ACT III

FREDA MOLOOF'S CABIN

Scene. Freda Moloofs cabin. It is eleven forty-five at night. The room is large, and luxuriously furnished. Its walls are of logs stuffed between with brown moss. Doors of rough, unstained pine boards, also window-frames and sashes. Street door to rear, in centre. On either side of door is an ordinary, small-paned window. To left of door a plain chair. On rear wall, near door, are wooden pegs, from which hang cloaks, wraps, furs, etc., also wisp-brooms for brushing snow from moccasins.

The luxury of furnishing is of the solid order. No gim-cracks, no bric-a-brac. Furniture is rough, made in the Klondike. Tables, chairs, etc., are unpolished; they are made from pine lumber, are unstained, rough, massive. There is no carpet. Bearskins, etc., litter the floor. Strange juxtaposition of rough pine furniture, costly rugs, etc.; and, strangest of all, a grand piano. The cheapest and simplest and ugliest of kerosene lamps are used for lighting purposes, also candles. On walls are magnificent moose-horns and other appropriate trophies and weapons of the Northland (such as great ivory-headed spears and a pair of tusks of the mammoth); but there are no framed paintings.

Midway between front and rear, and midway between centre and right, a large, wood-burning stove. Beside it a woodbox. On stove a tea-kettle is simmering. To left of stove, and near it, table, with table-cover on it, a few books and magazines, and a cheap kerosene lamp; around table several pine chairs. Between table and stove two easy chairs of rough pine, massive, thrown over with furs. On right, at front, against wall, a large, comfortable lounging-couch with many cushions. On left, at front, a grand piano. On piano a small, gilt French clock is ticking.

The room is luxurious, comfortable, picturesque, emphasizing the contact of civilization and the wilderness. In short, it is the best possible living apartment that money can purchase in the Klondike.

A Maid is in easy chair, reading magazine and yawning. Door opens on right. Indian enters with armful of firewood, which he carries to stove and dumps in woodbox. He proceeds to put several sticks of wood into stave and to adjust damper. His entrance arouses Maid, who looks up, yawns, lays magazine face-down on lap, yawns again, at same time stretching arms behind head, and glances at clock. It is quite a distance to clock. She rubs eyes and looks again.

MAID

Ten minutes to twelve. (Yawns.)

INDIAN

What time come?

MAID

(Shaking head.)

I don't know.

(Yawning.)

I never know.

INDIAN

Me go to bed.

MAID

You'd better not. She said we were to stay up.

INDIAN

What for? Much trouble you think? What she do? Where she go?

MAID

(Yawning.)

How should I know?

INDIAN

Sitka Charley take dogs. Sitka Charley big hurry. What for?

MAID

(Listening.)

There she comes now.

(Maid rises to her feet, like a soldier coming to attention, hastily puts magazine on table, and brushes down front of skirt. Indian puts another stick of wood into stove and busies himself with raking ashes level in ash-box of stove.)

(Street door opens. Freda enters, leading Vanderlip by the hand. Both are mittened and in same wraps, coats, etc., with which they left anteroom of Pioneer Hall.)

(Indian finishes with stove and goes out slowly to right. Maid goes to rear and helps Freda off with wraps, moccasins, etc.)

(Vanderlip, who has come in reluctantly, does not remove mittens or cap, and stands sullenly inside the door, though he cannot forbear glancing curiously around.)

FREDA

(Seeming in high spirits, while Maid is taking off her street moccasins.)

And now for a toddy! You've never tasted Minnie's. She makes them—

(Holding up hands.)

oh, to the king's taste, and to a Klondike king's at that.

VANDERLIP

(Brusquely.)

Sorry. Won't have time. What did you want me for?

FREDA

My! There's the man of it!

(Imitating his voice and manner.) What did you want me for?

(Natural voiced)

Can't let the poor woman catch her breath. Won't sit down for a moment in the warm.

(Motions to Maid to help him off with his bearskin overcoat.)

Must know what he's wanted for. Must know right away. Must go right away. Oh, my! Oh, my!

(Maid starts to help him off with overcoat. He jerks away from her.)

VANDERLIP

(Sullenly.)

What do you want to say to me? Fire away.

FREDA

(Laying hand on his arm.)

Floyd—

(Hesitating.)

—dear Floyd.... You are big and strong. I know, too, that you are kind. Be kind now, just a little kind, a very little. I can't talk with you here, this way. It would be ridiculous.

(Beginning to help him take off coat, in which operation his assistance is restricted to non-resistance.)

Come and sit by the fire a moment.

(Hands overcoat to Maid, who hangs it up on wall.)

Just for a moment.

(Untying ear-flaps, and removing his cap, which Maid hangs up. She pushes him on to chair and lifts one foot to remove street moccasins.)

VANDERLIP

(Helplessly expostulating.)

Now here, I say—

(She persists.)

I won't have a woman doing that for me.

(Pushes her away and removes moccasins himself. He stands up.)

I said I wasn't coming to your cabin, Freda; and I can't stay anyway—only for that one moment, that's all.

FREDA

(Taking his hand and starting to lead him forward.)

That is all I wanted, just the moment. And it is sweet of you to give it to me.

(Vanderlip pauses and looks around room with interest. Freda pauses with him. Maid remains in rear, putting moccasins away, etc.)

VANDERLIP

(More genially, forgetting to be sullen.)

I say, Freda, you're fixed comfortably.

FREDA

Think so?

VANDERLIP

It's grand style, I must say. Nothing like it in the land. You're the only person that has three rooms.

FREDA

Four—counting the kitchen.

VANDERLIP

And my cabin is one room.

FREDA

And you a millionaire.

VANDERLIP

But this is the Klondike—

FREDA

(Laughing and interrupting.)

Where even millionaires

(Imitating Dave Harney.) can't buy sweetenin' for their coffee an' mush. Dodgast the luck anyway.

(Vanderlip laughs appreciatively. They start on again to front, but he sees piano and stops again.)

VANDERLIP

If there ain't a piano! It cost you a pretty penny, I'll bet.

FREDA

(Leading him toward piano, half-singing, lightly.)

"You cannot pack a Broadwood half a mile." (Looking at him.)

Don't you know it?

(He shakes head.)

Don't know your Kipling!

(Sitting down at piano.)

Here's the way it goes—

(Plays and sings.)

"You couldn't pack a Broadwood half a mile,

You mustn't leave a fiddle in the damp,

You couldn't raft an organ up the Nile

And play it in an equatorial swamp "——

VANDERLIP

(Who had first gazed admiringly at her, then gazed curiously around until, by clock on piano, he sees what time it is, interrupting by bringing hand heavily down on keys of piano.)

