A Family Man

Scene II

The Studio, to which are attached living rooms, might be rented at eighty pounds a year--some painting and gear indeed, but an air of life rather than of work. Things strewn about. Bare walls, a sloping skylight, no windows; no fireplace visible; a bedroom door, stage Right; a kitchen door, stage Left. A door, Centre back, into the street. The door knocker is going.

From the kitchen door, Left, comes the very young person, ANNIE, in blotting-paper blue linen, with a white Dutch cap. She is pretty, her cheeks rosy, and her forehead puckered. She opens the street door. Standing outside is TOPPING. He steps in a pace or two.

TOPPING

Miss Builder live here?

ANNIE

Oh! no, sir; Mrs Herringhame.

TOPPING

Mrs Herringhame? Oh! young lady with dark hair and large expressive eyes?

ANNIE

Oh! yes, sir.

TOPPING

With an "A. B." on her linen? [Moves to table].

ANNIE

Yes, sir.

TOPPING

And "Athene Builder" on her drawings?

ANNIE

[Looking at one] Yes, sir.

TOPPING

Let's see. [He examines the drawing] Mrs Herringhame, you said?

ANNIE

Oh! yes, Sir.

TOPPING

Wot oh!

ANNIE

Did you want anything, sir?

TOPPING

Drop the "sir," my dear; I'm the Builders' man. Mr Herringhame in?

ANNIE

Oh! no, Sir.

TOPPING

Take a message. I can't wait. From Miss Maud Builder. "Look out! Father is coming." Now, whichever of 'em comes in first--that's the message, and don't you forget it.

ANNIE

Oh! no, Sir.

TOPPING

So they're married?

ANNIE

Oh! I don't know, sir.

TOPPING

I see. Well, it ain't known to Builder, J.P., either. That's why there's a message. See?

ANNIE

Oh! yes, Sir.

TOPPING

Keep your head. I must hop it. From Miss Maud Builder. "Look out! Father is coming."

He nods, turns and goes, pulling the door to behind him. ANNIE stands "baff" for a moment.

ANNIE

Ah!

She goes across to the bedroom on the Right, and soon returns with a suit of pyjamas, a toothbrush, a pair of slippers and a case of razors, which she puts on the table, and disappears into the kitchen. She reappears with a bread pan, which she deposits in the centre of the room; then crosses again to the bedroom, and once more reappears with a clothes brush, two hair brushes, and a Norfolk jacket. As she stuffs all these into the bread pan and bears it back into the kitchen, there is the sound of a car driving up and stopping. ANNIE reappears at the kitchen door just as the knocker sounds.

ANNIE

Vexin' and provokin'! [Knocker again. She opens the door] Oh!

MR and MRS BUILDER enter.

BUILDER

Mr and Mrs Builder. My daughter in?

ANNIE

[Confounded] Oh! Sir, no, sir.

BUILDER

My good girl, not "Oh! Sir, no, sir." Simply: No, Sir. See?

ANNIE

Oh! Sir, yes, Sir.

BUILDER

Where is she?

ANNIE

Oh! Sir, I don't know, Sir.

BUILDER

[Fixing her as though he suspected her of banter] Will she be back soon?

ANNIE

No, Sir.

BUILDER

How do you know?

ANNIE

I d--don't, sir.

BUILDER

They why do you say so? [About to mutter "She's an i***t!" he looks at her blushing face and panting figure, pats her on the shoulder and says] Never mind; don't be nervous.

ANNIE

Oh! yes, sir. Is that all, please, sir?

MRS BUILDER

[With a side look at her husband and a faint smile] Yes; you can go.

ANNIE

Thank you, ma'am.

She turns and hurries out into the kitchen, Left. BUILDER gazes after her, and MRS BUILDER gazes at BUILDER with her faint smile.

BUILDER

[After the girl is gone] Quaint and Dutch--pretty little figure! [Staring round] H'm! Extraordinary girls are! Fancy Athene preferring this to home. What?

MRS BUILDER

I didn't say anything.

BUILDER

[Placing a chair for his wife, and sitting down himself] Well, we must wait, I suppose. Confound that Nixon legacy! If Athene hadn't had that potty little legacy left her, she couldn't have done this. Well, I daresay it's all spent by now. I made a mistake to lose my temper with her.

MRS BUILDER

Isn't it always a mistake to lose one's temper?

