Good morning. [_He slouches away to
the door on the left and there stops, listening. There is the sound of
people approaching, singing uproariously and shouting and laughing._]
Hullo!

LUIGI.

[_At his elbow._] Ho, ho, ho, ho!

[_LUIGI goes out into the corridor and JEYES retreats behind the
counter. The noise increases and presently FULKERSON rushes in,
flourishing his arms madly. He is followed by GLYNN and SHIRLEY who
are carrying LILY upon their interlocked hands, and by PALK who is
helping to support her. Then come HENEAGE and NITA, GRIMWOOD and
DAPHNE, TAVISH and FLO, VON RETTENMAYER and ENID, DE CASTRO and
GABRIELLE, ROPER and MRS. STIDULPH, FARNCOMBE and JIMMIE, BLAND and
EVANGELINE, COOLING and SYBIL, and SMYTHE and OLGA. Singing the chorus
of the "Mind the Paint" song, and dancing to it wildly, they circle
the saloon twice, go out at the right-hand door at the back, return at
the door on the left, and finally disappear through the double-door
and along the landing. The waiters, who have brought up the rear of
the procession, gather, with LUIGI, in the left-hand corner, clapping
their hands, and STIDULPH returns, entering at the right-hand door at
the back._

LILY.

[_Waving her bouquet and shrieking with laughter._] Ha, ha, ha, ha!
Don't drop me! Don't drop me!

HENEAGE AND GRIMWOOD.

[_Yelling._] Whoop! Whoop!

FULKERSON.

[_Deliriously, endeavouring to stand upon his head._] Wh-o-o-op!

JIMMIE.

[_Breaking from the rank and jumping on to the further settee--
singing._] "Mind the paint! Mind the paint! A girl is not a sinner
just because she's not a saint!----"

LILY.

Ha, ha, ha! You'll drop me! Oh----!

[_As the procession passes out of sight, followed by LUIGI and the
waiters, JEYES departs at the door on the left and STIDULPH once more
goes to the counter and lights a cigarette._

END OF THE SECOND ACT.

THE THIRD ACT

_The scene is LILY'S boudoir-- a room upon the second floor of her
house, adjoining her bedroom. The decorations, though delicate, are
gay, with a good deal of pink in them._

_In the wall facing the spectator are two doors, one on the left, the
other in the centre. The left-hand door opens into the room from the
landing, where the staircase is shown; the centre door admits to the
bedroom. In the right-hand wall there are two sash-windows giving a
view of the tops of trees growing in a square; in the opposite wall,