I can't wait another second. What do you want with me?

FREDA

(Ceasing the song, looking up quite calmly, and placing hand over face of clock.)

I want you to stop looking at that clock. And

(Rising, taking him by hand, and leading him toward stove.)

I want you to come right over here and be good.

(Turning to Maid.)

Minnie.

(Maid, who has been waiting in rear, comes forward and again waits.)

(Freda pushes Vanderlip into easy chair near stove, runs to couch at right for cushion, which she puts behind his head, pressing his shoulders and head back upon it. She places fur-covered footstool under his feet. He has not relaxed himself, and in his stiff acceptance of comforts makes a ridiculous appearance.)

FREDA

(Giving cushion behind head a last pat.) And now you may smoke.

(Maid goes out to right.)

(Vanderlip rolls head back and forth on cushion. His hand searches for watch, which he draws forth from pocket. But before he can look at it Freda's hand covers the face of it.)

FREDA

Oh my! My! What a busy man it is!

(Maid enters with cigar-box on tray. Vanderlip takes a cigar, and while he examines it critically Freda puts watch back in his pocket.)

VANDERLIP

(Biting off end of cigar.)

Real Havana. And you can't buy them for love nor money. How do you manage it?

FREDA

(Striking match and holding it up to him.) Oh, I just do. I could have offered you worse, I assure you.

(Vanderlip puffs on cigar—long, slow, appreciative puffs. His face loses its sullen expression. He sighs contentedly. He relaxes his body, sinks back, and for the first time looks really comfortable.)

FREDA

And now, Minnie, you have your reputation to live up to.

MAID

(Hesitating an instant.)

The Scotch?

(Freda nods head, and Maid goes out to right.)

VANDERLIP

(Taking cigar from mouth and looking at it.)

I say, Freda, you can make a fellow comfortable.

FREDA

(Smiling.)

Think so?

VANDERLIP

(The sullenness returning into his face.) And you know how to make him uncomfortable.

FREDA

(Smiling.)

Think so?

VANDERLIP

You are, by long odds, the most brutal woman I ever met.

FREDA

(Incredulously and innocently aghast.) I?

VANDERLIP

(Harshly.)

I wouldn't treat a dog the way you treated me. (Growing angry.)

You treated me like a cur, the way you lugged me away from the dance.

FREDA

Think so?

VANDERLIP

I'd sooner a man beat me with a club, than take what I took from you. It was just as much as if you took a club to me. You beat me into submission, in front of everybody, until I followed at your heels—that's what you did.

FREDA

(With mock solemnity.)

Whom the Lord loveth he chasteneth.

VANDERLIP

But you are not the Lord. You are Freda—Freda

(Laughing and interrupting.)

And whom Freda chasteneth—

VANDERLIP

(Interrupting.)

She—

FREDA

(Interrupting.)

Not at all. The Lord is the Lord, but Freda is only a woman....

(A pause.)

VANDERLIP

(Impatiently.)

And?

FREDA

Her ways are different from the Lord's.

(She pulls her chair alongside of his, and rests one hand for a moment, caressingly, on his. Speaks softly.)

And aren't you glad?

(The caress has its effect. He is soothed, and puffs away at cigar with half-closed eyes.)

(Freda, unobserved, throws a swift glance at clock, listens intently as for sounds from without of an approaching sled, and betrays to her audience her anxiety and restlessness.)

(Maid enters with two glasses on a tray. Freda, observed by Vanderlip, sips from one glass, nods head approvingly, and passes it to him. Takes other glass herself.)

FREDA

Minnie. Candles.

(Maid moves about room, putting out lamps and lighting candles, which latter, with tissue-paper shades, shed softer light.)

(Vanderlip suddenly recollects himself and draws watch. Freda tries to cover watch with hand, but jails. Vanderlip sees watch and starts to rise from chair. Freda half rises and presses him back.)

VANDERLIP

(With note of real regret in his voice, glancing from cigar in one hand, and glass in other hand, to the stove, about the room, and then at Freda.)

It's a darn shame to leave all this, but I've really got to, Freda. I don't think I was ever so comfortable in my life.

FREDA

(Softly, almost whispering.)

Then why leave it, Floyd?

VANDERLIP

I've got to hit the trail to-night, right away. And I've got to get my trail clothes. That bearskin overcoat's too warm. Can't travel in it.

(Starts to rise.)

FREDA

(Pressing him back gently.)

Wait a minute. Let me think.

(Thinks a moment. Her face brightens.) Ah, the very thing. Why not send my Indian for your things? He can bring them here. That will give you a few minutes more of the warm—

VANDERLIP

(Interrupting, putting his arm out and around her waist.)

And of you, Freda.

(Freda lets his arm linger for a moment, then, warning him, by a look, of presence of Maid, gently disengages arm. Takes her time about disengaging it. Vanderlip sinks back comfortably on cushion.)

FREDA

(Turning to Maid.)

Minnie.

(Maid, who has finished lighting candles, approaches.)

Send Joe here. Tell him to put on his mittens and parka.

(Maid goes out to right.)

(Freda resumes seat, and lays one hand on Vanderlip's hand. Neither speaks.)

(Maid enters, followed by Indian, who, as he comes, is putting on parka and mittens.)

FREDA

You know Mr. Vanderlip's cabin?

INDIAN

(Nodding.)

Um.

FREDA

Give him the key, Floyd.

(Vanderlip reaches in pocket and gives key to Indian.)

You go Mr. Vanderlip's cabin and get parka—

VANDERLIP

(Interrupting.)

Dog-whip, fur cap, all together with parka.

FREDA

Dog-whip, fur cap, all together with parka. (Indian nods.)

VANDERLIP

And flask of whiskey on table.

FREDA

And flask of whiskey on table.

(Indian nods.)

VANDERLIP

And go quick.

FREDA

And go quick.

(Indian nods and starts toward door to rear. Makes exit. Freda rises, as though recollecting something.)

Excuse me, Floyd.

(Passes behind Vanderlip's back toward door to right, and unobserved beckons Maid. They pause at door to right.) Run quick, out the kitchen door, and catch Joe. Tell him not to come back. Tell him I said so—to go get drunk, anything, but not to come back.

(Vanderlip lifts heady turns head around, and is watching and listening. Freda continues in slightly louder voice.)

And then, Cupid's stew.

(Maid makes exit to right.)

