And then all our troubles will be over. And now for your make-up. I insist.

(Capt. Eppingwell slips off domino and stands forth a faithful copy of Sitka Charley.)

MRS. EPPINGWELL

Sitka Charley!

CAPT. EPPINGWELL

(Imitating Sitka Charley's voice.)

Um wantum dogs? I sell um dogs, much good dogs.

MRS. EPPINGWELL

(Clapping her hands.)

Excellent!

(She catches sight of Sitka Charley, who is entering through street door at rear.)

Quick!

(Helps Capt. Eppingwell on with domino.)

Now let us return to the ballroom and find Floyd Vanderlip. I'm pretty sure of him. He's in a domino, too.

(They start for exit to left. Sitka Charley, mistaking Capt. Eppingwell for Vanderlip, signals to him a desire to speak with him, but is ignored. Exit Mrs. Eppingwell and Capt. Eppingwell. Sitka Charley stands a moment, puzzled, watching them go, then follows after them. Makes, exit, and a moment later enters with Vanderlip, who is still in domino.)

VANDERLIP

(Testily.)

What do you want now?

SITKA CHARLEY

Me no want. Freda want.

VANDERLIP

What's she want?

SITKA CHARLEY

Want you.

VANDERLIP

I haven't anything to do with her. She can keep on wanting. I'm busy.

SITKA CHARLEY

Um want you now, right away, quick.

VANDERLIP

(Angrily.)

You go to the devil. And she can go, too, for all I care.

(Enter Dave Harney from left, still reading newspaper, and followed by the dancers.)

SITKA CHARLEY

I tell Freda you say go to devil?

VANDERLIP

(Flinging away angrily.)

Tell her! Tell her! Just as long as you quit bothering me.

(And then, seriously.)

And when you've told her you'd better go and see everything's in shape.

SITKA CHARLEY

(Starting for street door.)

Dogs, sleds, everything all right.

(Exit Sitka Charley.)

DAVE HARNEY

(In centre of stage, turning suddenly upon rout at his heels.)

Well? What d'ye want?

(The rout gathers about him, facing him. There are cries of: "The news! The news!" "What's happening down in God's country?" "Who won the championship?" "How'd the election turn out?" "Was Tammany downed?" "Is it true the United States is fighting Germany?" "Is war really declared?" etc.)

DAVE HARNEY

Got any sugar?

(Groans, cat-calls, and laughter.)

A Voice

The meanest man in the Klondike.

DAVE HARNEY

So you'd be, dodgast you, if you hadn't no sweetenin' for your coffee and mush.

Another Voice Speech! Speech!

Voices

Speech! Speech!

DAVE HARNEY

All right, consarn you, I'll speechify.

(Clears his throat.)

Ladies an' gentlemen—ahem—

(Stops to clear throat.)

A VOICE

Bring him some water. A glass of water, please, for the speaker.

ANOTHER VOICE

Get a box for him.

(The firewood is dumped out of the wood-box, which is placed before Dave Harney upside down. He is helped upon it.)

A VOICE

Now he's going to read us all the news. (Cheers and hand-clapping.)

DAVE HARNEY

(Folding newspaper and putting it in his pocket.)

My friend, you've got another guess comin'. I'm goin' to read you the riot act. An' here it is, short an' simple. You've got all the sugar, an' I've got all the noos. Nothin' to it but a dicker. We'll swop. That's what we'll do, we'll swop. (Cheers.)

An' I say again, for them as is dull of hearin', we'll swop. After the unmaskin', you all will assemble here in this here room an' hear the noospaper read, advertisements an' all.

(Cheers.)

An' in the meantime, I'm open to subscriptions in the form of promissory notes. Said notes shall be for the sum of one heapin', large tin cup of sugar, white or brown, to be paid to party of the first part—you all is party to the second part—to be paid to party of the first part inside twenty-four hours after the delivery of the goods, to wit, the noos. Said party of the first part hereby agreein' to send a man with a sack around to the cabins of said party of the second part an' collect face value of promissory note, to wit, one heapin', large tin cup of sugar, white or brown. Them that signs notes hears the noospaper read, them that don't, don't. Thankin' you kindly, one an' all, I remain, yours truly, an' am ready to take promissory notes here an' now.

