Of course not. HARRY Where does he sleep? CAROL [_Pointing to door, R._] In there. [_HARRY, with big drink in his hand, tiptoes over and listens at the door._] HARRY I can’t hear a sound. CAROL He doesn’t snore unless he’s taken to it lately. HARRY [_Returning_] Darling, do you love me? CAROL What a silly question! HARRY It’s all been so wonderful. CAROL [_Smiling_] Has it? HARRY Well, hasn’t it? CAROL Yes, it has rather. [_He puts down his drink and takes her in his arms._] Look out— [_She is holding her glass out at arm’s length to prevent it upsetting._] HARRY Put it down, darling— [_There is a good deal of passion in his voice when he says, “darling.”_] CAROL Why? HARRY I want to kiss you. CAROL Again? HARRY Yes, again and again and again—forever. [_He takes her glass and slams it down on the table._] CAROL Shhh! Don’t be a fool. HARRY I don’t care— [_He kisses her lingeringly._] CAROL [_Gently disentangling herself_] I do—it’s silly to be reckless. HARRY I don’t believe you love me as much as you did before. CAROL It isn’t that at all—you know it isn’t. HARRY Kiss me then. CAROL Very well. [_She goes up to him and quietly kisses him on the mouth. They stand there motionless for a moment._] HARRY I want you—all over again—for the first time. CAROL [_Stroking his face_] Darling. HARRY I’m crazy about you. CAROL You must go home to bed now. HARRY Will you telephone me? CAROL Yes. HARRY First thing? CAROL Yes. HARRY Promise. CAROL Promise. [_They go out of the door. There is a little whispering in the hall. Then a silence and the sound of the front door closing gently. CAROL comes back into the studio pensively. She finishes her whisky and soda, takes a biscuit, and flings her cloak over her arm; then she switches off the light and goes slowly off up R. Her door closes. After a slight pause EDWARD CHURT rises from the big armchair by the fire in which he has been sitting with his back to the audience, and goes over to the table. He switches on the lamp again and helps himself to a sandwich; he munches it thoughtfully for a moment, then with an air of determination picks up the whole plate, switches off the lamp and—retires to his room._] CURTAIN SCENE II _The scene is the same. It is an afternoon a few weeks later about five o’clock._ [_When the curtain rises, LADY MARGOT BUTLER is seated down-stage in a slightly picturesque attitude. She is a good-looking woman of about thirty-five. EDWARD is working on a sketch of her and is hidden from view behind an easel._] MARGOT I’m much more comfortable now, Edward. EDWARD Yes, I see you are. Would you mind getting uncomfortable again? MARGOT [_Rearranging herself_]