(Freda returns to chair, passing hand caressingly through Vanderlip's hair before she sits down.)

VANDERLIP

(Gruffly, suspiciously.)

What were you gassing about?

FREDA

(Mysteriously.)

Cupid's stew.

VANDERLIP

I heard it, but what is it?

FREDA

(Pausing and considering.)

Well, first you take the chafing-dish—

VANDERLIP

(Interrupting.)

What's the chafing-dish? Use them in churches, don't they? Burn incense in them, or something or other.

FREDA

(Laughing.)

A chafing-dish, silly, is a very pretty something you cook things in.

VANDERLIP

Oh, I see. A highfalutin' frying-pan.

FREDA

(Nodding.)

First you put some butter in it; and then, when the butter is melted, you stir in—oh, say a tablespoon of flour.

(Vanderlip is listening closely.)

When it is stirred smooth—

VANDERLIP

(Interrupting.)

Do you brown the flour?

FREDA

No, of course not.

VANDERLIP

(With comprehension.)

Oh.

FREDA

Then you stir in a cup of milk—Minnie's fixing it now, out in the kitchen—and in her case it will have to be condensed milk—

VANDERLIP

(Interrupting.)

St. Anthony's Cream's the best brand I know of.

(Regretfully.)

But you can't get it in this country.

FREDA

I've got some.

VANDERLIP

(In joyful amazement.)

No!

FREDA

(Nodding head.)

I have. Then you put in some boneless chicken—tinned—

VANDERLIP

(Interrupting.)

You got some of that, too?

FREDA

Yes. And then some mushrooms—tinned—

VANDERLIP

(Interrupting ecstatically.)

Freda, you're a wonder!

FREDA

Then season to taste,

(Rising to climax.) and there you are!

(Freda half rises, leaning toward him. He half rises to meet her, reaching for her with both arms, to put around her waist, but she catches his hands and very gently and slowly disengages herself. Her very manner of disengaging herself is caressing and seducing. They sink back slowly into their respective chairs.)

(Freda listens intently, as for the sound of a sled without. Glances anxiously at clock on piano. Vanderlip does not notice, for he is drawing his watch and looking at it.)

VANDERLIP

It's ten after twelve.

(Looks anxiously at door to right.)

Gee! I hate to go without having a crack at that Cupid's stew.

(He looks at Freda. She is gazing at him absently, apparently lost in meditation over him.)

Well?

FREDA

(Startled, as though discovered, in pretty embarrassment.)

Oh!

VANDERLIP

I was just wondering what you wanted to see me about.

(He draws his chair snugly against hers. She looks at him, studying him, as though trying to make up her mind to speak.) Well, what is it?

FREDA

(With steadiness and determination.)

Floyd, I am tired of the whole business. I want to go away—over the ice—anywhere—away. I can't live it out here till the river breaks next spring. I'll die. I know it. I want to quit it all and go away. And I want to go at once.

(She lays her hand in appeal on the back of his. His hand turns over and captures hers. He does not know what to say.)

Well?

VANDERLIP

(Hastily.)

I don't know what to say. Nothing I'd like better, Freda. You know that well enough.

(He presses her hand, and she nods.)

But you see I'm—

(Blurting it out.)

—I'm engaged. Of course you know that. Everybody knows it. The girl's coming in over the ice to marry me.

(Meditatively.)

Don't know what was up with me when I asked her, but it was a long while back, and I was all-fired young.

FREDA

And you intend to wait for her?

(He nods.)

And to marry her?

(He nods.)

Men sometimes make mistakes, you know, when they are young.

VANDERLIP

(Warmly.)

And this is one of them. What did I know about women then?

FREDA

(Slyly.)

Nothing to what you know about them now.

VANDERLIP

I should say so.

FREDA

But, Floyd, by persisting in the mistake, do you mend matters?

(He shakes his head dubiously.)

Will you be happy? Will she be happy? She is sure to find out the mistake, then it will be tragedy.

VANDERLIP

(In despair.)

I don't know. Women keep bothering me so. There are so many of them, and I like them all. Seems to me I like best the one I'm with at the time.

FREDA

Mrs. Eppingwell, let us say.

VANDERLIP

(With positiveness.)

Yes, Mrs. Eppingwell. Why, when I'm with her, I think there's nothing like her under the sun. I feel like going out and killing her husband just to get her.

FREDA

(Seductively.)

And when you are with me, Floyd?

(Vanderlip reaches out impulsively and draws her to him. Her head rests on his shoulder. She snuggles in to him in a contented way, her hand petting his. He buries his face in her hair. The scent of her hair gets into his brain and maddens him. He disengages hand from hers and slips it gradually up her bare arm. His other arm, about waist and shoulder, draws her closely against him. All the while, however, they are occupying their respective chairs. They remain this way for a long moment or so, his hand still progressing up her bare arm.)

FREDA

(Tearing herself suddenly loose from him and holding him from her at arms' length, tragically.)

Floyd! Floyd! I want to go away—out of the land—anywhere!—anywhere!

VANDERLIP

(Soothingly.)

Dear Freda.

FREDA

I am tired, tired, so tired of it all. I—I—

(Voice breaking.)

—I think I shall cry.

VANDERLIP

(Gently and soothingly drawing her to him.)

There, there, little woman. Brace up, buck up, don't give in.

FREDA

(Slowly disengaging herself and gently holding him off at arm's length.)

I've been running over in my mind the men I know, and reached the conclusion that... that...

VANDERLIP

(Beaming with self-complacency.)

I was the likeliest of the lot.

FREDA

(Quickly.)

No, not that, but... but... that I liked you best of all.

VANDERLIP

(Drawing her to him.)

Dear Freda.

FREDA

Dear Floyd.

(Door on right opens. They break away from each other and assume a more decorous position. Maid enters, bearing tray, on which are chafing-dish, dishes, napkins, etc., and a quart bottle of champagne. She sets tray on table. Freda serves Cupid's stew to Vanderlip, while Maid, a little to rear, is wrestling with champagne bottle.)

VANDERLIP

(Who has not noticed champagne bottle, aroused by popping of cork and turning around quickly, simulating a person roused from sleep, rubbing his eyes, etc.)

Wake me up, somebody. I'm dreaming. Pinch me.

(Takes hold of bottle, Maid still retaining her hold, and looks at it.)

The real thing.

(Releases bottle and looks admiringly at Freda.)

Freda, you're a peach. There isn't another bottle in the Klondike.

FREDA

Oh, yes, there is.

VANDERLIP

(Incredulously.)

You've got to show me.

