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“You are gaily adorned’’ (p. 142).
(Frontisptece
THE PASSING OF THE
THIRD FLOOR BACK

AN IDLE FANCY

IN A PROLOGUE, A PLAY AND
AN EPILOGUE

BY

JEROME K. JEROME

“TI will seek thy good”

LONDON
HURST & BLACKETT, LTD.
PATERNOSTER HOUSE
1910

eG
L.
Ay

Alesa438

HAZELL, WATSON & VINEY, LD.,
LONDON AND AYLESBURY.

ASOD
AG AVI
LIST OF ILLUSTRATIONS

°° yoU ARE GAILY ADORNED” . ‘ , Frontispiece

e Facing page
‘CwHAT ABOUT THAT THIRD FLOOR BACK?” . . 12

°¢ AND IF I DON'T?” . s : ’ . 85
“Do YOU WANT TO SINK TO MY LEVEL?” 4 . 46
EMERALDS : : g : , j 4 i 50.
*© GOOD AFTERNOON ” é ‘ , ‘ ‘ . 69
‘CT SHALL NOT BE ABLE TO GO TO-NIGHT ”. ‘ . 88
‘srr DOWN. TALK TO ME.” . j ‘ s . 99

‘* ARE YOU SURE IT IS I WHO AM MAKING THE MIS-

TAKE?” . é : : : ; . . 110
“Tl NEVER THAID ANYTHING” . : ‘ e . 122
©) DIDN'T KNOW” . ‘ : 3 ‘ ‘ . 147
‘“THEY ARE MY FAVOURITE FLOWERS”  . 3 . 164
“] LIKE THAT LITTLE BOW ON THE SHOULDER ” . 168
** YoU COME AT THE END OF THE FEAST”. ‘i . 188
“ you STILL THINK ME BEAUTIFUL?” : 3 . 202
SHE STANDS WITH THE DOOR IN HER HAND ‘ . 212

3
CHARACTERS IN THE PROLOGUE

A Satyr

A Coward

A Bully

A Shrew

A Hussy

A Rogue

A Cad

A Cat

A Snob

A Slut

A Cheat
and

A Passer-by
The Passing of the Third
Floor Back

PROLOGUE

SCENE

The first floor front of 13, Bloomsbury Place, London,
W.C. The furniture is of the Early Victorian or
horsehair period. A worn Brussels carpet covers
the floor. A large round table occupies the centre
of the room. The high bay windows, looking out
wpon the street, are draped with red curtains:
between them stands a small desk. Against the
wall at back, an old-fashioned cottage piano, and
a sideboard. From the wail to the right of the
audience large folding doors lead into the dining-
room. Two easy-chairs face the fire, which is
supposed to be in front: a dull red glow spreads
itself across the room. The door at back opens
into the passage. Opposite to it is the front

7
8 PASSING OF THE THIRD FLOOR BACK

door, surmounted by a “ fanlight’’; and beyond,
the ever-misty square, leafless in winter dreariness.
A heavy three-branched gaselier hangs from the
ceiling, the globes hidden under paper shades.

It ts a Friday afternoon in November.

[MRS. SHARPE ts making out her bills. She ts
a tall, thin, sharp-featured woman. She wears a
widow’s cap and spectacles ; the latter she takes off
when not writing. She looks up from her writing,
looks at her watch, then calls.]

MRS. SHARPE
Stasia! [She rises and goes to the door.] Lazy
hussy. [Calls louder] Stasia !

STASIA
[Without.] All right—all right. Don’t shout.
Spoil yer voice for singing.
[Enter as she speaks sTasta, carrying a tray
laden with tea-things. She is a slatternly young
person, her hair fluffed all about her head.]

MRS. SHARPE

Don’t answer me like that, you workhouse brat
you. What have you been doing ?
PASSING OF THE THIRD FLOOR BACK 9

STASIA
Injoring myself. [Puts down the tray on the
table.] All there is to do in this plice.

MRS. SHARPE

You take care you don’t lose it—find yourself
with the key of the street in your pocket. Not
many places open to girls just out of prison.

STASLA
Industrial school, if you please.

MRS. SHARPE

[Gives a snorting laugh.| What time did old
Wright come in last night ?
STASIA

[She ts laying the table.] "Bout ’alf past “leven—
quarter to twelve.

MRS. SHARPE
Drunk ?

STASIA

Oh, just fuddled, sime as usual. You know, I
suppose, that ye’re out of whiskey ?
MRS. SHARPE

I'd forgotten it.
12 PASSING OF THE THIRD FLOOR BACK

STASIA

It’s a rummy world when you come to think
of it. [Cheerfully] Got to be doing somebody
or being done from the time you get up in the
morning until yer goes to bed at night. And
when yer do fall asleep, it’s to dream you’ve
forgotten to bolt yer door. By the by, what
about that third floor back? Ain’t yer going
to do anything ?

MRS. SHARPE

Oh! I’ve spent more than I'll get out of it in a
month, advertising it.

STASIA

You don’t make ’em spicy enough. [She takes
up a folded copy of “ The Christian World.”’|] This
is the sort of thing you want. [Reads] “To the
lonely : all the joys of ’ome.”

MRS. SHARPE

Yes, I tried that one—once. Told me with
tears in his eyes that I reminded him of his mother,
and went off before five o’clock the next morning
with the drawing-room clock,
 

What about that third floor back ?’”

p. 12)
PASSING OF THE THIRD FLOOR BACK 13

STASIA

"Ow about a card? That don’t cost you
nothing.