(Cheers, laughter, and consent.)

A VOICE

But we haven't any pen or ink, Dave.

DAVE HARNEY

You've got to sit up all night to get up earlier than Dave Harney in the mornin'. Here you are.

(Draws pen, inkstand, and paper pad from pockets.)

An' you might as well sign first, young feller.

(The signing of notes begins, Dave Harney, with ink and paper, passing from one to another as the rout breaks up and starts back to ballroom for next dance.)

(Pausing in doorway to left.)

Just as easy—like shooting fish in a bucket.

(Goes out.)

(Enter Mrs. Eppingwell on arm of Vanderlip, who is still in domino. They promenade, talking, about room. They are followed by Loraine Lisznayi, masked and magnificently costumed, who keeps her eyes on them and betrays keen interest in them.)

MRS. EPPINGWELL

Wasn't it funny I guessed you, Mr. Vanderlip, in that first dance?

VANDERLIP

You have a good eye.

MRS. EPPINGWELL

And possibly I really wanted to find you, you know.

VANDERLIP

(Awkwardly, but pleased.)

Hum, yes, I suppose so. And I was looking for you, too, hard as I could.

MRS. EPPINGWELL

You'd never guess how I guessed you.

(He shakes his head.)

It is very simple. You are the same height as Captain Eppingwell.

(She laughs merrily.)

VANDERLIP

(Looking at dance-card.)

Hello, I haven't the next dance with you!

MRS. EPPINGWELL

No, that's promised to—well, to somebody else.

VANDERLIP

But the next after is mine.

MRS. EPPINGWELL

(Looking at dance-card.)

And the next after that. I'm almost afraid I'm dancing too much with you. What will people say?

VANDERLIP

(Pleased, and eagerly.)

Ah, but they don't know who we are.

MRS. EPPINGWELL

They will after the unmasking. Then they will remember us together so much.

VANDERLIP

(As though struck by a thought of something else.)

What time will they unmask?

MRS. EPPINGWELL

Two o'clock. And (Looks at card.) there is a waltz after that I should like. You do waltz so well, Mr. Vanderlip.

VANDERLIP

I won't be able to make that waltz, I—(Breaks off suddenly.)

MRS. EPPINGWELL

Why, you, of all men, are not going home early?

VANDERLIP

No—I—that is—

(Looks at card, studies it profoundly, as though it would get him out of his difficulty.)

Why, yes, of course we can have that waltz together. I thought it was already engaged, that was all.

(Enter Capt. Eppingwell, who comes up to them, still in domino.)

CAPT. EPPINGWELL

(Disguising voice.)

The next is mine, I believe, fair lady.

(Vanderlip ranges up alongside of him and measures height of shoulders. Capt. Eppingwell curiously observes the action, and speaks with gruff voice.)

Well, stranger, what's up?

VANDERLIP

We're both up.

CAPT. EPPINGWELL

Up to what?

VANDERLIP

Up to each other. We're the same height, and I've guessed you, Captain Eppingwell.

(All laugh together, and Capt. Eppingwell bears Mrs. Eppingwell away. They make exit to left.)

(Loraine accosts Vanderlip.)

LORAINE

(In disguised voice.)

A word in your ear, sir.

(Vanderlip is politely agreeable, and listens.)

All is discovered.

(He starts.)

Your actions have betrayed you.

VANDERLIP

Who are you?

LORAINE

Never mind who I am. I know.

(Takes his hand and looks at palm.) You are about to make a long journey.

(He starts.)

I see a water-hole.

(He starts.)

I hear a clock strike twelve.

(He starts.)

She is a dark woman, a foreigner.

(He starts.)

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.)

MRS. EPPINGWELL

(Reproachfully.)

And you promised to take me in to supper.

VANDERLIP

Of course, of course. And I will. I'll come back.

MRS. EPPINGWELL

I'd rather you didn't go—Floyd. The next dance

(Looking at his card.) is ours. It will begin in a minute.

(Vanderlip does not know what to say. Freda urges him to continue toward door by tugging privily on his arm. Also she glances apprehensively at Mrs. McFee, who, with a set expression on face, has drawn nearer.)

VANDERLIP

(Hesitatingly.)

Really, Mrs. Eppingwell, I—

FREDA

(Interrupting, urging him by arm to start toward door.)