BUILDER

That's very nice and placid; sort of thing you women who live sheltered lives can say. I often wonder if you women realise the strain on a business man.

MRS BUILDER

[In her softly ironical voice] It seems a shame to add the strain of family life.

BUILDER

You've always been so passive. When I want a thing, I've got to have it.

MRS BUILDER

I've noticed that.

BUILDER

[With a short laugh] Odd if you hadn't, in twenty-three years. [Touching a canvas standing against the chair with his toe] Art! Just a pretext. We shall be having Maud wanting to cut loose next. She's very restive. Still, I oughtn't to have had that scene with Athene. I ought to have put quiet pressure.

MRS BUILDER Smiles.

BUILDER

What are you smiling at?

MRS BUILDER shrugs her shoulders.

Look at this-- Cigarettes! [He examines the brand on the box] Strong, very--and not good! [He opens the door] Kitchen! [He shuts it, crosses, and opens the door, Right] Bedroom!

MRS BUILDER

[To his disappearing form] Do you think you ought, John?

He has disappeared, and she ends with an expressive movement of her hands, a long sigh, and a closing of her eyes. BUILDER'S peremptory voice is heard: "Julia!"

What now?

She follows into the bedroom. The maid ANNIE puts her head out of the kitchen door; she comes out a step as if to fly; then, at BUILDER'S voice, shrinks back into the kitchen.

BUILDER, reappearing with a razor strop in one hand and a shaving-brush in the other, is followed by MRS BUILDER.

BUILDER

Explain these! My God! Where's that girl?

MRS BUILDER

John! Don't! [Getting between him and the kitchen door] It's not dignified.

BUILDER

I don't care a damn.

MRS BUILDER

John, you mustn't. Athene has the tiny beginning of a moustache, you know.

BUILDER

What! I shall stay and clear this up if I have to wait a week. Men who let their daughters--! This age is the limit. [He makes a vicious movement with the strop, as though laying it across someone's back.]

MRS BUILDER

She would never stand that. Even wives object, nowadays.

BUILDER

[Grimly] The war's upset everything. Women are utterly out of hand. Why the deuce doesn't she come?

MRS BUILDER

Suppose you leave me here to see her.

BUILDER

[Ominously] This is my job.

MRS BUILDER

I think it's more mine.

BUILDER

Don't stand there opposing everything I say! I'll go and have another look--[He is going towards the bedroom when the sound of a latchkey in the outer door arrests him. He puts the strop and brush behind his back, and adds in a low voice] Here she is!

MRS BUILDER has approached him, and they have both turned towards the opening door. GUY HERRINGHAME comes in. They are a little out of his line of sight, and he has shut the door before he sees them. When he does, his mouth falls open, and his hand on to the knob of the door. He is a comely young man in Harris tweeds. Moreover, he is smoking. He would speak if he could, but his surprise is too excessive.

BUILDER

Well, sir?

GUY

[Recovering a little] I was about to say the same to you, sir.

BUILDER

[Very red from repression] These rooms are not yours, are they?

GUY

Nor yours, sir?

BUILDER

May I ask if you know whose they are?

GUY

My sister's.

BUILDER

Your--you--!

MRS BUILDER

John!

BUILDER

Will you kindly tell me why your sister signs her drawings by the name of my daughter, Athene Builder--and has a photograph of my wife hanging there?

The YOUNG MAN looks at MRS BUILDER and winces, but recovers himself.

GUY

[Boldly] As a matter of fact this is my sister's studio; she's in France--and has a friend staying here.

BUILDER

Oh! And you have a key?

GUY

My sister's.

BUILDER

Does your sister shave?

GUY

I--I don't think so.

BUILDER

No. Then perhaps you'll tell me what these mean? [He takes out the strop and shaving stick].

GUY

Oh! Ah! Those things?

BUILDER

Yes. Now then?

GUY

[Addressing MRS BUILDER] Need we go into this in your presence, ma'am? It seems rather delicate.

BUILDER

What explanation have you got?

GUY

Well, you see--

BUILDER

No lies; out with it!

GUY

[With decision] I prefer to say nothing.

BUILDER

What's your name?

GUY

Guy Herringhame.

BUILDER

Do you live here?

Guy makes no sign.

MRS BUILDER

[To Guy] I think you had better go.

BUILDER

Julia, will you leave me to manage this?

MRS BUILDER

[To Guy] When do you expect my daughter in?

GUY

Now--directly.