MRS. SHARPE

Don’t quite like the idea of a card. Inviting
all the rag-tag and bob-tail of the street to come
into your house, it always seems to me like.
Never know who may knock at your door.

sTASla

Maybe the very one you're waiting for. Was
reading a story only the other d’y. A young
girl—just in a spirit of fun like—puts up a card
in the window, and a young man comes along,
and fust for the joke of it they take ‘im in, and
’e turns out to be a nobleman—in disguise.

MRS. SHARPE

Yes, I can believe in the disguise. No; I don’t
like the idea of a card. We'll keep the house
respectable so long as we can. [With her bills in
her hand she ts passing out. She pauses to examine
the milk-jug.] I think, Stasia, the milk will bear
a little more water. [She goes out by the folding-
doors. ]}
14 PASSING OF THE THIRD FLOOR BACK

STASIA

[Mimics.] ‘Don’t quite like the idea of a
card.” Silly old fool! Don’t know her own
business.

[stasta thinks. She makes sure that MRS.
SHARPE 7s out of sight; then takes a card from the
drawer of the desk: with a chair goes out into the
passage, climbs up and places the card in the fanlight
over the front door. Returns. A beam of sunlight
has softly stolen through the dingy fanlight. It lies
across the room, growing in brightness. STASIA
returning, after having replaced the chair, stops
puzzled for a moment—sunbeams in Bloomsbury in
November being rare.]

Gorblimy, if it ain’t the sun! [She smiles.]
Forgotten all about ‘im !

[Then fetches a jug of water from the sideboard.
Is about to fill up the milk-jug; pauses; looks
round. Takes a long pull from the jug first. Then
fills it up and replaces the water-jug. She goes out.]

[The front door is opened with a latchkey and
MISS KITE enters. She is @ maiden lady of forty;
her ambition is to appear nineteen. She is painted
®

PASSING OF THE THIRD FLOOR BACK 15

and powdered and frizzled and beribboned. She
wears fluffy golden hair, has pencilled eyebrows,
made-up eyelashes, and carmine lips, with a waist
of twenty-two. She giggles and gushes and simpers
and bridles; and whenever she thinks nobody sees,
is with the help of a pocket-mirror and toilet-case for
ever powdering and patching herself.]

MISS KITE
[She looks in, sees the room is empty, enters.
Opening her reticule, she takes out four candle ends,
substitutes them for the half-burnt piano candles.
This is done swiftly and neatly. Hearing footsteps,
she slips out, closing the door softly behind her.]
[Re-enter MRS. SHARPE with a teapot. She puts
down the teapot on the table; taking the key from
her pocket, opens the tantalus on the sideboard,
brings down the whiskey decanter and proceeds to
fill it from the teapot. Holding it wp to judge of
the colour, she catches sight of the changed candles.
She puts down the whiskey decanter and charges
across the room ; examines them—but of course they
could not be the same. She is standing with them
in her hand when re-enter Stasia, with remainder

of tea-things, including large teapot.]
16 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE

Who’s been in here ?

STASIA
Nobody.

MRS. SHARPE
What’s the good of telling lies ?

STASIA

Who’s telling lies? Think everybody’s like
yourself ? Can’t open their mouth

 

MRS. SHARPE

Somebody must have been here. Candles don’t
change themselves. I’m

 

[Re-enter miss KITE, having taken off her cloak
and hat. A silence.]
You haven’t any idea, I presume, Miss Kite, who
has been in here stealing the candles ?

MISS KITE

Stealing the candles !

MRS. SHARPE

I beg their pardon. I should say “ exchanging.”
That’s no robbery, of course. [From mack polite-
PASSING OF THE THIRD FLOOR BACK 17

ness to sudden fierceness] Taking four of them
measuring well over six inches each, leaving me a
set of measly stumps. [Rams them back into their
sockets.| Nice sort of people living in this house,
I must say.

MISS KITE

[The tell-tale teapot with the unstoppered whiskey
decanter beside it remain on the table. MISS KITE
sniffs expressively.] Yes, do seem to be a bit
tricky, some of them, don’t they ?

MRS. SHARPE

[She savagely puts back the decanter. To sTasta]
Don’t stand there grinning, you slatternly monkey.
Pull up your stockings, do ; and ring the tea-bell.

[She gives her the cold teapot, and STASIA goes out.
The bell is heard. A loud, brutal-sounding bell.]

MISS KITE

Shouldn’t be surprised, between ourselves, if it
wasn’t that girl Stasia. Tell you what I saw her
doing only the other day

 

[There enters MRS. MAJOR TOMPKINS. She 4s
plump, pretty, forty-five, with white hair.]
Oh, good afternoon, dear Mrs. Tompkins.
2
18 PASSING OF THE THIRD FLOOR BACK

[MRS. TOMPKINS and MRS, SHARPE exchange a
“ Good afternoon.” They seat themselves. ]

MISS KITE
And how is the dear Major? I thought he
seemed a little “liverish ” this morning.

MRS. TOMPKINS

Always is after dining out—at somebody else’s
expense. [She laughs.] Never can resist the
temptation of over-eating himself.