FREDA

I've three dozen in the store-room—(Turning to Maid.)

Isn't that right, Minnie?

MAID

And two over. I counted them this afternoon.

VANDERLIP

(Awe-stricken.)

Gosh!

FREDA

All right, Minnie. You may go now.

(Maid goes out to right.)

(Vanderlip begins eating Cupid's stew. Shows that he is pleased with it. Freda watches him, herself eating. Glances at clock, and listens. She seems to hear something. Puts down her plate on table. A knock is heard on door at rear. Freda rises, goes swiftly to rear, and opens door.)

(An Indian enters. He is dazzled by the light, and pulls ice from lips. Freda shuts door. Vanderlip, after one glance around, goes on eating and drinking.)

INDIAN

Hello.

FREDA

(Not knowing his errand.) Hello.

INDIAN

Brrr! Much cold.

FREDA

Very cold.

INDIAN

Me come Sitka Charley.

FREDA

Oh, you are the man.

INDIAN

Sitka Charley say him come quick.

FREDA

How quick?

INDIAN

Maybe ten minutes. What time now?

FREDA

Fifteen minutes after twelve.

INDIAN

Him come twenty-five minutes after twelve. Ten minutes more him come, I think.

FREDA

How is the girl?

INDIAN

Much tired. Ride on sled. Plenty tired, cry little bit, like baby. She say must camp right away. Sitka Charley say make Dawson. She say no camp right away she die. Sitka Charley say don't care, make Dawson anyway. I go now. Good-by.

FREDA

Don't you want to go out in the kitchen and get warm?

INDIAN

No. Good-by.

FREDA

Good-by.

(Indian opens door and goes out.)

(Freda returns to chair at stove.)

(Freda Sitting down.)

You haven't told me how you like it.

VANDERLIP

(Turning plate upside down.) Actions speak louder than words. (She helps him to some more.) Let me see, Cupid's slumgullion, eh?

FREDA

(Laughing.)

Cupid's stew.

VANDERLIP

(Thrusting fork into stew on his plate.) What's in a name, so long as it's in your plate anyway?

(Eats silently jor a space.)

FREDA

(Softly.)

Floyd.

(He is absorbed in eating.)

Floyd.

VANDERLIP

(Looking at her.) Unh-hunh.

FREDA

(Still softly.)

I've been thinking. Why couldn't we go down river?

VANDERLIP

(Dropping fork and looking at her blankly, then around room, then at plate, and holding up glass of champagne—pathetically.)

And leave all this?

FREDA

Why not? We'd soon be down in the world, where we could swim in wine and all kinds of good things.

VANDERLIP

(Seriously.)

I don't know, Freda. I almost believe you've got to be in a place like this to get the value out of things. I tell you champagne on tap is not all it's cracked up to be. It never bites in and lays hold the way this does. Down in the world it's all wine and no thirst—

FREDA

(Interrupting.)

And up here it's all thirst and no wine.

VANDERLIP

(Enthusiastically. )

But when you do get hold of the wine—Lord! Lord!

(Tilts hack head and empties glass, his face beaming like to the full moon. He regards Freda thoughtfully as she fills his glass, and speaks with sudden suspicion.) You don't happen to care for palaces, do you?

FREDA

(Shaking her head.)

Why, what put that into your head?

VANDERLIP

Well, I had a hankering after them myself, till I got to thinking a while back, and I've about sized it up that one gets fat living in palaces, and soft and lazy. No sir, no champagne on tap and soft summer skies for me.

FREDA

I suppose it's nice in palaces—for a time. But one would soon tire. The world is good, but life should be many-sided. The way we'll do it will be to rough and knock about for a while, and then rest up somewhere.

(Vanderlip begins to lean forward, interested.)

Off to the South Seas on a yacht, then, say a nibble of Paris.

VANDERLIP

(Gleefully.)

Paris!

FREDA

Then a winter in South America, and a summer in Norway—

VANDERLIP

(Interrupting.)

I always wanted a look-see, at South America.

FREDA

A few months in England—

VANDERLIP

(Interrupting.)

Good society?

FREDA

Certainly. And then, heigho! for the dogs and the sleds and the Hudson Bay Country!

VANDERLIP

(Half rising, enthusiastically.)

Freda, you were made for me! It's just the life I want. I couldn't have hit it off better myself if I'd tried. The way you put it—a bit of this, and a bit of that—variety, you know—that's me.

FREDA

That's it, variety, change. A strong man like you, full of vitality and go, could not possibly stand a palace for a year.

(He shakes his head.)

It's all very well for effeminate men, but you weren't made for such a life. You are masculine, intensely masculine.

VANDERLIP

(Taking her hand and beginning to draw her toward him.)

Do you think so?

FREDA

(Yielding herself.)

It doesn't require thinking. I know. Have you ever noticed that it was easy to make women care for you?

VANDERLIP

(Superbly innocent, yet showing by his expression that he agrees with her.)

Oh, I don't know.

FREDA

You know it is so.

VANDERLIP

Well, for the sake of argument, yes.

FREDA

It is very easy. And why?

VANDERLIP

(Still playing innocent.)

Darned if I know.

FREDA

(Impressively.)

Because you are masculine. You strike the deepest chords of a woman's heart. Woman is weak. You are a wall of strength to her. You are something to cling to—big-muscled, strong, and brave. In short, because you are a man.

(He folds her to him.)

Dear, dear Floyd!

(She lies in his arms a long moment, both still on their respective chairs. Then she slowly and gently disengages herself, at the same time stealing a glance at the clock.)

VANDERLIP

(Holding up her arm and studying it for a moment.)

How much do you weigh, Freda?

FREDA

(Smiling.)

What now?

VANDERLIP

I just wanted to know.

FREDA

But why?

VANDERLIP

Oh, nothing, I was just thinking you were not the kind to put on fat?

FREDA

(Decisively.) Well, I think not!

VANDERLIP

(Suddenly, by her hands, lifts her to her feet and thrusts her several steps away from him, then, sinking back in chair and running his eyes critically over her) Your lines are good.

FREDA

(Lightly)

Think so?

VANDERLIP

You just bet I do.

(Jubilantly)

You'll never get fat!

FREDA

(Coming to his chair and rumpling his hair.)

No, thank goodness, I wasn't born that way.

VANDERLIP

(Beginning pompously)

Now some women—

FREDA

(Interrupting)

The Lisznayi, for example.

VANDERLIP

(Spontaneously, positively.)

She'll never get fat, Freda.