MRS BUILDER

[Quietly] Are you married to her?

GUY

Yes. That is--no--o; not altogether, I mean.

BUILDER

What's that? Say that again!

GUY

[Folding his arms] I'm not going to say another word.

BUILDER

I am.

MRS BUILDER

John--please!

BUILDER

Don't put your oar in! I've had wonderful patience so far. [He puts his boot through a drawing] Art! This is what comes of it! Are you an artist?

GUY

No; a flying man. The truth is--

BUILDER

I don't want to hear you speak the truth. I'll wait for my daughter.

GUY

If you do, I hope you'll be so very good as to be gentle. If you get angry I might too, and that would be awfully ugly.

BUILDER

Well, I'm damned!

GUY

I quite understand that, sir. But, as a man of the world, I hope you'll take a pull before she comes, if you mean to stay.

BUILDER

If we mean to stay! That's good!

GUY

Will you have a cigarette?

BUILDER

I--I can't express--

GUY

[Soothingly] Don't try, sir. [He jerks up his chin, listening] I think that's her. [Goes to the door] Yes. Now, please! [He opens the door] Your father and mother, Athene.

ATHENE enters. She is flushed and graceful. Twenty-two, with a short upper lip, a straight nose, dark hair, and glowing eyes. She wears bright colours, and has a slow, musical voice, with a slight lisp.

ATHENE

Oh! How are you, mother dear? This is rather a surprise. Father always keeps his word, so I certainly didn't expect him. [She looks steadfastly at BUILDER, but does not approach].

BUILDER

[Controlling himself with an effort] Now, Athene, what's this?

ATHENE

What's what?

BUILDER

[The strop held out] Are you married to this--this--?

ATHENE

[Quietly] To all intents and purposes.

BUILDER

In law?

ATHENE

No.

BUILDER

My God! You--you--!

ATHENE

Father, don't call names, please.

BUILDER

Why aren't you married to him?

ATHENE

Do you want a lot of reasons, or the real one?

BUILDER

This is maddening! [Goes up stage].

ATHENE

Mother dear, will you go into the other room with Guy? [She points to the door Right].

BUILDER

Why?

ATHENE

Because I would rather she didn't hear the reason.

GUY

[To ATHENE, sotto voce] He's not safe.

ATHENE

Oh! yes; go on.

Guy follows MRS BUILDER, and after hesitation at the door they go out into the bedroom.

BUILDER

Now then!

ATHENE

Well, father, if you want to know the real reason, it's--you.

BUILDER

What on earth do you mean?

ATHENE

Guy wants to marry me. In fact, we--But I had such a stunner of marriage from watching you at home, that I--

BUILDER

Don't be impudent! My patience is at breaking-point, I warn you.

ATHENE

I'm perfectly serious, Father. I tell you, we meant to marry, but so far I haven't been able to bring myself to it. You never noticed how we children have watched you.

BUILDER

Me?

ATHENE

Yes. You and mother, and other things; all sorts of things--

BUILDER

[Taking out a handkerchief and wiping his brow] I really think you're mad.

ATHENE

I'm sure you must, dear.

BUILDER

Don't "dear" me! What have you noticed? D'you mean I'm not a good husband and father?

ATHENE

Look at mother. I suppose you can't, now; you're too used to her.

BUILDER

Of course I'm used to her. What else is marrying for?

ATHENE

That; and the production of such as me. And it isn't good enough, father. You shouldn't have set us such a perfect example.

BUILDER

You're talking the most arrant nonsense I ever heard. [He lifts his hands] I've a good mind to shake it out of you.

ATHENE

Shall I call Guy?

He drops his hands.

Confess that being a good husband and father has tried you terribly. It has us, you know.

BUILDER

[Taking refuge in sarcasm] When you've quite done being funny, perhaps you'll tell me why you've behaved like a common street flapper.

ATHENE

[Simply] I couldn't bear to think of Guy as a family man. That's all--absolutely. It's not his fault; he's been awfully anxious to be one.

BUILDER

You've disgraced us, then; that's what it comes to.

ATHENE

I don't want to be unkind, but you've brought it on yourself.

BUILDER

[Genuinely distracted] I can't even get a glimmer of what you mean. I've never been anything but firm. Impatient, perhaps. I'm not an angel; no ordinary healthy man is. I've never grudged you girls any comfort, or pleasure.

ATHENE

Except wills of our own.

BUILDER

What do you want with wills of your own till you're married?