MISS KITE

Poor man! Doesn’t often get the opportunity,
does he? Dear Mrs. Sharpe sees to that. [She
giggles.] Only my little joke, dear.

MRS. SHARPE :

A generous table I have always advertised, and
a generous table it will always be my endeavour to
maintain. Of course, if people will tight-lace so
that their food can’t——

MISS KITE
Not too much cream, dear, thank you.

MRS. SHARPE
[Examines the milk.] It does look a bit thin.
PASSING OF THE THIRD FLOOR BACK 19
Shall really have to change my milkman—if this
goes on.

MISS KITE

Tradesmen are such thieves! [She winks at
MRS. TOMPKINS.] Isn’t Mrs. Dooley—I beg her
pardon, Mrs. de Hooley—going to honour us with
her presence this afternoon ?

MRS. TOMPKINS
Perhaps we are not good enough company for
the cousin of a baronet. [Laughs.]

MISS KITE
Perhaps not. But I think we might be for the
widow of a potato salesman. My dear, I know it
for a fact. And oh, her meanness! Would you
believe it, her own sister, her own nephews and
nieces, starving : literally:
[MRS. DE HOOLEY has entered, a large, flabby,
pale-faced lady. She speaks with the accent of
aristocratic languor. MRS. SHARPE has given a
warning “‘ Hush !’’]
We were just talking about you, dear. So
afraid you weren’t coming. But why in mourning,

 
20 PASSING OF THE THIRD FLOOR BACK
dear ? I thought you had left it off. Not another
loss, I hope ?

[amrs. sHARPE has risen and rung the bell.]

MRS. TOMPKINS

Not your cousin, the baronet ?

MRS. DE HOOLEY

[Seating herself.] Her late Majesty, the Queen
of Naples.
MISS KITE ee

[She winks at the others.| Must be very expen-
sive, belonging to Court circles. Don’t you find
it so?
MRS. DE HOOLEY

My dear, you can have no conception. There
are times, I assure you, when I wish I had been
born one of the people.

[A German band out in the Square begins to play.
The sound comes muffled.]

MRS. TOMPKINS
Hark !
PASSING OF THE THIRD FLOOR BACK 21

MISS KITE

Shall I open the window a little way, dear ?
The fog has lifted. We shall be able to hear
better. [She half rises.]

[sTasia has entered with a jug of hot water.]

MRS. SHARPE

No, dear. If they see a lady, they'll expect
something. Stasia, you just open the window a
little way.
STASIA

Gar on. Why not pay up yer tuppence and
enjoy the luxury of feeling honest? Only a
’a’penny a-piece.
MRS. SHARPE

You do as you are told.

STASIA

[She goes to the window and throws it open. Calls
out.) Pl’y up. We're all a-listening !
MRS. SHARPE

You baggage !

[sTasta goes out laughing.]
22 PASSING OF THE THIRD FLOOR BACK

MRS. TOMPKINS

I wonder at your keeping that girl.

MISS KITE

You got her from Walworth Jail, didn’t you,
dear ?

MRS. SHARPE

Industrial school.

MISS KITE

My mistake, dear. I was speaking to one of
the matrons about her only the other day. Very
bad stock. The mother—well, we needn’t go into
particulars. [Giggles.] Hope you’re getting her
cheap, dear.

MRS. SHARPE

If she can do any better for herself, the door’s
open. And if it comes to talk about getting
things cheap—especially candles

 

MRS. TOMPKINS

She’s not the class of girl to have about the
place. I’ve always said so.
PASSING OF THE THIRD FLOOR BACK 23

MRS. DE HOOLEY

It does seem to me that when you are catering
for ladies and gentlemen——

MISS- KITE

And when one remembers there are young girls
about the house. [Zo mrs. TomPKINS] Is it
true, dear, that dear Miss Tompkins is engaged to
Mr. Wright ? Can we congratulate you ?

MRS. TOMPKINS
Well, nothing is absolutely settled.

MISS KITE
Oh! Oh, I do hope she gets him. Because
she has worked hard, poor girl.

MRS. TOMPKINS

Yes, and if paint and powder could have done
i

[The COLLECTOR for the German band appears at
the window. He thrusts his little bag on the end of
a stick through. the opening.]

COLLECTOR
For ze moosik—you vill gif someting? Yes ?
24 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE

Go away. We don’t give to beggars.
COLLECTOR

For ze moosik—yes ?
MIS§ KITE

The persistence of the man!
MRS. SHARPE

We never encourage foreigners ?
COLLECTOR

Yes ?
MRS. SHARPE

No. I shall call the police—polizei !
COLLECTOR

Pigs !
MRS. SHARPE

[Who has risen and crossed, bangs the window.]
MISS KITE

Did you hear that? Called us pigs!
MRS. DE HOOLEY

It’s surprising how well they know English.
PASSING OF THE THIRD FLOOR BACK 25

MRS. SHARPE

[Reseating herself.] You'll take another cup of
tea ?
MRS. TOMPKINS

[She has risen. She ts still ruffled from her
encounter with MISS KITE.] Thank you, Mrs.
Sharpe, but there are one or two little things I
have to see to.

MISS KITE

I hope you don’t mind what I said just now
about dear Vivian. Only my little joke.

MRS. TOMPKINS
Of course, if it was only a joke——
MRS. SHARPE
You’re sure you won’t have another cup ?