FREDA

Oh, she won't, eh? How do you know? You'd never have guessed it all of yourself. She must have told you.

(Vanderlip shows confusion.)

Why, she's started already. She's carrying twenty pounds more than she ought. It spoils her figure. And—my!—now that she's started, won't she just put it on!

VANDERLIP

(Anxiously.)

But how do you know?

FREDA

I've my eyes. So have you. Surely you've noticed it?

VANDERLIP

(Slowly.)

Honest, now, I've had my suspicions that way. (He remains silent for a moment or so. Freda rumples his hair.)

I like that.

FREDA

What?

VANDERLIP

That what you are doing.

FREDA

Oh!

(Slaps his arm playfully, and sits down in her chair. Listens intently for sounds from without, while Vanderlip sips from glass.)

VANDERLIP

(After a pause, setting down glass and looking amorously at Freda.)

Say, Freda, do you know...

(A pause. Freda glances at clock.)

Do you know what I'd like?

FREDA

Not in the slightest.

VANDERLIP

Well, I'll tell you. I'd like to see you with your hair down.

FREDA

(Change in whole manner beginning here, but beginning slightly.)

Think so?

VANDERLIP

You just bet I would.

FREDA

(Rising.)

Wait a moment.

(Passes behind him to door at right.)

(Vanderlip rests under the idea that she has gone to take down hair, fills glass, and leans complacently back in chair and sips from glass.)

(Freda opens door to right and beckons. Closes door, listens for a moment on way back to chair, and sits down.)

VANDERLIP

(Looking at her hair, still up, surprised and grieved.)

Why, I thought all the time you were taking it down.

(Freda laughs her silvery, scornful laughter. Vanderlip is puzzled, thinks she is teasing him.)

(Maid enters, unobserved by Vanderlip. Freda issues her order with her eyes, glancing at Vanderlip's bearskin overcoat hanging on wall to rear. Maid goes and gets coat and returns, still unobserved by Vanderlip, at the rear of whom she stands waiting.)

VANDERLIP

(Expostulating.)

Now I say, Freda.

(Freda still laughs.)

What's the matter anyway?

FREDA

I have just recollected.

VANDERLIP

(Puzzled.)

What?

FREDA

That you had an engagement at twelve sharp.

VANDERLIP

I did. But it will keep.

FREDA

It is now half-past twelve.

VANDERLIP

Well, and what of it?

FREDA

Nothing, only...

(Pauses and considers.)

VANDERLIP

Only what?

FREDA

Only, isn't it rather cold down at the water-hole?

(Vanderlip is stunned jor a moment, and can only stare at her in a bewildered way.)

(Her laughter, at his bewilderment, becomes wholly mirthful.)

Minnie, help Mr. Vanderlip on with his overcoat.

(Vanderlip glances swiftly around and sees Maid holding coat. He looks at his watch very slowly, and puts it away very slowly. Slowly empties glass of champagne, and carefully puts empty glass on table. Just as slowly drags himself out of chair and to his feet. Maid offers to help on with overcoat, but he ignores her.)

FREDA

(Who has ceased laughing, showing that she is a bit frightened by his preternatural calmness, but still keeping her nerve.)

Let me thank you for your kindness, Floyd. I wanted half an hour or so of your time, and you have given it. The turning to the left, as you leave the cabin, leads quickest to the water-hole. Good-night. I'm going to bed.

(Starts to go toward door at left.)

Minnie, see Mr. Vanderlip out, please.

(Turning head over shoulder, looking back at Vanderlip, and beginning again her silvery laughter. Vanderlip has not spoken a word. He springs, lionlike, after her, seizing her by the arm and whirling her fiercely about, face to face, and still keeping his clutch.)

Don't be rough.

(He glares at her. She still keeps her nerve, speaks lightly.)

On second thought—

(Looks at his detaining hand.)

—I've decided not to go to bed. Don't be ridiculous, Floyd.

(He growls inarticulately.)

Tragedy doesn't at all become you. Do sit down and be comfortable.

(To Maid, who has remained composed and holding coat.)

Mr. Vanderlip doesn't want his coat yet awhile. (Maid goes to rear, hangs up coat, and remains at rear, waiting.)

VANDERLIP

(Speaking with slow, clear enunciation.) What do you know about the water-hole?

(Freda laughs. He closes his grip on her arm till she winces.)

What do you know about the water-hole?

FREDA

(Lightly.)

More than you know.

VANDERLIP

(Again closing grip.)

Then tell me. I want to know.

FREDA

(Wincing, but still lightly.)

I know that the fair lady waiting there has flown away a good half-hour ago.

VANDERLIP

Where?

FREDA

Down the river.

VANDERLIP

How do you know it?

FREDA

I arranged it.

VANDERLIP

(Softening for a moment.)

Tell me, it was because you wanted me?

FREDA

(Defiantly.)

No.

VANDERLIP

(Hardening again.) Then you didn't want me? (She shakes her head.)

You don't want me?

(She shakes head.)

Well, then, will you have me?—Now? (She shakes head.)

Then this was a game you worked on me?

FREDA

Yes.

VANDERLIP

You didn't mean a word of it?

FREDA

Not a word of it. I was playing.

VANDERLIP

(Grimly.)

Well, I wasn't, that's the difference.

FREDA

Do let go of my arm. You are hurting me.

VANDERLIP

(Ignoring her protest, dragging her roughly by her arm to the front and just to left of table, holding her face to face with him, and beginning to speak faster.)

Look here, Freda, I'm a fool. I know it. I was a fool there in that chair. You put it all over me. You women all make a fool of me. I don't think quick. I'm not used to it, I guess. My tongue is awkward. I can't think of bright things to say, or the right things to say. And I believe what is said to me. And then I like women, too. I can't help it. I was born that way. I just like them, and they take advantage of me—

FREDA

(Interrupting.)

Won't you let go of me and sit down?

VANDERLIP

(Ignoring her.)

Why do they take advantage of me?

(Freda shrugs her shoulders.)

Because I am a fool. Because I am playing their game and don't know how to play it. They know how to play it. They ought to know—it is their game. A man's a fool to buck another man's game. The percentage is all in favor of the house. And a man is a bigger fool to buck a woman's game. And I've been dead soft and easy. I know it. I've played your game and you've tied knots in me...

(He pauses, as though debating the next thing to say.)

FREDA

(Lightly.)

I must say you are untying the knots fast.

VANDERLIP

(With touch of anger.)

I'm untying nothing. I'm going to begin tying. What I'm going to do is to play my game, and you're going to play it with me, my lady.