ATHENE

You forget mother!

BUILDER

What about her?

ATHENE

She's very married. Has she a will of her own?

BUILDER

[Sullenly] She's learnt to know when I'm in the right.

ATHENE

I don't ever mean to learn to know when Guy's in the right. Mother's forty-one, and twenty-three years of that she's been your wife. It's a long time, father. Don't you ever look at her face?

BUILDER

[Troubled in a remote way] Rubbish!

ATHENE

I didn't want my face to get like that.

BUILDER

With such views about marriage, what business had you to go near a man? Come, now!

ATHENE

Because I fell in love.

BUILDER

Love leads to marriage--and to nothing else, but the streets. What an example to your sister!

ATHENE

You don't know Maud any more than you knew me. She's got a will of her own too, I can tell you.

BUILDER

Now, look here, Athene. It's always been my way to face accomplished facts. What's done can't be undone; but it can be remedied. You must marry this young----at once, before it gets out. He's behaved like a ruffian: but, by your own confession, you've behaved worse. You've been bitten by this modern disease, this--this, utter lack of common decency. There's an eternal order in certain things, and marriage is one of them; in fact, it's the chief. Come, now. Give me a promise, and I'll try my utmost to forget the whole thing.

ATHENE

When we quarrelled, father, you said you didn't care what became of me.

BUILDER

I was angry.

ATHENE

So you are now.

BUILDER

Come, Athene, don't be childish! Promise me!

ATHENE

[With a little shudder] No! We were on the edge of it. But now I've seen you again--Poor mother!

BUILDER

[Very angry] This is simply blasphemous. What do you mean by harping on your mother? If you think that--that--she doesn't--that she isn't--

ATHENE

Now, father!

BUILDER

I'm damned if I'll sit down under this injustice. Your mother is--is pretty irritating, I can tell you. She--she--Everything suppressed. And--and no--blood in her!

ATHENE

I knew it!

BUILDER

[Aware that he has confirmed some thought in her that he had no intention of confirming] What's that?

ATHENE

Don't you ever look at your own face, father? When you shave, for instance.

BUILDER

Of course I do.

ATHENE

It isn't satisfied, is it?

BUILDER

I don't know what on earth you mean.

ATHENE

You can't help it, but you'd be ever so much happier if you were a Mohammedan, and two or three, instead of one, had--had learned to know when you were in the right.

BUILDER

'Pon my soul! This is outrageous!

ATHENE

Truth often is.

BUILDER

Will you be quiet?

ATHENE

I don't ever want to feel sorry for Guy in that way.

BUILDER

I think you're the most immodest--I'm ashamed that you're my daughter. If your another had ever carried on as you are now--

ATHENE

Would you have been firm with her?

BUILDER

[Really sick at heart at this unwonted mockery which meets him at every turn] Be quiet, you----!

ATHENE

Has mother never turned?

BUILDER

You're an unnatural girl! Go your own way to hell!

ATHENE

I am not coming back home, father.

BUILDER

[Wrenching open the door, Right] Julia! Come! We can't stay here.

MRS BUILDER comes forth, followed by GUY.

As for you, sir, if you start by allowing a woman to impose her crazy ideas about marriage on you, all I can say is--I despise you. [He crosses to the outer door, followed by his wife. To ATHENE] I've done with you!

He goes out.

MRS BUILDER, who has so far seemed to accompany him, shuts the door quickly and remains in the studio. She stands there with that faint smile on her face, looking at the two young people.

ATHENE

Awfully sorry, mother; but don't you see what a stunner father's given me?

MRS BUILDER

My dear, all men are not alike.

GUY

I've always told her that, ma'am.

ATHENE

[Softly] Oh! mother, I'm so sorry for you.

The handle of the door is rattled, a fist is beaten on it.

[She stamps, and covers her ears] Disgusting!

GUY

Shall I--?

MRS BUILDER

[Shaking her head] I'm going in a moment. [To ATHENE] You owe it to me, Athene.

ATHENE

Oh! if somebody would give him a lesson!

BUILDER's voice: "Julia!"

Have you ever tried, mother?

MRS BUILDER looks at the YOUNG MAN, who turns away out of hearing.

MRS BUILDER

Athene, you're mistaken. I've always stood up to him in my own way.

ATHENE

Oh! but, mother--listen!

The beating and rattling have recommenced, and the voice: "Are you coming?"