MRS. TOMPKINS

Quite, thank you, dear. To tell you the
truth, I rather want to be upstairs when my
old man comes in. There’s a little dressing-
down I owe him that he got out of last night.
[She laughes.]
26 PASSING OF THE THIRD FLOOR BACK

MISS KITE
{Laughs also.] He doesn’t often dodge it, does
he, dear? Not when you're feeling yourself.

MRS. TOMPKINS
Well, I flatter myself he knows what I think of
him. [Laughing, goes out, well pleased with herself.]

MRS. DE HOOLEY
Really, I feel quite sorry for that poor man.
Of course he ts a beast.

MISS KITE
My dear, he can give her as good as he gets.

MRS. SHARPE

How they keep it up is a mystery to me. It’s
cat and dog from the time they get up in the
morning till they go to bed at night.

MRS. DE HOOLEY
Young Larkcom calls them “‘ Darby and Joan.”
[They all laugh.]

MISS KITE

She didn’t like what I said about the girl.
[Giggles.] And it’s only the truth. The shame-
PASSING OF THE THIRD FLOOR BACK 27

less way she has set her cap at that poor man!
Makes one blush for one’s sex.

MRS. DE HOOLEY

Merely a common racing man, wasn’t he ?

MRS. SHARPE
A bookmaker—until he lost his voice.

MISS KITE

They say it was the funniest thing at the end:
to hear him trying to shout [Mimics] “Two to
one, bar one.” Nobody could hear him a yard

away.

MRS. DE HOOLEY

You think he’s really as rich as he makes out
he is ?

MRS. SHARPE
Well, I wouldn’t like to say that—of anybody.

MISS KITE

Well, my advice to her would be to marry him
quickly and take him away—somewhere where
our Israelitish friend Jape Samuels won’t be able
28 PASSING OF THE THIRD FLOOR BACK

to get hold of him—unless, of course, she loves
him for himself alone.

MRS. SHARPE

I’ve noticed Samuels has been pretty soapy to
him of late. What is the little try-on? Have
you heard anything ?

MISS KITE

A little, my dear.“ [She winks.] Can’t very
well help it if people will talk loud enough to be
heard the other side of a deal door. Of course,
he may have a silver-mine to sell, and it may be
worth all that he says it is, and then, again, it
mayn’t.

[The clock strikes the half-hour—two strokes.]

MRS. SHARPE

Half-past. [Rising.] I must be seeing about
dinner. It’sa funny world. [Zo mRs. DE HOOLEY]
Won’t you take anything more ?

MRS. DE HOOLEY
Nothing more, thank you.

MISS KITE
Funny people in it.
PASSING OF THE THIRD FLOOR BACK 29

MRS. SHARPE

[Has suggested to her another slice of cake.]}

MISS KITE
No, thanks, dear. What is the menu to-night ?

MRS. SHARPE

[She is by the sideboard.| Well, I thought a
curry would be a pleasant change this evening.

MISS KITE

Ah yes, just the day for it. And your curries,
dear, are always so good.

MRS. SHARPE

Oh, I’m so glad you like them. You’re sure
you’ve finished ?
MISS KITE

Quite, dear, thank you.
MRS. SHARPE
T’ll send the girl to clear away.

[MRS. SHARPE, unobserved, has locked the tan-
talus. She goes out through the folding-doors.]
30 PASSING OF THE THIRD FLOOR BACK

MISS KITE

[Looks round the room and sees that MRS. SHARPE
has gone.] That means that the veal is a bit
“ off.” Such a useful thing, a little curry powder,
for disguising the smell.

MRS. DE HOOLEY

[She sighs.] I suppose they are all alike—
lodging-house keepers.

MISS KITE

Cats, my dear, all of them. There’s no other
word for them—cats.

MRS. DE HOOLEY

[As together they go towards the door.] It’s a
wicked world.

MISS KITE

Ah, you may well say that. And it don’t get
any better, that’s the sad.

 

[MRS. DE HOOLEY has opened the door. The
beam of sunlight falls full wpon their faces, making
them both blink for the moment.]
BO ee oe

PASSING OF THE THIRD FLOOR BACK 31

MRS. DE HOOLEY

Well, I never! Quite a treat to see the sun.

MISS KITE

Well, myself, I don’t care for it.

MRS. DE HOOLEY
You don’t!

MISS KITE

My dear, it shows us all up too much. [She
giggles ; and they go out, leaving the door open.]

The stage remains empty for a few seconds. Then
the front door is opened with a latch-key. MAJOR
TOMPKINS enters. He isa fine, well-set-up man, with
a military bearing ; a ruddy face with white hair and
moustache. He wears a frock coat, tightly buttoned,
silk hat, and a single eye-glass. He carries gloves
and a walking-stick. He looks into the room, and
his eyes fasten on the remains of the tea. He looks
out and up and down the stairs and passage ; then
enters the room, humming an air. Hurriedly he
empties the remainder of the biscuits, together with
the cake, into his hat. This done, still humming
32 PASSING OF THE THIRD FLOOR BACK

and with a jaunty step, he makes for the door. But
as he reaches it:

There re-enters MRS. SHARPE. |
MAJOR

Ah, Mrs. Sharpe, good afternoon. And how is
Mrs. Sharpe this afternoon ?
MRS, SHARPE

Quite well, thank you, Major Tompkins.

MAJOR
Delighted !—delighted !