(His speech grows slow and clear again.) Do you know what my game is?

(Freda shakes her head.)

It's not palavering, and being society-monkey, and ducking, and bowing, and scraping, and giving crooked talk, and saying smart things, and that sort of stuff. It's just this—

(He takes hold of her other arm with other hand, and puts the pressure on with both hands. At first she merely winces but he grips until she cries aloud in pain. Maid shows alarm for first time, and starts hastily forward.)

That's it. Muscle's my game—the only game I can play, and I've been a fool to go out of my class.

MAID

(Interrupting, to Freda.)

What shall I do?

FREDA

Nothing. It is all right.

MAID

Shall I go for help?

FREDA

No, no.

(To Vanderlip.)

Let go of me, Floyd. You are crushing my arms.

VANDERLIP

(Laughing savagely.)

Did you let go when you crushed me?

FREDA

(With blaze of defiance.)

You coward!

VANDERLIP

(Savagely.)

Were you less coward when you beat me down to my knees with your woman's wit, your woman's beauty, your woman's weapons? Your face is beautiful. Your body is beautiful. With these have you drawn me to you, making yourself soft and yielding, so that at a distance the very feel of you was soft and yielding—

(With scorn.)

—a play actress, you! Your mind is quick. Your tongue is crooked. You lied to me. When you let me hold your hand, you lied to me. When you looked softly at me, or passed your hand through my hair, you lied to me. When you came against me and rested your head on my breast so that the scent of your hair got into my brain and maddened me, you lied to me. You knew all the time that my blood was pounding up hot within me, you knew all the time that I was honest and playing fair, and all the time you were lying to me.

(He pauses and debates upon what next to say.)

MAID

(Calmly, to Freda.)

Shall I go for help?

VANDERLIP

(Ferociously.)

Shut up, you!

(Continuing, to Freda.)

Well, I've taken your medicine. Now you take mine. Here it is. I want you. I'm pretty sure I'd sooner have you than Loraine. You can marry me if you want, but marry or no marry, you're mine. Down river you go with me tonight, my lady, so you'd better tell that girl of yours to pack your duds.

FREDA

(Laughing defiantly in his face.)

Think so?

VANDERLIP

(Maddened by desire of her.)

I know so—and here's a foretaste of my game. Tell me how you like it.

(Bends her back, face upturned, gets proper grips so that she is helpless, and deliberately and passionately kisses her several times on the lips. Maid springs upon him, but he flings her off and away with one arm. Holds Freda by one arm again.)

How do you like it, eh? How do you like it?

FREDA

(Almost suffocating with rage, wiping lips with back of free hand.)

You beast! You beast! You beast!

(Maid is starting to spring at him again.) No, no, Minnie! Stop! I can deal with him.

VANDERLIP

Not in a man's game, Freda.

FREDA

(All defiance.)

In a man's game, Floyd Vanderlip.

(She no longer winces nor struggles to free herself, but confronts him, head erect, expression of cold anger on face.)

VANDERLIP

(Looking at her admiringly for a moment.) Ah, you beauty! You've made me mad for you. I'll crush you into submission as you crushed me into submission at the dance to-night. You beat me down to my knees, but I'll bring you down on your knees to me till you're glad to kiss the toe of my moccasin.

(He surveys her again.)

And now, you beauty, you beauty, I am thirsty for your lips again.

(He starts to bend her back again, but she revises to struggle, holding her face up to him defiantly. He pauses.)

Well, why don't you fight and scratch and claw around some?

FREDA

Because I won't give you the chance to pull and haul and maul me around, that is all.

VANDERLIP

(Who, as usual, is baffled by a change of attitude.)

Then I'll kiss you.

FREDA

You may pollute me with your lips, but you shall not master me with your strength.

VANDERLIP

(Gaily.)

Nay, nay, not pollute. You should call it (Imitating Mrs. McFee.) "contameenate." That's right. Blaze away at me with those eyes of yours. You may keep quiet with your body, but you can't take the fight out of your eyes. I tell you that blaze gives value to your kisses, and now I'm going to—

(Leans forward to kiss her, while she remains motionless and passive. He pauses, with lips close to hers.)

Nothing like prolonging anticipation, eh? You know you said I was masculine, intensely masculine. How do you like it? How do you like leaning up against the wall of my strength? Ah, you beauty! You beauty!

FREDA

(Suddenly listening.)

Minnie! Open the door!

(A jingling of dog bells is heard without, and a man's voice crying "Haw!" Maid runs toward the door. Vanderlip listens, still holding Freda close in his arms. A knock at door. Maid throws open door.)

FREDA

(In triumphant voice, as door is thrown open.)

Now will you let go of me?

(Enter Mrs. Eppingwell, followed by Capt. Eppingwell and a Northwest mounted Policeman.)

(Mrs. Eppingwell, looking at Policeman, points at Vanderlip.)

(Policeman hesitates, embarrassed at interrupting such a scene.)

(Vanderlip and Freda in consternation, he still holding her. He releases her abruptly and is himself all awkwardness and confusion. Freda separates from him, moving away unconsciously several steps, her eyes fixed upon Mrs. Eppingwell.)

FREDA

(Surprise, awe, etc.)

You!

MRS. EPPINGWELL

(Sharp and businesslike.)

Yes, I. And I am glad I am not too late.

FREDA

(Striving to recover her poise, speaking automatically in artificial manner.)

Delighted, I assure you.

(With sudden break in manner, becoming candid.)

No, I am not delighted at all.

MRS. EPPINGWELL

I should scarcely think so.

FREDA

It is intrusion.

MRS. EPPINGWELL

It is intrusion, I know, but—

FREDA

(Interrupting, again artificial manner.) Oh, not at all.

(Starting toward Mrs. Eppingwell.) Won't you take off your wraps?

(To Maid.)

Minnie!

(Maid offers to help Mrs. Eppingwell off with wraps.)

MRS. EPPINGWELL

(Declining Maid's offer.)

No, it is not necessary. We shall stop only a moment.

FREDA

(Artificial manner.)

I hope you'll pardon my curiosity, but—(Hesitates an instant.) —why didn't you come sooner? What was the delay?

MRS. EPPINGWELL

(Indicating Policeman, who bows.)

I had to get this gentleman. It took time—

POLICEMAN

(Interrupting, bowing.)

Sorry.

MRS. EPPINGWELL

And then I went to the wrong water-hole.

(Freda and Vanderlip both start, Mrs. Eppingwell observing Vanderlip's start.)

