RUFUS   Oh no. People don’t work here anyway, do they? Can’t work legally, never mind illegally. That’s the trouble.
They walk on, laughing. Dickie appears, trailing after them. He stops to listen to his transistor.

INT. DRAWING ROOM. NIGHT.

A long, immaculate dinner table has been laid: linen and silver. Harold is checking. He corrects a knife and fork laid the wrong way round.

He looks up as Glyn enters, staggering under the weight of a large mirror, which he proceeds to prop on the serving table. As Harold and Glyn position the mirror, we see in it reflected the studio, cameras and lights. As they finish placing the mirror the door chimes go.

EXT. ENGLISH ROADS. EVENING.

The van is parked in a lay-by. Camera tracks past. Brian and Kevin are brewing up a pot of tea on a small spirit stove, sitting on two ornate wing chairs. The chimes sound again.

INT. HALL. NIGHT.

Glyn unbolts the front door. Two figures in black motor-cycle gear advance, helmeted, gloved, anonymous. George and Betty appear at the top of the stairs.

BETTY   Darlings. Look who’s here!

PETER   Hi!

SUE   (lifting her visor) Hi. We’re not late, are we?

BETTY   It’s the children.

GEORGE   Not late a bit. Anyway, what’s late these days?
They begin to take off their gear.

PETER   We thought we’d never make it.
Pauline, Rufus and the others appear on the staircase.

PAULINE   Oh look. It’s Peter and Sue. (calling) Sue, Peter!

PETER   Hello, Auntie Pauline!

SUE   Hello!

PAULINE   Come on, everybody. The young people are here.

BETTY   We were beginning to think something had happened.

RUFUS   No fear. They’re young. They can look after themselves.

BETTY   Hugs, hugs, hugs!
Universal greetings, kisses, handshakings are exchanged.

PETER   Hello, Auntie Betty. Auntie Pauline. How are you, sir?

RUFUS   Hello again.

PETER   We had a couple of close shaves but we pressed on.

GEORGE   That’s the spirit.

OSCAR   Sue, my precious. You don’t know Svend, do you?

BETTY   This is Svend, Oscar’s friend. This is Sue, Svend; she’s my sister’s daughter.

GEORGE   And this is Peter, my brother’s son.

BETTY   Now married to each other. And very dear.

PAULINE   Let me kiss you again. Aren’t you pretty! And you, dear. Aren’t they pretty.

GEORGE   (into a pause) Well, here we all are.
Piano Tuner appears, in a short overcoat and scarf, carrying a suitcase.

PIANO TUNER   Well, goodbye, everyone: that’s me finished.

ALL   (ad lib) Jimmy! You off already? Are you finished?

PIANO TUNER   (making for the front door and leaving with a wave) So long – good luck – see you when I see you.
A pause again.

GEORGE   Well, here we all are!
Harold appears from the kitchen door, holding a silver tray and large covered dish. He moves through the crowd to the drawing room. Betty crosses to Glyn, with hostess formality.