MRS. SHARPE

[She glances at the table, and takes in the facts.
She closes the door with a click, and stands in front
of it. She makes a quick movement to try to see
into the hat. By exceeding nimbleness he frustrates
her.] Won’t you put your hat down, Major ?
MAJOR

I thank you, Mrs. Sharpe, but I’m rather in a
hurry.
MRS. SHARPE

[With sudden fierceness.| And so am I—for
PASSING OF THE THIRD FLOOR BACK 33

thirty-six pounds eighteen shillings and fourpence.
Which unless you pay me by twelve o’clock to-
morrow I intend to sue you for in the County Court.
And that before we are either of us a week older.
MAJOR

Let us be business-like.

MRS. SHARPE

Most happy.

MAJOR
You can sue me, Mrs. Sharpe, and you won’t
get so much as a damned penny.

MRS. SHARPE
Perhaps not; perhaps yes.

MAJOR

I propose to you, Mrs. Sharpe, that you accept
my bill for one hundred pounds at three months.
By which date the chances are that my daughter
will be Mrs. Joseph Wright, and that I shall be
in a position to meet it.

MRS. SHARPE
And meanwhile I am to go on keeping you all

three.
3
34 PASSING OF THE THIRD FLOOR BACK

MAJOR

[Shrugs his shoulders.| I put it to you as a
gamble. [Close to her—confidential.| Mr. Wright
has made my daughter a formal offer of marriage.
Vivian hesitates a little. It is natural. But she
has sense. She will listen to her old father’s
advice, [with a chuckle] especially seeing it will be
to her own advantage.

MRS. SHARPE
Hardly to her advantage paying your debts.

MAJOR

[He seats himself at the table.] Hardly to her
advantage allowing it to appear in all the papers
that her father is being sued for board and lodging.
Family pride, Mrs. Sharpe—there is such a thing
as family pride.

MRS, SHARPE
[Yielding.] Well, only mind——

MAJOR

[He has taken out his pocket-book and his pen.]
A business man, Mrs. Sharpe, is always prepared
se GLUOP | jt puy,,,

 
  
PASSING OF THE THIRD FLOOR BACK 35

for business. Let me see, to-day is—— [He is
filling in the bill.]

[VIVIAN has entered unobserved. She is in walking-
dress. She is a tall, handsome girl, dark, with strong
but finely cut features ; dark, passionate eyes ; and
towards all things a weary, mocking manner.)

VIVIAN
[She looks from one to the other ; closes door.]
And if I don’t ?

MAJOR
My dear!

VIVIAN

Oh, let us talk plainly. [She crosses, taking
off her hat, etc.] You are persuading Mrs. Sharpe
to bet on the chance of my accepting Mr. Joseph
Wright’s clammy and, generally speaking, not
over-clean hand.

MRS. SHARPE

Well, to be candid, Miss Tompkins, I don’t see
any other hope myself of my ever getting my
money.
36 PASSING OF THE THIRD FLOOR BACK

MAJOR
And to be equally candid with everybody, nor
more do I.

VIVIAN
I should risk it, Mrs. Sharpe. I think you will
win. ‘

MAJOR
Mrs. Sharpe, you hear. You——

VIVIAN

Of course, there is the possibility that in some
moment of self-respect I may be tempted to tell him
how the mere touch of him is loathsome to me.

MAJOR
Vivian! My dear!

VIVIAN

I merely mention it that everything may be
quite fair. Mrs. Sharpe will judge for herself
whether in the end I am more likely to be in-
fluenced by self-respect or self-interest.

MAJOR
[Whispers.] A little fretful. But plenty of

sense.
PASSING OF THE THIRD FLOOR BACK 37

MRS. SHARPE
[She has decided to chance tt.] Mind, if it isn’t
met——

MAJOR

It shall be met, Mrs. Sharpe, on the honour
of a soldier.

MRS. SHARPE
[Putting the bill in her pocket.] I'm putting my
trust more in Miss Vivian.

[She goes out.]

MAJOR
[He answers her with a pleasant laugh and a
wave of the hand. Then he turns to his daughter.]
My dear child, I cannot tell you [She is
carrying his hat towards the window.] What are
you doing? Vivian! [She opens the window and
flings the contents of the hat into the street.| How
dare you! Damn your infernal impudence!
How dare you! [Having closed the window, she
faces him. The bluster falls from -him.] The
wastefulness—the wicked wastefulness! [She
hands him the empty hat.| Robbing your own

 
88 PASSING OF THE THIRD FLOOR BACK

father to fling it to the mere street brats! Look
at ’em!—look at ‘em! [She hands him his stick
and gloves. Again he collapses, and taking them,
goes towards the door.] My one weakness: a
nibble of something sweet with the last glass—
just before going to bed. [From tears again to
fury.] And you knew it, you——

[MRS. TOMPKINS has entered with soft step and
smiling face. <A silence.]

MRS. TOMPKINS
I thought I heard your voice.
MAJOR
[Snarls] Ah, you did, did you? Yes, some of
us have got long ears.
MRS. TOMPKINS

One doesn’t want them particularly long to hear
you, when you are bullying a woman !

MAJOR

Bullying! I? Why haven’t you brought up
your daughter to respect her father 2

MRS. TOMPKINS

Vivian, haven’t I always impressed it. upon you
PASSING OF THE THIRD FLOOR BACK 39

that it is your duty to hide the contempt you
can’t help feeling for your father ?