[Passionately] And that's family life! Father was all right before he married, I expect. And now it's like this. How you survive--!

MRS BUILDER

He's only in a passion, my dear.

ATHENE

It's wicked.

MRS BUILDER

It doesn't work otherwise, Athene.

A single loud bang on the door.

ATHENE

If he beats on that door again, I shall scream.

MRS BUILDER smiles, shakes her head, and turns to the door.

MRS BUILDER

Now, my dear, you're going to be sensible, to please me. It's really best. If I say so, it must be. It's all comedy, Athene.

ATHENE

Tragedy!

GUY

[Turning to them] Look here! Shall I shift him?

MRS BUILDER shakes her head and opens the door. BUILDER stands there, a furious figure.

BUILDER

Will you come, and leave that baggage and her cad?

MRS BUILDER steps quickly out and the door is closed. Guy makes an angry movement towards it.

ATHENE

Guy!

GUY

[Turning to her] That puts the top hat on. So persuasive! [He takes out of his pocket a wedding ring, and a marriage licence] Well! What's to be done with these pretty things, now?

ATHENE

Burn them!

GUY

[Slowly] Not quite. You can't imagine I should ever be like that, Athene?

ATHENE

Marriage does wonders.

GUY

Thanks.

ATHENE

Oh! Guy, don't be horrid. I feel awfully bad.

GUY

Well, what do you think I feel? "Cad!"

They turn to see ANNIE in hat and coat, with a suit-case in her hand, coming from the door Left.

ANNIE

Oh! ma'am, please, Miss, I want to go home.

GUY

[Exasperated!] She wants to go home--she wants to go home!

ATHENE

Guy! All right, Annie.

ANNIE

Oh! thank you, Miss. [She moves across in front of them].

ATHENE

[Suddenly] Annie!

ANNIE stops and turns to her.

What are you afraid of?

ANNIE

[With comparative boldness] I--I might catch it, Miss.

ATHENE

From your people?

ANNIE

Oh! no, Miss; from you. You see, I've got a young man that wants to marry me. And if I don't let him, I might get into trouble meself.

ATHENE

What sort of father and mother have you got, Annie?

ANNIE

I never thought, Miss. And of course I don't want to begin.

ATHENE

D'you mean you've never noticed how they treat each other?

ANNIE

I don't think they do, Miss.

ATHENE

Exactly.

ANNIE

They haven't time. Father's an engine driver.

GUY

And what's your young man, Annie?

ANNIE

[Embarrassed] Somethin' like you, sir. But very respectable.

ATHENE

And suppose you marry him, and he treats you like a piece of furniture?

ANNIE

I--I could treat him the same, Miss.

ATHENE

Don't you believe that, Annie!

ANNIE

He's very mild.

ATHENE

That's because he wants you. You wait till he doesn't.

ANNIE looks at GUY.

GUY

Don't you believe her, Annie; if he's decent--

ANNIE

Oh! yes, sir.

ATHENE

[Suppressing a smile] Of course--but the point is, Annie, that marriage makes all the difference.

ANNIE

Yes, Miss; that's what I thought.

ATHENE

You don't see. What I mean is that when once he's sure of you, he may change completely.

ANNIE

[Slowly, looking at her thumb] Oh! I don't--think--he'll hammer me, Miss. Of course, I know you can't tell till you've found out.

ATHENE

Well, I've no right to influence you.

ANNIE

Oh! no, Miss; that's what I've been thinking.

-

GUY

You're quite right, Annie=-this is no place for you.

ANNIE

You see, we can't be married; sir, till he gets his rise. So it'll be a continual temptation to me.

ATHENE

Well, all right, Annie. I hope you'll never regret it.

ANNIE

Oh! no, Miss.

GUY

I say, Annie, don't go away thinking evil of us; we didn't realise you knew we weren't married.

ATHENE

We certainly did not.

ANNIE

Oh! I didn't think it right to take notice.

GUY

We beg your pardon.

ANNIE

Oh! no, sir. Only, seein' Mr and Mrs Builder so upset, brought it 'ome like. And father can be 'andy with a strap.

ATHENE

There you are! Force majeure!

ANNIE

Oh! yes, Miss.

ATHENE

Well, good-bye, Annie. What are you going to say to your people?

ANNIE

Oh! I shan't say I've been livin' in a family that wasn't a family, Miss. It wouldn't do no good.

ATHENE

Well, here are your wages.

