GEORGE   Do you do this full-time?

HAROLD   We’re actors. We act.

GEORGE   Acting. That is exciting. Are you ‘resting’?

HAROLD   Excuse me?

GEORGE   That’s what it’s called, isn’t it, when you’re out of work? Resting?

HAROLD   I call it out of work.

GEORGE   What sort of parts do you play?

HAROLD   Glyn frequently plays policeman’s parts, don’t you, Glyn?
Glyn smiles.

GEORGE   He’s a bit slight for a policeman.

HAROLD   That’s the sort of policeman he plays. The sensitive one who cracks under the strain of the constant brutality.
Harold has opened his attaché case. It contains a roll of cloth which he opens to reveal various tools in pouches. George picks up one out of curiosity but Harold takes it from him and puts it on one side.

GEORGE   And what do you play?

GLYN   Where is the toilet?

HAROLD   I also play policemen, at a more senior level.

GEORGE   Well, it’s all acting, isn’t it?
Harold hands him a large card.

GEORGE   Ah. The bill of fare.

GLYN   Where is the toilet?

HAROLD   Where is the toilet?

GEORGE   This looks delicious. Are you desperate?

GLYN   I am.

GEORGE   Well, we have a problem. Typical story. Workmen here going on six months … floors up, ceilings down. Nightmare. Job completed. Workmen depart. We come to use the toilet and it doesn’t work. Four toilets and three don’t work.

HAROLD   He had every intention of going at the station, only the vandals had got there first.

GEORGE   Come upstairs.

INT. HALL AND STAIRS. NIGHT.

George and Glyn emerge from the kitchen staircase, cross the hall and start to climb the stairs. We hear the piano tuning again.

INT. KITCHEN. NIGHT.

Harold has hung his dress suit from a hook in the ceiling. He finishes brushing it. He takes a tape from his case and starts to measure the walls.

INT. UPSTAIRS CORRIDOR. NIGHT.

As Glyn follows George down the corridor, he checks, tries a door, finds it open and goes inside, turning on the light. George goes back. He follows Glyn into the room.

INT. EMPTY UPSTAIRS ROOM. NIGHT.

As George goes into the room, Glyn disappears through another door, back into the corridor, so he is now ahead of George. George withdraws into the corridor again.

INT. UPSTAIRS CORRIDOR. NIGHT.

Glyn is now waiting innocently for George, who walks on down the corridor past him, again leading the way.

GEORGE   This way.

INT. BEDROOM. NIGHT.

George enters, followed by Glyn. Betty, now dressed, enters from the bathroom.

GEORGE   Glyn here is just going to use the bathroom.
Glyn edges his way past Betty, unnecessarily close. He grins unpleasantly and goes into the bathroom. Betty glares. George smiles.

INT. STAIRS AND HALL. NIGHT.

George is following Betty down the stairs; he is now fully dressed.

BETTY   All I’m saying is, one doesn’t ask to use the loo before one has barely set foot in the house.