June Moon

done it? Goldie What are you talking about? Maxie I’m talking about a little girl that came in here to see Stevens about a month ago. The one you sent the music to. Goldie Oh! Maxie She’s the one he ought to be marrying, instead of this whatever-she-is. Goldie With monumental indifference. My God, what’s the difference who marries a lyric writer? She goes. Maxie stands a moment, deep in thought. He drifts to the piano⁠—aimlessly, instinctively. Drops onto the bench; his fingers slide over the keys. But he is not thinking about his music. And then Lucille enters. A new Lucille, patently. She wears a gorgeous red dress, topped off with a coat of the same material, trimmed in white fur. But it’s not only the clothes. She has that note of assurance that only the perfectly dressed woman can have. She comes into the room slowly, confidently. Maxie As he looks her over. Hello. Lucille Where’s everybody? Maxie Paul’s outside somewhere. I think he’s working. Lucille Has Eileen been here? Maxie She’s around. Lucille Thanks. Maxie All dressed up today. Lucille Not especially. Maxie You look like a bride yourself. Lucille gives a visible start; the situation is saved by the entrance of Eileen.. Eileen Hello! I thought I saw you! Maxie Well, I’ve got to get busy, if you’ll excuse me. He goes. Eileen Observing the dress. Oh, say, it’s a peach! Lucille Do you like it? Eileen You bet! She lowers her voice. Have you got a date? Lucille I think so. I’m to phone his office later on. She is not at ease. Eileen A look at her watch. What do you say we have lunch? Lucille Wait a minute. Eileen What’s the matter? Lucille I don’t want to go out there yet. Eileen Why not? Lucille I don’t feel like running into Paul. Eileen Aren’t you ever going to get over that? What is there to be afraid of? Lucille I don’t know. I’m just nervous. Eileen He’ll never guess anything. He’s blind and always has been. Lucille Thanks! Eileen You know what I mean. All he thinks about’s his tunes. We’ve got a chance to be happy, you and I⁠—for a while, anyhow. Let’s take it! Lucille You’re a funny one to figure out. Eileen Why? Lucille Taking up with Stevens this way. You always lectured me about Paul⁠—his being a songwriter. And now you’re going to go and do the same thing. Eileen Stevens is different. He’s a nice kid. Of course, he’s not exactly what you’d call⁠—bright. Lucille Bright? He’s not even born yet. Paul enters. Paul Oh, hello. Lucille Hello. Paul What’s that⁠—a new dress? Lucille A silly question. This? Eileen Sensing a storm. I’ll meet you outside, Lucille. Lucille Wait a minute⁠—I’ll go with you. Paul No, I want to talk to you. Lucille Scared. What? Paul A look at Eileen. Stay in here a minute. Lucille What for? Eileen I’ll go on out. I want to talk to Fred. She escapes, and glad of the chance. Lucille What’s the matter? Paul On the dress again. That is new, isn’t it? Lucille Don’t you think it’s about time? Paul How much was it? Lucille It won’t come due for a while. I may take care of it myself. Paul I can take care of it, if it ain’t too soon. Lucille I’ve got to go on out. Eileen’s waiting. Paul Hold on! Lucille turns, not knowing what to expect. That’s what I want to talk to you about. Lucille What? Paul About her and Fred. Lucille In vast relief. Oh! Paul She’s got him so he can’t hardly work at all. I don’t know when we’re going to finish the new numbers. Lucille Of course you can finish them. Paul But taking him off on this trip! It’s going to cost him a million dollars. And just when we’re beginning to work good together! Lucille You can write other numbers while he’s gone. Paul But that ain’t the point. I mean⁠—do you think we ought to do it? Lucille Do what? Paul Do you think they ought to go ahead and get married? He’s a hell of a nice guy⁠—I’ve kind of got to like him. Lucille What of it? Eileen’s a nice girl. Paul But⁠—you know what I mean. Isn’t it kind of a dirty trick⁠—I mean, after the way Eileen⁠—Lucille gives him a sharp look. Well, Hart and everything? Lucille In a low tone. You ought to have more sense. Paul Just the same, I don’t feel right about it. And the way she’s throwing his money around⁠—like it was confetti. Spending every nickel she can get on herself! Clothes, clothes⁠— Lucille You can’t go to Europe in a life belt. Paul Do you know what she spent in one afternoon, yesterday? Close to four hundred dollars. He pretty near cried when he told me. And I don’t blame him. He’s too nice a kid. Lucille She doesn’t spend that every day. Paul She shouldn’t have spent it at all. You should have had more sense than to let her. Lucille Flaring a little. How could I stop her? I wasn’t there! Paul Yes, you were! You were with her all afternoon. Lucille Quickly covering herself. Oh, yes. I thought you meant the day before. Paul It was Sunday, the day before. Lucille Yah⁠—I just mixed up, that’s all. Paul Anyhow, something ought to be done about it. She’s got him in debt enough. Lucille Nervously. I’ll talk to her about it. Starts out. Don’t you say anything to her. Don’t say anything about⁠—I mean, what she spent yesterday afternoon. I’ll go and talk to her. She gets away. Paul stands in thought for a moment; then he starts to go. Benny catches him in the act. Benny Can you listen to that number? Paul What? Benny Can you hear that number now? Paul Aw⁠—I got to work, Benny. Goes. Goldie immediately enters. Benny Where’s Hart? Goldie Can’t you think up a new question? Benny Where is he? Goldie He’s out getting a permanent. And she goes. Benny almost gives up; is about to leave. But then there arrives the beautiful young woman known as Miss Rixey. She heads for Hart’s door. Benny Without much