MAJOR
[Snarls.] Ah! look at her, standing there
grinning—after all that I’ve done for her.

MRS. TOMPKINS
That you-—

MAJOR

Wasn’t it I who brought old Wright here ?
Haven’t I invited him to my own club—and
been asked to resign myself in consequence ?
Don’t I listen to his damned silly stories ?

MRS. TOMPKINS
And borrow half-crowns from him.

MAJOR

Tt all helps. It makes him feel one of the
family.
MRS. TOMPKINS

The family don’t get many of them.

MAJOR
Don’t! Who keeps both of you—in luxury ?
40 PASSING OF THE THIRD FLOOR BACK

MRS. TOMPKINS
Mrs. Sharpe !

MAJOR
Mrs. Sharpe! You throw that in my teeth,
you ; when your own father died bankrupt.

MRS. TOMPKINS
Why did you swindle him ?
MAJOR

Who swindled him ?

MRS. TOMPKINS
You! Didn’t you take all my money ?

MAJOR
Your money! Who cheated——

MRS. TOMPKINS
Who stole

 

MAJOR
Who——

[JOEY WRIGHT has entered, a man of a little over
60 perhaps, with the face and figure of Silenus: a
leering, blear-eyed, perspiring person. He speaks
PASSING OF THE THIRD FLOOR BACK 41

always in @ hoarse whisper; wears extravagant
clothes and a quantity of jewellery.]

[In a moment the MAJOR and MRS. TOMPKINS are
all smiles and smirks.]

MAJOR
Ah! and how is——

MRS. TOMPKINS
Good after——

WRIGHT

[He waves them aside.] Finish it out—finish it
out. Don’t let me spoil sport. Only looked in
to ask Miss Vivian if she wouldn’t come to the
theatre with me this evening. Got a box for the
Gaiety. [He goes to her; she moves a step away.|]

MAJOR
Delighted, I’m sure. [He is making frantic
signs to Vivian.] The dear child will be delighted.

MRS. TOMPKINS
You'll be able to wear your new frock, dear.

VIVIAN
Thanks. I’m not feeling particularly inclined
for the theatre to-night,
42 PASSING OF THE THIRD FLOOR BACK

MAJOR

Not even with the little supper—the little supper
afterwards at the Savoy? [He is winking at
JOEY WRIGHT. ]

WRIGHT

You might come. You never will. Shall begin
to think you don’t like me.

VIVIAN

[Turns and looks at him, and as she turns away
again she hesitates.] I'll think it over.

WRIGHT
[He looks round at the parents questioningly.]

MRS, TOMPKINS
[Whispers to him.] That'll be all right.

MAJOR
You have the cab ready waiting at the door.

WRIGHT
[He nods his understanding.] That’s all I came
for. Sorry to have interrupted. [He goes out.]

[The magor carefully closes the door. VIVIAN
has taken up her hat.]
PASSING OF THE THIRD FLOOR BACK 438

MAJOR

Well, what are you going to do ?

VIVIAN

“Think it over’’—for myself and by myself.
[Her eyes are blazing.]

[A silence.]

MAJOR

[Looks at vivian, then at his wife.]

MRS. TOMPKINS

[They speak in low tones.] Perhaps we shall
only irritate her.
MAJOR

Plain enough where she gets her damned ob-
stinacy from. [He flings out of the room.]
MRS. TOMPKINS

[Following. The quarrel continues up the stairs.]
Yes. I’d be sorry to think that she took after
you. Eh, what do you say ?

[VIVIAN crosses, carrying her hat and cloak. The
shaft of sunlight has grown stronger. Catching her
44 PASSING OF THE THIRD FLOOR BACK

eyes, it causes her to pause. She stands a moment
looking at tt. A faint smile comes. She then lays
down what she is carrying, and stretching out her
hands, warms them childishly in the light. Thus
she is standing, her face uplifted to the light, when
CHRISTOPHER enters.

[CHRISTOPHER takes her outstretched hands, and in
silence they stand just within the doorway, illumined
by the sun. After a while he releases her hands and
closes the door. The room darkens. She lets her
hands fall by her side, and moves away.]

CHRISTOPHER

I crossed the old folks on the stairs. [Laughs.]
I thought you might be here.
VIVIAN

I was just going up to dress.

CHRISTOPHER
There’s no hurry, is there ?

VIVIAN
Yes.

CHRISTOPHER
Why ?
PASSING OF THE THIRD FLOOR BACK 45

VIVIAN
My future husband may be coming back.

[A silence. ]

CHRISTOPHER

You have made up your mind ?

VIVIAN
[She nods.] What else is to be done ?

CHRISTOPHER
Vivian, listen. Artists do make money—heaps
of money.

VIVIAN
After how many years? We would both be old.

CHRISTOPHER

[An evil look in his face.] There are pictures
people will buy and pay well for. I can knock
them off quickly. They don’t want Art.

VIVIAN

Ah! don’t. It was why I loved you. You
seemed to me the only human creature with a
soul I’d ever met. Let me respect you.
46 PASSING OF THE THIRD FLOOR BACK

CHRISTOPHER
I don’t want your respect. I want you.
[He seizes her. The passion is in his eyes.]

VIVIAN
Hark! Go!
CHRISTOPHER

Vivian! You must—you shall!