We'll be late. We must go.

(Vanderlip half starts to go with her toward door.)

MRS. EPPINGWELL

(To Freda.)

I beg pardon, but you scarcely understand.

FREDA

(Sharply, overwrought nervously.)

It would be better, Mrs. Eppingwell, did your husband understand as well as I.

(Mrs. Eppingwell is visibly hurt, and for the moment shocked into silence.)

VANDERLIP

Now, look here, I'm not going to have any quarrelling between you women.

MRS. EPPINGWELL

(With sudden suspicion, ignoring Vanderlip.)

Who are you?

FREDA

(Coldly.)

One whose existence would scarcely interest you, Mrs. Eppingwell.

VANDERLIP

(Whose efforts to make peace are ignored.) Oh, I say—

(Mrs. McFee has drawn nearer. Everybody on stage is interested.)

Mrs. Eppingwell I have the right to know.

FREDA

(Scathingly.)

As custodian of the community's morals?

MRS. EPPINGWELL

And why not?

FREDA

(Mockingly.)

Ah, and why not?

MRS. EPPINGWELL

(With energy, but coolly and collectedly.)

You have the advantage. You know who I am. Who are you? I demand to know.

(Freda laughs lightly and mockingly.)

MRS. McFEE

(Entering group with a very determined air and pausing an instant.)

We'll settle that, Mrs. Eppingwell.

(Mrs. McFee suddenly springs upon Freda, tearing mask jrom face. Freda is startled and frightened. Vanderlip, the situation beyond him, stares helplessly back and forth between Freda and Mrs. Eppingwell. Everybody on the stage stares at Freda, forming a wide and irregular circle of onlookers, who are too polite to crowd closer, but who, nevertheless, cannot resist staring, one and all, from a distance.)

MRS. MCFEE

(Sarcastically, shrilly.)

Mrs. Eppingwell, it is with great pleasure I make you acquainted with Freda Moloof—Miss Freda Moloof, as I understand.

(Mrs. Eppingwell makes a gesture to silence Mrs. McFee, who pauses for a moment.)

Mayhap you dinna know the lady. Let me tell you—

VANDERLIP

(Interrupting.)

Now, here, I say, what's the good—

MRS. McFEE

(Interrupting, and withering him with a look.)

Child of Perdition!

(She continues.)

As I was saying, this woman's antecedents—a dancing girl, a destroyer of men's souls, a bold, brazen hussy, a servant of Satan, a—

Mrs. Eppingwell (Interrupting.)

That will do, Mrs. McFee. Will you please leave me to talk with her?

(Mrs. McFee, still holding mask, snorts and withdraws a step from group.)

FREDA

(Quickly, excitedly, eyes flashing.)

I do not want you to talk with me. What more can you say than that woman (Indicating Mrs. McFee, who snorts.) has said? I want to go. Come on, Floyd.

MRS. EPPINGWELL

(Gently.)

I do not wish to be harsh.

FREDA

(On verge oj tears, yet dry-eyed and resolute.)

Be anything but kind. That I will not bear.

Mrs. Eppingwell (Beginning gently.)

I—

FREDA

(Interrupting, excitedly.)

It is you that have the advantage now, hiding behind that mask. Your face is clothed. I am as naked before you, (Glancing around masked circle and shrinking as a naked woman might shrink.) before all of you.

MRS. EPPINGWELL

But you should not have come here.

FREDA

I had reason to come.

MRS. EPPINGWELL

An evil reason, I fear. However—

(She calmly removes her own mask.)

(For a long moment they regard each other with fixed gaze, Freda aggressive, meteoric, at bay; Mrs. Eppingwell calm-eyed, serene, dispassionate. Freda begins to soften.)

FREDA

(Softly.)

You are kind.

MRS. EPPINGWELL

No; it is merely fair play.

MRS. McFEE

(Bursting out wrathfully.)

Why dinna you tell the hussy to go?

MRS. EPPINGWELL

(Masterfully.)

Be quiet.

FREDA

(Breaking down, seeming to droop for an instant, with one short dry sob or catch in the throat.)

Yes, I will go, Mrs. Eppingwell.

(Turning to Vanderlip.)

Will you come, Floyd?