Good morning, Mr. Vanderlip.

VANDERLIP

(Awkwardly.)

Hum, yes. How do you do? Good morning.

FREDA

(The real state of affairs dawning on her.) I see. You expected to find me at the water-hole.

(Mrs. Eppingwell nods.)

And you didn't.

MRS. EPPINGWELL

No. Then I went to the other water-hole.

FREDA

Expecting to find me?

MRS. EPPINGWELL

Yes. Then I came here.

FREDA

(With mock admiration.)

Unerring instinct.

MRS. EPPINGWELL

(Replying in kind.)

Yes, wasn't it?

FREDA

Er—by the way, didn't you find anybody at the second water-hole?

MRS. EPPINGWELL

A strange woman. I thought she was you at first. She seemed restless enough.

VANDERLIP

(Starts at mention of strange woman, suddenly moving toward the street door.)

I've fooled around here long enough. I'm going.

FREDA

Good luck, Floyd.

POLICEMAN

(Stepping forward, meeting and stopping Vanderlip.)

Sorry.

VANDERLIP

(Irritated.)

What's the matter now?

POLICEMAN

(Drawing document from pocket.)

I've got a warrant for you. Forgery. Sorry.

VANDERLIP

(Astounded.)

What in hell—

(Breaks off.)

POLICEMAN

Sorry.

VANDERLIP

(Expostulating.)

Now look here, I say, whose game is this?

(Freda laughs her silvery laughter, it is laughter of amusement only.)

FREDA

(To Mrs. Eppingwell, still laughing, accusingly.)

You did this.

MRS. EPPINGWELL

(Nodding.)

I had tried everything else to stop him from running away.

FREDA

(Laughing merrily and shaking her head.) Poor Floyd! Poor, poor Floyd!

VANDERLIP

(Wrathfully.)

Look here, Mrs. Eppingwell. This is your work. You'd better call it off. I'm done with bucking other people's games.

(Starts toward door, but Policeman lays hand on his arm.)

Get out of my way, you whipper-snapper!

POLICEMAN

(Not backing down a bit.)

Sorry.

VANDERLIP

(Flinging off hand, but remaining where he is.)

You'd better call him off, Mrs. Eppingwell, or there'll be the almightiest ruction round here you ever saw.

FREDA

(Lightly.)

Don't be in a hurry, Floyd. She's gone.

VANDERLIP

No, she isn't.

FREDA

Ask Mrs. Eppingwell.

MRS. EPPINGWELL

Whom do you mean?

FREDA

The strange, restless lady at the water-hole.

MRS. EPPINGWELL

Why, yes. She went away on a sled down the river.

VANDERLIP

Who'd she go with?

MRS. EPPINGWELL

With nobody. She had an Indian dog-driver, though.

(Vanderlip makes gesture of despair, signifying that he has been completely beaten. Freda laughs merrily.)

VANDERLIP

(Wrathfully.)

Oh, you women!

MRS. EPPINGWELL

(To Freda.)

Who is this strange lady?

FREDA

(Indicating Vanderlip.)

Ask him.

(Mrs. Eppingwell looks inquiringly at Vanderlip.)

VANDERLIP

(Wrathfully.)

None of your business, you and your games! I quit. I've bucked myself broke against you—(Whirling on Freda.)—against all of you.

(To Policeman.)

Go ahead, arrest me. It's a fake, and you know it. But go ahead.

POLICEMAN

I've only got my orders. Sorry. You'll come along peaceably?

(Vanderlip grunts savage assent.)

VANDERLIP

You know it's a fake.

POLICEMAN

I know only my orders. Sorry.

(General movement of preparation to leave.)

FREDA

(To Mrs. Eppingwell.)

It's too bad you can't stop longer, but—

(Suddenly breaks off and listens intently.)

(A jingling oj dog bells is heard without, and shouts of men. A knock on street door. Maid opens door. Flossie appears in doorway and enters. Sitka Charley enters at her heels and closes door. Flossie is dazzled by the lights and looks about hesitatingly. She is well frosted up. A nose-strap is across her nose. She removes nose-strap. Looks about, and sees Vanderlip. Freda starts toward her, impulsively, to receive her.)

FLOSSIE

(Making a weak little lame run toward Vanderlip, with infinite relief in her voice.)

Floyd!

VANDERLIP

(Dazed.)

Flossie!

(He opens his arms and she staggers and falls into them. Her head lies on his breast for a space, while he holds her and stares helplessly around. Then she lifts her head, inviting the kiss, and perforce he bends head and kisses her.)

FLOSSIE

(Infinite gladness.)

Oh, Floyd! Floyd!

VANDERLIP

Dear, dear Flossie!

FLOSSIE

(Still in his arms, but throwing her head back to look at him, in playful manner.)

You big, impatient man!

(Vanderlip is puzzled, and only awkwardly pats her shoulder with one arm that is around her.)

You cruel, cruel man!

(He is still puzzled.)

Couldn't wait. Couldn't let me have my night's rest and arrive in the morning fresh.

VANDERLIP

Ah—hum—yes.

(She puts her lips up to him and he again kisses her.)

(Sitka Charley remains inside street door. Capt. Eppingwell is restless, betraying a feeling that it is time to go. Policeman is restless. Mrs. Eppingwell and Freda, now near to each other, are looking on.)

FLOSSIE

My! What lots of dogs you must have!

VANDERLIP

(More puzzled than ever.)

Hum, yes.

FLOSSIE

First came an Indian with six dogs. You know, the Indian with one eye.

(Mrs. Eppingwell and Capt. Eppingwell look at each other significantly. Vanderlip, after a moment's hesitancy, nods.)

Then came the second Indian with eight dogs.

(Mrs. Eppingwell looks inquiringly at Capt. Eppingwell, who shakes head, then each looks bepuzzlement at the other. Vanderlip, again hesitating, nods.)

And then came Sitka Charley with seven of the most magnificent dogs I ever saw. Oh, Floyd, they were just grand!

(Mrs. Eppingwell and Capt. Eppingwell look more bepuzzled than ever. Vanderlip looks across at Freda with comprehension, by his look as much as saying, "You are responsible for this." Freda smiles. Mrs. Eppingwell and Capt. Eppingwell observe the proceeding, and look at each other significantly.) We just flew along—like the wind!

VANDERLIP

(Seeing the whole situation and lying up to it.)

I just bet you did. I knew they'd bring you in on the jump. I told them I didn't want any loafing, and... well, from the looks of it, I guess there wasn't any.

FLOSSIE

(Snuggling in against him.)