VIVIAN
Don’t be a fool. [She frees herself from him.
Do you want to sink to my level ?

CHRISTOPHER
Yes. I tell you I want you. I——

[There enters HARRY LARKCOM, about five-and-
twenty, a cheerful young bounder, loudly dressed.
He carries about him the atmosphere of the music-
hall. With him JAPE SAMUELS, an older man, a
Jew of the most objectionable type, now oily, now
aggressive. His dress is that of the city man.
vivian collects her belongings and moves to go out.
LARKCOM, the low comedian of the house, opens the
door for her, bowing with hand on heart. saMUELS
(or -d

.¢ 242] Aw 02 yUIs 09 JURM NOK Og |,

 

 

 

 

 

 
\

PASSING OF THE THIRD FLOOR BACK 47

kisses his hand after her. She goes out. LARKCOM
closes the door, and they both turn round with a
laugh. CHRISTOPHER has noticed, bit his lip, and
turned away.]

SAMUELS

How are you getting on ?

CHRISTOPHER
I have begun them. You shall have them by
the end of next week.

SAMUELS

Good man. Get you another job when they’re
done. Keep them thpithy. You know what I
mean: don’t watht too much paint on the
clothe. [Laughs.]

CHRISTOPHER
I quite understand. Thank you—very much.
[He goes out.]

SAMUELS

Don’t mention it. [He kicks the door to after
him. Turns to taRKcoM.] Keep him up to it.
I can thell ath many ath-he can paint of that
48 PASSING OF THE THIRD FLOOR BACK

thort at twithe what I pay him. Tell you what
I want you to do for me.

LARKCOM

[He is unlocking the tantalus, with a key from his
own pocket.| Found it out by accident. Fits it
like a glove. [They laugh.] See that the old
girl ain’t coming.

SAMUELS

[He peeps out, closes the door again.] It’th all
right. I want you to take old Wright out to lunth
next Wednethday at Romanoth. [He thrusts his
face forward with his finger at the side of his nose.]
And don’t be thingy with the drinkth.

LARKCOM
[Laughs. |

i

SAMUELS

Put him in a cab afterwardth and bring him
up to my little plathe in the thity. We'll have
everything Jutht ready for him to thign.

LARKCOM
You don’t think he’s a bit too fly ?
PASSING OF THE THIRD FLOOR BACK 49

SAMUELS

[The finger to the nose again.] Have a girl with
you.

LARKCOM

You are a rare old gimlet, you are. [Has pre-
pared what he thinks to be two whiskies-and-water.
He hands one to SAMUELS.]

SAMUELS

Got to be up to a trick or two in thith world if
you don’t want to be left. [They have clicked
glasses. They now take their first pull.] What
ith it ?

[They look at one another with wry faces.]

LARKCOM

Some muck she’s got for palming off upon old
Joey when he’s drunk.

SAMUELS
Old thief!

LARKCOM

Makes you lose your faith in human nature,
4
50 PASSING OF THE THIRD FLOOR BACK

don’t it? [He crams the half-empty tumblers into
the sideboard. ]
[stasta has entered from the other room. Her
business for the next few minutes is clearing the
tea-table.]
Hello, what price the belle of Bloomsbury! [He
makes to embrace her. She slaps his face.] All
right. Now you don’t have what I was going to
give you.

STASIA
That’ll gave trouble all round.

SAMUELS
[Laughs.]

LARKCOM
Save you the trouble of living up to them.

[Produces from his pocket a box, opens it, and dis-

plays a pair of cheap, gaudy earrings.| Emeralds.

STASIA
Real old bottle glass.

LARKCOM
[He appeals to Samuels.] Ain’t they real
emeralds ?
[oS «d

‘spjesowy

 
PASSING OF THE THIRD FLOOR BACK 51

SAMUELS

[Examines them, with the air of an expert.]
Fourteen carat. Thall be upthairth if you want
me. [He goes out.]

LARKCOM

[He thrusts the earrings again under her nose.]
Knock at my door, softly, about ten o’clock
to-night, if you feel you want ‘em. [Snaps the
case. Winks. Goes out.]

[STASIA goes into the other room; is heard
laying the table.]

[Enter MRS. SHARPE. She goes to the sideboard.
Her business is the taking of wine-glasses and
arranging them on a tray. The folding doors arz
partly open.]}

MRS. SHARPE

[Her back is to the dining-room. She holds up
one by one the glasses to the light; polishes them
when need be with her pocket-handkerchief.] Is
that you, Stasia ?

STASIA
That’s me.
52 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE

What are you doing ?

STASIA

Lying the table for dinner.

MRS. SHARPE

Have you taken up everybody their hot water ¢

STASIA

Yus. I’ve taken them up their ’ot water—all
the rotten lot of them.

MRS. SHARPE

What do you mean ?—“ All the rotten lot of
them ” ?

STASIA

Well, so they are. Young Christopher Penny !
I did think ’e was a cut above the others.

MRS. SHARPE
Umph! What’s he doing ?

STASIA

Painting pictures. Got an order for a dozen.
I told ‘im straight. “You tike care the police
PASSING OF THE THIRD FLOOR BACK 53

don’t see ‘em,’ I says, “if the others are going
to be like that.”

MRS. SHARPE

[With the snort that does duty for her laugh.) As
bad as all that ?

STASIA
Somebody’s put ‘im up to it. Old Wright, I
shouldn’t wonder—old beast !