(Vanderlip looks to Mrs. Eppingwell for consent.)

MRS. EPPINGWELL

Mr. Vanderlip will stay.

(Freda, broken down, beaten, but with no tears, no wringing of hands, nor customary signs of feminine weakness, with head up, mechanically resolute and defiant, ordinary carriage and speed of walk, goes toward street door. Silence. Everybody watches her. Doorkeeper does not assist her when she gropes blindly under bench for street moccasins.)

(What is emphasized is her isolation. She is not one of them, and they regard her as they would regard a strange animal which had strayed in out of the night.)

(She sits down on bench to put on street moccasins. Just as she lifts her foot to put on first moccasin, she pauses, thinks, then puts foot down again. She puts down moccasins, stands up, pauses irresolutely a moment, then walks forward to Mrs. Eppingwell and Vanderlip.)

FREDA

(Quietly.)

Mrs. Eppingwell, pardon me, but I had forgotten for the moment what I came for.

MRS. EPPINGWELL

And that is—?

FREDA

Floyd Vanderlip.

VANDERLIP

(Angrily.)

Now look here, Freda, I tell you I won't stand for this.

(Freda ignores him.)

Mrs. Eppingwell I trust, Miss Moloof—

FREDA

(Interrupting.)

Call me Freda.

(Bitterly.)

Everybody calls me Freda.

MRS. EPPINGWELL

Well, Freda, then. Have you thought what you are doing? It is an awkward thing to play with souls. What right have you?

FREDA

(Laughing harshly.)

Right? I have no rights. Only privileges.

MRS. EPPINGWELL

(With touch of anger.)

Licenses, I should say.

(Mrs. McFee snorts and approaches.)

FREDA

Thank you, licenses. I have licenses which you have not, for, you see, you are the wife of a captain.

MRS. EPPINGWELL

What do you want with this man?

FREDA

I might ask what you want with him? You have your husband.

MRS. EPPINGWELL

And you?

FREDA

(Wearily.)

Men, just men.

MRS. EPPINGWELL

(Anger growing.)

You are all that has been said of you, a destroyer of men.

FREDA

(Nodding her head in assent.)

Come on, Floyd. I want you. And be warned by Mrs. Eppingwell, I want to destroy you. (Imperiously.)

Come.

(Vanderlip has by now been reduced to the helplessness of a puppet. He makes to start.)

MRS. EPPINGWELL

(Imperiously.)

Floyd Vanderlip, you remain where you are. (He stops.)

FREDA

(Almost whispering.)

Come.

(He makes to start.)

MRS. EPPINGWELL

(Warningly, imperiously.) Floyd!

(He stops.)

MRS. McFEE

(To Vanderlip, witheringly, imitating his hesitancy by bobbing her body.)

You weak and sinful creature, bobbing here, and bobbing there, like a chicken with its head cut off!

VANDERLIP

(Stirred to sudden flame of anger.)

Once for all, Freda, I'm not going with you.

FREDA

(Quietly.)

What time is it, Floyd?

VANDERLIP

(Looking at watch, startled.)

Quarter to twelve! I must go, Mrs. Eppingwell. Good-by.

(He starts toward door at heels of Freda, who leads him by a couple of steps.)

MRS. EPPINGWELL

Shame on you,

(Freda glances back and smiles a hard smile.)

FREDA MOLOOF.

(Calling softly.)

Floyd!

(Vanderlip hesitates. Freda turns her face, blazingly imperious, upon him, and he slinks on after her. Dead silence.)

(When they reach door.)

Help me on with my moccasins, Floyd.

(He hesitates, with a last faint spark of rebellion. She looks at him, blazingly imperious.)

There they are.

(He is beaten. Stoops for moccasins. She sits down on bench. He puts moccasins on her feet. They stand up. He helps her on with her cloak. While he is putting on his own moccasins and a big bearskin overcoat, she pulls hood of cloak over her head and covering her ears. Then she puts on her mittens. Then she waits for him. He puts on cap and mittens and opens street door.)

(Recollecting, and turning toward Mrs. McFee.)

Go, get my mask.

(He obeys, amid dead silence. Mrs. McFee mechanically surrenders mask to him. He returns. Opens door. Freda passes out. He follows.)

CURTAIN