ANNIE

Oh! I'm puttin' you out, Miss. [She takes the money].

ATHENE

Nonsense, Annie. And here's your fare home.

ANNIE

Oh! thank you, Miss. I'm very sorry. Of course if you was to change your mind--[She stops, embarrassed].

ATHENE

I don't think--

GUY

[Abruptly] Good-bye, Annie. Here's five bob for the movies.

ANNIE

Oh! good-bye, sir, and thank you. I was goin' there now with my young man. He's just round the corner.

GUY

Be very careful of him.

ANNIE

Oh! yes, sir, I will. Good-bye, sir. Goodbye, Miss.

She goes.

GUY

So her father has a firm hand too. But it takes her back to the nest. How's that, Athene?

ATHENE

[Playing with a leathern button on his coat] If you'd watched it ever since you could watch anything, seen it kill out all--It's having power that does it. I know Father's got awfully good points.

GUY

Well, they don't stick out.

ATHENE

He works fearfully hard; he's upright, and plucky. He's not stingy. But he's smothered his animal nature-and that's done it. I don't want to see you smother anything, Guy.

GUY

[Gloomily] I suppose one never knows what one's got under the lid. If he hadn't come here to-day--[He spins the wedding ring] He certainly gives one pause. Used he to whack you?

ATHENE

Yes.

GUY

Brute!

ATHENE

With the best intentions. You see, he's a Town Councillor, and a magistrate. I suppose they have to be "firm." Maud and I sneaked in once to listen to him. There was a woman who came for protection from her husband. If he'd known we were there, he'd have had a fit.

GUY

Did he give her the protection?

ATHENE

Yes; he gave her back to the husband. Wasn't it--English?

GUY

[With a grunt] Hang it! We're not all like that.

ATHENE

[Twisting his button] I think it's really a sense of property so deep that they don't know they've got it. Father can talk about freedom like a--politician.

GUY

[Fitting the wedding ring on her finger] Well! Let's see how it looks, anyway.

ATHENE

Don't play with fire, Guy.

GUY

There's something in atavism, darling; there really is. I like it --I do.

A knock on the door.

ATHENE

That sounds like Annie again. Just see.

GUY

[Opening the door] It is. Come in, Annie. What's wrong now?

ANNIE

[Entering in confusion] Oh! sir, please, sir--I've told my young man.

ATHENE

Well, what does he say?

ANNIE

'E was 'orrified, Miss.

GUY

The deuce he was! At our conduct?

ANNIE

Oh! no, sir--at mine.

ATHENE

But you did your best; you left us.

ANNIE

Oh! yes, Miss; that's why 'e's horrified.

GUY

Good for your young man.

ANNIE

[Flattered] Yes, sir. 'E said I 'ad no strength of mind.

ATHENE

So you want to come back?

ANNIE

Oh! yes, Miss.

ATHENE

All right.

GUY

But what about catching it?

ANNIE

Oh, sir, 'e said there was nothing like Epsom salts.

GUY

He's a wag, your young man.

ANNIE

He was in the Army, sir.

GUY

You said he was respectable.

ANNIE

Oh! yes, sir; but not so respectable as that.

ATHENE

Well, Annie, get your things off, and lay lunch.

ANNIE

Oh! yes, Miss.

She makes a little curtsey and passes through into the kitchen.

GUY

Strength of mind! Have a little, Athene won't you? [He holds out the marriage licence before her].

ATHENE

I don't know--I don't know! If--it turned out--

GUY

It won't. Come on. Must take chances in this life.

ATHENE

[Looking up into his face] Guy, promise me--solemnly that you'll never let me stand in your way, or stand in mine!

GUY

Right! That's a bargain. [They embrace.]

ATHENE quivers towards him. They embrace fervently as ANNIE enters with the bread pan. They spring apart.

ANNIE

Oh!

GUY

It's all right, Annie. There's only one more day's infection before you. We're to be married to-morrow morning.

ANNIE

Oh! yes, sir. Won't Mr Builder be pleased?

GUY

H'm! That's not exactly our reason.

ANNIE

[Right] Oh! no, sir. Of course you can't be a family without, can you?

GUY

What have you got in that thing?

ANNIE is moving across with the bread pan. She halts at the bedroom door.

ANNIE

Oh! please, ma'am, I was to give you a message--very important-- from Miss Maud Builder "Lookout! Father is coming!"

She goes out.

The CURTAIN falls.