June Moon

on; stops as he sees them. Benny So graciously, as though the interruption had been the other way around. That’s all right. Withdraws. Edna Doesn’t anybody else go along, to sort of even up the party? Fred A second’s hesitation; then he blurts it out. Nobody you know! I hardly know her myself. She just comes along because she’s Lucille’s sister and lives there. Edna Oh! Fred You can’t leave her home by herself. She’s timid. Edna Does she know about⁠—me, Fred? Fred Huh? Edna Didn’t you ever tell her about⁠—me? Fred Well, you see, we just⁠—it’s only business, and there hasn’t nothing like that come up. Edna What’s she like, Fred? Fred I don’t know. She⁠— Edna Hard at work. A girl like she has probably got lots of beautiful clothes. She probably makes little me look like nothing. Fred That part don’t matter. It wouldn’t make no difference to me if she had all the clothes in the world. Or if she was bare, either. Edna Is she⁠—very pretty? Fred Yah, she⁠—I hardly ever noticed if she was pretty or not. Edna What’s her name? Fred Miss Fletcher. Edna I mean her first name. Fred I think they call her Eileen. Edna That’s a beautiful name. It’s a lot nicer than mine, don’t you think? Fred It’s just a different name. Edna Is she blonde or brunette? Fred Both⁠—I mean she’s redheaded. That is, I never paid much attention. Edna How old is she? Fred I don’t know. Edna Older than I am? Fred A little bit, I guess. I guess she must be. She’s been on the stage. Edna Putting across a little mild horror. Honestly, Fred? Fred Yah, but don’t think⁠—I mean, that don’t mean anything. Edna Oh, Fred, you want to be careful! Because you take a woman like she, that’s close to forty or more⁠— Fred She ain’t forty. Edna Conceding two years. Well, thirty-eight. And she sees a young boy who almost any woman would be proud to win your affection, and there isn’t anything she might not stoop to, to entangle you. Fred There won’t no woman untangle me. Edna You can’t tell, Fred⁠—the most terrible things can happen. There was a near friend of mine, a man, and he was acquainted with a count, an international count, and he came here to New York and one night they went on a wild party and he fell in love with a beautiful chorus girl from the Metropolitan Opera Company⁠—I forgot the name of the opera. And he bought her pearls and diamonds, and in less than a week’s time he found out they was both married. That’s just what could happen to you, dear. Fred Who found out who was married? Edna Both of them were married⁠—the count and the girl. Fred He must have been a fine count, not to know he was married. Edna Fred, doesn’t it cost an awful lot of money when you go around to all these places⁠—or do they take you? Fred Well, that part’s going to be all right, because as soon as they take our song I’ll get what they call an advance royalties. And of course after it’s a big hit I’ll have plenty of money. Edna I see. Fred Only the first thing I’m going to do⁠—I mean, when I get my advance royalties⁠—I’m going to pay you back that little loan. Edna That doesn’t matter, Fred. Fred But I don’t like owing money to a girl. Especially a girl. Edna But it’s all right when two people are like you and I. That makes it all right. I’d give you everything I’ve got, only I’m afraid I’m not going to have very much from now on. Fred What do you mean? Edna I wasn’t going to tell you, but I haven’t got my position any more. I mean, with Doctor. Fred You mean you quit? Edna He discharged me. Fred What for? Edna I made a mistake. I gave Mr. Mowrey’s appointment to Mr. Treadwell, and Doctor scraped Mr. Treadwell’s bones instead of Mr. Mowrey’s. Fred I’m terrible sorry, Eddie. Gosh, I wish there was something I could do about it. Edna Snapping him up. There is, Fred, if you felt like doing it. Fred What? Edna Are you going to be busy⁠—after they hear the song? Fred Well, I’m afraid so⁠—tonight. I got to work with Paul. Edna Well, then, before that. After Mr. Hart hears it. Oh, Fred, couldn’t I stay and hear it too? Fred Oh, no, Eddie. When Mr. Hart’s hearing a new number he can’t have nobody around. He’s got to consecrate. Edna Oh! Fred I’ll tell you what. You can wait in the reception room or somewheres, and the minute he’s heard it I’ll come and tell you what he says. Edna Oh, Fred, that’s grand! Then can we go somewhere together for a little while? Have a soda or something? Fred Yah, I guess so. Edna Oh, Fred, I’m so glad! You do care a little, then? I mean, you do care whether you⁠—see me? Fred Of course I do. Sure. Certainly. Edna Oh, Fred! She presents herself impulsively. He kisses her. Everything seems all right again now. I don’t care about losing my position any more. Fred Yah, but⁠—Mr. Hart finally arrives. A big man, and important-looking. He crosses the room en route to his own office. Oh, Mr. Hart! Mr. Hart! Hart What? Fred We’ve been waiting for you! We’re all ready! Hart Ready with what? Fred The new number. We’ll go through it for you if you’ll just wait a minute. Hart What number? Fred “June Moon.” The number I wrote with Paul Sears. Hart Oh! Starts away. Fred I’ll get he and Maxie and we’ll run it through for you. Hart That’s very thoughtful. But he goes. Fred Yes, sir. Paul! Maxie! All right, Eddie, you go in there and as soon as the song’s over I’ll come and tell you. Edna All right, dear. Paul Coming in. Did Hart get back? Fred Yah! He went in there! I told him we was ready! Where’s Maxie? Paul He’s coming! And so he does. Maxie Well! Are we all set? Fred He’s here, but he went in there! He came in, and I talked to him, and he went out! Paul What do you think we better do?