back at it, I see that what saved me from Colney Hatch in that crisis was my bright idea of buying up most of the contents of the local sweet-shop. By serving out sweets to the kid practically incessantly we managed to get through the rest of that day pretty satisfactorily. At eight o'clock he fell asleep in a chair, and, having undressed him by unbuttoning every button in sight and, where there were no buttons, pulling till something gave, we carried him up to bed.
Freddie stood looking at the pile of clothes on the floor and I knew what he was thinking. To get the kid undressed had been simple—a mere matter of muscle. But how were we to get him into his clothes again? I stirred the pile with my foot. There was a long linen arrangement which might have been anything. Also a strip of pink flannel which was like nothing on earth. We looked at each other and smiled wanly.
But in the morning I remembered that there were children at the next bungalow but one. We went there before breakfast and borrowed their nurse. Women are wonderful, by George they are! She had that kid dressed and looking fit for anything in about eight minutes. I showered wealth on her, and she promised to come in morning and evening. I sat down to breakfast almost cheerful again. It was the first bit of silver lining there had been to the cloud up to date.
"And after all," I said, "there's lots to be said for having a child about the house, if you know what I mean. Kind of cosy and domestic—what!"
Just then the kid upset the milk over Freddie's trousers, and when he had come back after changing his clothes he began to talk about what a much-maligned man King Herod was. The more he saw of Tootles, he said, the less he wondered at those impulsive views of his on infanticide.
Two days later Jimmy Pinkerton came down. Jimmy took one look at the kid, who happened to be howling at the moment, and picked up his portmanteau.
"For me," he said, "the hotel. I can't write dialogue with that sort of thing going on. Whose work is this? Which of you adopted this little treasure?"
I told him about Mr. Medwin and the mumps. Jimmy seemed interested.
"I might work this up for the stage," he said. "It wouldn't make a bad situation for act two of a farce."
"Farce!" snarled poor old Freddie.
"Rather. Curtain of act one on hero, a well-meaning, half-baked sort of idiot just like—that is to say, a well-meaning, half-baked sort of idiot, kidnapping the child. Second act, his adventures with it. I'll rough it out to-night. Come along and show me the hotel, Reggie."
As we went I told him the rest of the story—the Angela part. He laid down his portmanteau and looked at me like an owl through his glasses.
"What!" he said. "Why, hang it, this is a play, ready-made. It's the old 'Tiny Hand' business. Always safe stuff. Parted lovers. Lisping child. Reconciliation over the little cradle. It's big. Child, centre. Girl L.C.; Freddie, up stage, by the piano. Can Freddie play the piano?"
"He can play a little of 'The Rosary' with one finger."
Jimmy shook his head.
"No; we shall have to cut out the soft music. But the rest's all right. Look here." He squatted in the sand. "This stone is the girl. This bit of seaweed's the child. This nutshell is Freddie. Dialogue leading up to child's line. Child speaks like, 'Boofer lady, does 'oo love dadda?' Business of outstretched hands. Hold picture for a moment. Freddie crosses L., takes girl's hand. Business of swallowing lump in throat. Then big speech. 'Ah, Marie,' or whatever her name is—Jane—Agnes—Angela? Very well. 'Ah, Angela, has not this gone on too long? A little child rebukes us! Angela!' And so on. Freddie must work up his own part. I'm just giving you the general outline. And we must get a good line for the child. 'Boofer lady, does 'oo love dadda?' isn't definite enough. We want something more—ah! 'Kiss Freddie,' that's it. Short, crisp, and has the punch."
"But, Jimmy, old top," I said, "the only objection is, don't you know, that there's no way of getting the girl to the cottage. She cuts Freddie. She wouldn't come within a mile of him."
Jimmy frowned.
"That's awkward," he said. "Well, we shall have to make it an exterior set instead of an interior. We can easily corner her on the beach somewhere, when we're ready. Meanwhile, we must get the kid letter-perfect. First rehearsal for lines and business eleven sharp to-morrow."
Poor old Freddie was in such a gloomy state of mind that we decided not to tell him the idea till we had finished coaching the kid. He wasn't in the mood to have a thing like that hanging over him. So we concentrated on Tootles. And pretty early in the proceedings we saw that the only way to get Tootles worked up to the spirit of the thing was to introduce sweets of some sort as a sub-motive, so to speak.
"The chief difficulty," said Jimmy Pinkerton at the end of the first rehearsal, "is to establish a connection in the kid's mind between his line and the sweets. Once he has grasped the basic fact that those two words, clearly spoken, result automatically in acid-drops, we have got a success."
I've often thought, don't you know, how interesting it must be to be one of those animal-trainer Johnnies: to stimulate the dawning intelligence, and that sort of thing. Well, this was every bit as exciting. Some days success seemed to be staring us in the eye, and the kid got the line out as if he'd been an old professional. And then he'd go all to pieces again. And time was flying.
"We must hurry up, Jimmy," I said. "The kid's uncle may arrive any day now and take him away."
"And we haven't an understudy," said Jimmy. "There's something in that. We must work! My goodness, that kid's a bad study. I've known deaf-mutes who would have learned the part quicker."
I will say this for the kid, though: he was a trier. Failure didn't discourage him. Whenever there was any kind of sweet near he had a dash at his line, and kept on saying something till he got what he was after. His only fault was his uncertainty. Personally, I would have been prepared to risk it, and start the performance at the first opportunity, but Jimmy said no.
"We're not nearly ready," said Jimmy. "To-day, for instance, he said 'Kick Freddie.' That's not going to win any girl's heart. And she might do it, too. No; we must postpone production awhile yet."
But, by George, we didn't. The curtain went up the very next afternoon.
It was nobody's fault—certainly not mine. It was just Fate. Freddie had settled down at the piano, and I was leading the kid out of the house to exercise it, when, just as we'd got out to the veranda, along came the girl Angela on her way to the beach. The kid set up his usual yell at the sight of her, and she stopped at the foot of the steps.
"Hello, baby!" she said. "Good morning," she said to me. "May I come up?"
She didn't wait for an answer. She just came. She seemed to be that sort of girl. She came up on the veranda and started fussing over the kid. And six feet away, mind you, Freddie smiting the piano in the sitting-room. It was a dash disturbing situation, don't you know. At any minute Freddie might take it into his head to come out on to the veranda, and we hadn't even begun to rehearse him in his part.
I tried to break up the scene.
"We were just going down to the beach," I said.
"Yes?" said the girl. She listened for a moment. "So you're having your piano tuned?" she said. "My aunt has been trying to find a tuner for ours. Do you mind if I go in and tell this man to come on to us when he's finished here?"
"Er—not yet!" I said. "Not yet, if you don't mind. He can't bear to be disturbed when he's working. It's the artistic temperament. I'll tell him later."
"Very well," she said, getting up to go. "Ask him to call at Pine Bungalow. West is the name. Oh, he seems to have stopped. I suppose he will be out in a minute now. I'll wait."
"Don't you think—shouldn't we be going on to the beach?" I said.
She had started talking to the kid and didn't hear. She was feeling in her pocket for something.
"The beach," I babbled.
"See what I've brought for you, baby," she said. And, by George, don't you know, she