Couldn't wait a bit longer, could you, dear?

VANDERLIP

(Holding her closely.)

You just bet I couldn't.

POLICEMAN

(Unobserved by Flossie, whose back is toward him, stepping forward toward Vanderlip, the warrant still in his hand.).

Sorry—

MRS. EPPINGWELL

(Interrupting, stepping toward him.)

Give it to me.

(Policeman hands warrant to her.)

It will be all right. You understand.

POLICEMAN

(Nodding, pulling on mittens, and bowing very politely.)

Then I will wish you good night.

(Makes exit with final bow.)

CAPT. EPPINGWELL

(To Mrs. Eppingwell, indicating desire to go.)

We're scarcely needed here, I think.

MRS. EPPINGWELL

One moment, Archie. I'm all in a daze, and I'm curious.

(Turning to Sitka Charley.)

Charley, the team of dogs you drove, whose were they?

FREDA

(Who, now that the fight is over and won, is on the verge of breaking down, interrupts Sitka Charley, and speaks herself.)

Now I wish you would all go home and leave me alone. I want to go to bed.

MRS. EPPINGWELL

(Gently.)

But I am curious, Freda, as you were curious. I want to know. I insist.

FREDA

(Choking, on the verge of tears.)

Please, please go.

FLOSSIE

(Who has lifted head and been regarding Freda, to Vanderlip. Loud enough for all to hear, but not too loud.)

Who is that woman?

VANDERLIP

(Painfully embarrassed, hesitatingly.)

Well... you see, Flossie... it's like this.

FLOSSIE

(With asperity.)

She is not a friend of yours?

VANDERLIP

No, no, of course not. You see, this is the Klondike. Things are different here than from what you've been used to, and... and...

FLOSSIE

(Interrupting, showing in voice and demeanor comprehension of Freda's status.)

Oh, I understand. It will be better for us to go, I think.

(They start toward street door, Vanderlip supporting Flossie around waist. She is very tired and leans heavily against him. He puts on bearskin coat, mittens, etc. He does not speak, though he nods awkwardly. As they make exit he glances back at Freda.)

FREDA

(To Mrs. Eppingwell, harshly.)

Now will you go.

MRS. EPPINGWELL

(Gently.)

No, I insist. There has been a misunderstanding.

(Freda, tears imminent, makes nervous exclamation, and with both hands makes nervous gesture. Turns her back, walks rapidly to front, and throws herselj into easy chair, where she sits, face up, facing audience.)

MRS. EPPINGWELL

(To Sitka Charley.)

Those dogs you drove, Charley. Whose were they?

SITKA CHARLEY

(Hesitating, shifting weight from one leg to the other and back again, looking appealingly at back of chair in which Freda is seated.)

Me no know.

MRS. EPPINGWELL

(Impatiently.)

Of course you know.

SITKA CHARLEY

(Still hesitatingly, still shifting weight back and forth, still looking appealingly at back of chair occupied by Freda.)

Maybe know, maybe not know.

MRS. EPPINGWELL

(Imperatively.)

Tell me.

SITKA CHARLEY

(Angrily.)

What for, all you womans? Make Sitka Charley much tired. All the time,

(Imitating their manner.)

"Charley, tell me this, Charley, tell me that." All the time, "Charley, no tell this, Charley, no tell that." Sitka Charley tired. Sitka Charley much tired. Sitka Charley dam tired. Now Sitka Charley tell.

(He pauses, while Mrs. Eppingwell waits expectantly, and Freda, with expressionless face, faces audience.)

Sitka Charley big fool, too. Him think you love Vanderlip. Him think Freda love Vanderlip. (Shaking head.)

No love. All the same make Vanderlip big fool. All the time all womans make all mans big fool. You say, No tell Freda. Freda say, No tell you. All right. Sitka Charley no tell. Now Sitka Charley much tired. Now him tell. Um, him drive Freda's dogs. Freda say, "Charley, bring Flossie girl much quick."

(Looking at Mrs. Eppingwell with expression of pride, boastfully.)

Sitka Charley bring Flossie girl much quick.

MRS. EPPINGWELL

Who was the woman at the water-hole?

SITKA CHARLEY

Um Lisznayi woman.

(Mrs. Eppingwell is surprised. Capt. Eppingwell makes dumb show of delight.)

MRS. EPPINGWELL

(Beaten, pathetically.)

Archie, will you ever have faith in me again?

SITKA CHARLEY

(Moving toward door, turning toward back of Freda's chair.)

Dogs much hungry.

(Stops and waits, looking at Freda's chair.)

Um, me go feed dogs.

(After regarding chair for a moment, starts on toward street door. Again stops and looks at chair.)

I go now, Freda.

FREDA

(Not turning head, expressionless face and voice.)

Good night, Charley.

(Sitka Charley makes exit. Door slams.)

(Mrs. Eppingwell looks toward Freda's chair, starts as though to go to Freda, hesitates, and stops. Turns upon Capt. Eppingwell and shoves him toward street door. Capt. Eppingwell makes exit. Door slams. Mrs. Eppingwell remains standing on one side of door, looking toward Freda's chair. Maid stands on other side of door, looking at Mrs. Eppingwell.)

(When door slams, Freda rises to her feet. The breakdown has come.)

FREDA

Thank God!

(Without looking toward street door, or becoming aware that Mrs. Eppingwell still remains, Freda goes rapidly to right, to couch, sobs struggling up, her breast heaving. She sinks to floor, resting arms on couch, face buried in arms and couch, and sobs convulsively.)

(Mrs. Eppingwell comes forward and touches Freda on shoulder.)

FREDA

(Starting, but not looking up.)

It is all right, Minnie. You may go to bed.

(Goes on sobbing.)

(Mrs. Eppingwell waits a moment, sits down on couch, and rests hand on Freda's head.)

MRS. EPPINGWELL

(Very gently.)

Freda.

FREDA

(Starting with violent surprise and looking up.)

You!

MRS. EPPINGWELL

(Gently.)

Yes, I.

FREDA

(Trying to be harsh, but succeeding in being only reproachful.)

I asked you to go.

(Turns face away from Mrs. Eppingwell and looks straight forward toward audience.)

MRS. EPPINGWELL

(Gently.)

Freda

(Freda turns head and looks into Mrs. Eppingwell's face. Mrs. Eppingwell puts her arm around Freda's shoulder and draws her close. Freda bursts into tears and buries face in Mrs. Eppingwell's lap. Mrs. Eppingwell bends over her, soothing her.)

CURTAIN