The “cop” comes softly to door, listens, and then pushes
     door quietly inward.

86—­Ella’s room.  Gas-lit.

As the police officer opens the door and looks in, Florence is quietly sewing, and Bill is leaning back, at his ease, though it is an effort for him to be unconcerned.  He is smoking.  The officer hesitates.  Hold suspense of situation.

87—­Front of “Row.”  Night.

     Ambulance attendants busy over man.  Street crowd being
     driven away by several policemen.

88—­Ella’s room.  Gas-lit.

The officer moves forward, his eyes on Bill.  Florence does not betray the slightest sign of dismay.  She looks at the intruder as much in reproof as in surprise.  Her steady look disconcerts the policeman; he shuffles, clears his throat, and explains his search, glancing toward Bill.  Florence says: 

Cut-in leader—­

     “LIVING IN THE BACK OF THE HOUSE WE DON’T HEAR MUCH—­OR MY
     BROTHER WOULD HAVE GONE DOWN TO SEE WHAT WAS UP.”

Bill takes up the lead she gives by pretending eagerness as to what happened, but the officer, after a hasty look out over the fire escape, turns and hurries from the room.  Bill sighs relievedly, and looks at Florence with the same sort of light in his eyes that one sees in those of a faithful dog.  This dog-like devotion is to be the developing keynote of Bill’s character.

89—­Roof of house.  Night.

     Policeman comes up on roof, looking around.

90—­Ella’s room.  Gas-lit.

     Bill is thanking Florence.  She tells him that she will go
     down and see whether the coast is clear, and he sits down
     with a grateful look as she goes quietly out.[54]

[Footnote 54:  Compare the present scene and the one following, in respect to varying treatment of conveyed information.  Here the girl merely indicates what she intends to do, and her statement of the fact is not given as dialogue-in-scene, since the next scene will make clear her unregistered words; but see how dialogue-in-scene is employed in the scene that comes next, emphasizing in the briefest way just what the player feels by what she thinks and unconsciously forms with her lips.]

91—­Front of “Row.”  Night.  From the tenement doorway.

     The injured man is being made to stand.  Florence comes into
     the scene, pausing on stoop of the “Row” and watches as the
     injured party feigns great pain, and gasps: 

Cut-in leader—­

     “HONEST—­HE NEAR CROAKED ME.  I’M DYIN’—­ALL SHOT TO PIECES. 
     AN’ THE WORST IS I DIDN’T GIT A CHANST TO SHOOT BACK AT
     HIM.”

The ambulance men laugh and tell him to be on his way; he is more scared than hurt.  Florence’s face becomes tense.  Her lips form the thought that flashes into her mind.  “He lied—­to me!” She turns and goes into house.

92—­Ella’s room.  Gas-lit.