The 'Mind the Paint' Girl Part 20

JEYES.

[_Taking her hand and crumpling it in his._] Well, it might be that you'd miss me for a while-- the old dog that you're accustomed to find lying on your door-mat; [_pressing her hand to his lips_] but you don't _love_ me, Lil-- not even as much as you did a year ago. You don't _love_ me!

LILY.

[_With a faint shrug of her shoulders._] Perhaps I don't, in the way you mean; [_wistfully_] perhaps it's not in me really to love anybody in a marrying way. [_Meeting his eyes._] Still, as you say----

JEYES.

As I say----?

LILY.

[_Pursing her mouth at him winningly._] I'm _accustomed_ to you, Nicko. [_He draws her to him; but, with a laugh, she checks him by offering him her head to kiss._] There-- [_putting the point of her finger playfully on the crown of her head_] you may _there_. [_As he kisses her._] Now I must run upstairs, or mother'll whack me.

JEYES.

[_Detaining her._] Won't you allow me to fetch you after the dance?

LILY.

Three or four in the morning! No; I'll give you a rest. Uncle Lal or Sam'll take on your job. [_Going to the door._] And don't try to see me to-morrow.

JEYES.

[_Sharply._] Why not?

LILY.

Not till you turn up at night as usual. I shall be a shocking rag all day.

JEYES.

[_Breaking out._] Yes, I expect you'll manage to enjoy yourself thoroughly, and dance yourself off your feet, whoever your partners may be!

LILY.

[_Wilfully._] Expect I shall. [_Tossing her head up._] Ha, ha! I'll do my best.

[_She departs, leaving him standing near the tea-table. He takes out his handkerchief and mops his brow. As he does so, his eyes rest upon the telephone-instrument on the writing-table and he stares at it. He hesitates, as if struggling to resist an impulse; then he goes quickly to the instrument and puts the receiver to his ear._

JEYES.

[_After a pause._] Gerrard, three, eight, four, eight. [_Discovering that LILY has left the door wide open, he lays the receiver upon the writing-table and goes to the door and shuts it. Then he returns to the writing-table and again listens at the receiver._] Is that the office of the Pandora Theatre?... [_Suddenly, imitating the voice of DE CASTRO._] Ith Mithter Morrith Cooling in?... I'm Mithter de Castro ... Tham de Castro ... Gone, ith he?... Oh, ith that you, Mithter Hickthon?... Yeth, you'll do ... About the thupper-party to-night that Mithter Smythe ith giving to Mith Parradell ... Yer there?... I didn't quite underthtand whether ith to be at the theatre or at a rethtaurong ... At the theatre?... Oh, yeth ... A largth party?... Oh, that _ith_ nithe!... Who are the guesth, d'ye know?... Yeth?... Yeth?... Oh, an'

the boyth!... oh, thome o' the _boyth_ are comin', are they!...

Hey?... Haven't got the litht from Mithter Roper yet?... Oh, _he'th_ been helpin' to get it up!... Oh, we _shall_ have a thplendid time!...

The boyth!... Yeth!... Yeth!... ha, ha, ha, ha!... thankth....

goo'bye!

[_He replaces the receiver and stands looking at the door for a moment. Then, with his head bent and his hands clasped behind him, he goes slowly out._

END OF THE FIRST ACT.

THE SECOND ACT

_The scene is an artistically decorated refreshment-saloon-- or "foyer"-- on the first-circle floor of a theatre. The wall facing the spectator is panelled partly in gla.s.s, and through the glazed panels the corridor behind the circle, and the doors admitting to the circle, are seen. The right-hand wall is panelled in a similar way, showing the landing at the top of the princ.i.p.al staircase and an entrance to the corridor. Some music-stands and stools are on the landing, arranged for a small orchestra._

_In the right-hand wall there is a double swing-door giving on to the landing; and in the wall at the back, opening on to, and from, the corridor, there is a single swing-door on the left and another on the right. The left-hand door is fastened back into the saloon by a hook.

Between the two doors in the back wall runs the refreshment-counter._

_In one of the further corners of the saloon there is a plaster statue representing the Muse of Comedy, in the opposite corner a companion figure of Dancing. In the wall on the left, the grate hidden by flowers, is a fireplace with a fender-stool before it, and on either side of the fireplace there is a capacious and richly upholstered arm-chair. A settee of like design stands against the wall on the right between the double-door and the spectator._

_The counter is decked-out as a sideboard, and at equal distances from each other there are four round tables laid for a supper-party of twenty-six persons. There are eight chairs at one table and six at each of the others, the chairs being of the sort usually supplied by ball-caterers._

_The saloon and the landing without are brilliantly lighted, the corridor less brightly._

[_LUIGI and four waiters-- one of whom has a curly head and a fair beard ending in two flamboyant points-- are putting the finis.h.i.+ng touches to the laying of the tables, while MORRIS COOLING, a person of imposing presence displaying a vast expanse of s.h.i.+rt-front, is engaged in placing upon each of the serviettes a card bearing the name of a guest._

COOLING.

[_Referring to a plan of the tables which he has in his hand._] Miss Connify-- Miss Connify-- Miss Connify-- where's Miss Connify? Ah, here you are, my dear-- [_moving to MISS CONNIFY'S chair and putting a card upon her serviette_] next to old Arthur.

[_The four waiters, obeying a direction in dumb-show from LUIGI, go out at the door on the left._

LUIGI.

[_A little, dark, active man-- viewing the tables with satisfaction._]

Tables look nice, Mr. Cooling?

COOLING.

[_Absorbed._] Not bad-- not bad-- not bad. [_LUIGI follows the waiters._] Miss Kato? [_Moving to another table and laying a card upon a serviette._] Gabrielle.

[_ROPER bustles in through the double-door, in high feather._

ROPER.

Hul-lo! [_Cutting a caper._] Merry Christmas and a Happy New Year, and how are you to-morrow!

COOLING.

[_Deep in his plan of the tables._] Hullo, Lal!

ROPER.