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.

ACT II

BUILDER'S study. At the table, MAUD has just put a sheet of paper into a typewriter. She sits facing the audience, with her hands stretched over the keys.

MAUD. [To herself] I must get that expression.

Her face a.s.sumes a furtive, listening look. Then she gets up, whisks to the mirror over the fireplace, scrutinises the expression in it, and going back to the table, sits down again with hands outstretched above the keys, and an accentuation of the expression.

The door up Left is opened, and TOPPING appears. He looks at MAUD, who just turns her eyes.

TOPPING. Lunch has been ready some time, Miss Maud.

MAUD. I don't want any lunch. Did you give it?

TOPPING. Miss Athene was out. I gave the message to a young party. She looked a bit green, Miss. I hope nothing'll go wrong with the works.

Shall I keep lunch back?

MAUD. If something's gone wrong, they won't have any appet.i.te, Topping.

TOPPING. If you think I might risk it, Miss, I'd like to slip round to my dentist. [He lays a finger on his cheek].

MAUD. [Smiling] Oh! What race is being run this afternoon, then, Topping?

TOPPING. [Twinkling, and shifting his finger to the side of his nose]

Well, I don't suppose you've 'eard of it, Miss; but as a matter of fact it's the Cesarwitch.

MAUD. Got anything on?

TOPPING. Only my shirt, Miss.

MAUD. Is it a good thing, then?

TOPPING. I've seen worse roll up. [With a touch of enthusiasm] Dark horse, Miss Maud, at twenty to one.

MAUD. Put me ten bob on, Topping. I want all the money I can get, just now.

TOPPING. You're not the first, Miss.

MAUD. I say, Topping, do you know anything about the film?

TOPPING. [Nodding] Rather a specialty of mine, Miss.

MAUD. Well, just stand there, and give me your opinion of this.

TOPPING moves down Left. She crouches over the typewriter, lets her hands play on the keys; stops; a.s.sumes that listening, furtive look; listens again, and lets her head go slowly round, preceded by her eyes; breaks it off, and says:

What should you say I was?

TOPPING. Guilty, Miss.

MAUD. [With triumph] There! Then you think I've got it?

TOPPING. Well, of course, I couldn't say just what sort of a crime you'd committed, but I should think pretty 'ot stuff.

MAUD. Yes; I've got them here. [She pats her chest].

TOPPING. Really, Miss.

MAUD. Yes. There's just one point, Topping; it's psychological.

TOPPING. Indeed, Miss?

MAUD. Should I naturally put my hand on them; or would there be a reaction quick enough to stop me? You see, I'm alone--and the point is whether the fear of being seen would stop me although I knew I couldn't be seen. It's rather subtle.

TOPPING. I think there's be a rehaction, Miss.

MAUD. So do I. To touch them [She clasps her chest] is a bit obvious, isn't it?

TOPPING. If the haudience knows you've got 'em there.