MRS. SHARPE

That'll do—that’ll do. Don’t you be so free
with your tongue.

STASIA

Well, so ’e is; wanting to marry a girl young
enough to be his daughter. She’s no better.
She’s going to sell ‘erself all right enough.

MRS. SHARPE
How do you know ?

STASIA

Just called me in to help ‘er on with ’er new
frock. You know: the one without any neck and
arms. She’s going out to the theatre with ‘im.
54 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE
Glad to hear it.

STASIA

Ah! they’re a rotten lot, all of them. There’s
old “‘ Darby and Joan ” been jawing at each other
ever since ’e come in, calling each other every
name under the sun. Then there’s Jew-boy
Samuels planning it with young Larkcom ’ow to
swindle everybody. Didn’t know I was in the
next room a-listening. D’ye ’ear old Kite slanging
me just now ?

MRS. SHARPE
Yes. What was it about ?

STASIA

Oh! ‘cos I went in without knocking—caught
’er with the paint-pot in ’er ‘and. Old ’Ooley’s
another of ’em, makes me sick—practising court
curtseys in front of the looking-glass all to ’erseli—
old fool! Got those glasses ready ?

MRS. SHARPE
Yes, they’re ready.
PASSING OF THE THIRD FLOOR BACK 55

STASIA
[Entering.] We're no better, you know, you
and me. You're an old thief.

MRS. SHARPE
[Speechless.] A thief! What do you-—~

STASIA

So you are. So am IJ—and wuss. What’s the
good of us all, that’s what I want to know ?
What’s the good of us ?

MRS. SHARPE
[Repeating helplessly.] What’s the good of us ?

STASIA

[She has put down the tray again which she at
first had taken up. She comes down and faces
MRS. SHARPE.] What’s the use of us? What’s
the good of us to ourselves or to anybody else ?
What——

[There comes a knock at the street door—one
single, clear, distinctive knock. It sounds mysteri-
ously, coming so unexpectedly into the darkening
room. MRS. SHARPE and stTasia both start, and
stand a moment looking at one another.]
56 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE
What was that ?

STASIA
Somebody knocking at the door.

MRS. SHARPE

Who can it be ?
[The knock is repeated. ]
It must be some beggar.

STASIA
P’raps it’s a visitor.

MRS. SHARPE
A visitor? What sort of visitor would——
[The knock ts again repeated. ]

STASIA
Seems determined ‘to come in.

MRS. SHARPE
Go and see who it is.
[STASIA goes out, closing the door behind her.]

[MRS. SHARPE, puzzled at the passing of the time,
goes to the keyhole; peeps through; returns to her
PASSING OF THE THIRD FLOOR BACK 57
glasses; goes to the keyhole again—tlistens ; the
handle turns. MRS. SHARPE darts away just in time.

[srasia re-enters. She closes the door and stands
smiling—at nothing in particular.)

MRS. SHARPE

Well? What are you grinning at ?

STASIA
Nothin’. [But still she stands smiling.]

MRS. SHARPE
What’s the matter with you? Who is it ?

STASIA

°E’s come about the room.

MRS. SHARPE
The room! What—Did you put up that card,
in spite of my telling you not to ?

STASIA
Yus.

MRS. SHARPE

[A movement of impatience.] What’s he like ?
58 PASSING OF THE THIRD FLOOR BACK

STASIA

’E ain’t the usual sort.

MRS. SHARPE
Thank God for that. Is he a gentleman ?

STASIA
[She seems to be in a dream.] I dunno.

MRS. SHARPE

[Again a@ movement of impatience.] Young or
old ?

STASIA
[Still with the same exasperating, dreamy smile.]
I dunno.

MRS. SHARPE

Ah, you fool! Show him in. [She arranges
her cuffs, straightens her cap.]

STASIA
[Opens the door.] Come in.
[The STRANGER enters ; a slightly stooping figure,

clothes—if one look at them closely—somewhat
shabby, the long coat somewhat old-fashioned. His
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Pe 59]
PASSING OF THE THIRD FLOOR BACK 59

hat, his staff, quaintly suggestive of the days of
pilgrimage. What age he might be it would be
difficult to say; there are moments when the deep
eyes would seem to speak of many sorrows. But
more often—and always when he smiles—it is a
face radiant with youth. In some mysterious way
he brings into the room with him an atmosphere of
dignity. Yet there is nothing “ important’? about
the STRANGER. If there be anything great about
him, it lies in his simplicity, his gentleness. He
bows to MRS. SHARPE. It is the simplest of cour-
tesies, yet one fails to see how it could express more
were she the daughter of a hundred earls. And mrs.
SHARPE, returning the bow, becomes, for the moment,
a lady.]
THE STRANGER

Good afternoon.
MRS. SHARPE

Good afternoon. You have called about a
room ? [She has clothed herself in her most ladylike
tones and manners. |

THE STRANGER
Your little maid tells me there is one vacant.
60 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE
Yes. There does happen to be just one. You
can go, Stasia.

[sTASIA goes to take wp her tray—the STRANGER
inter poses. |

THE STRANGER
[To MRS. SHARPE.] May I? It is so heavy.
[He carries out the tray. sTasta stares after him

open-mouthed. Then at MRS. SHARPE, who is also

staring. ]

THE STRANGER

[Returning—to srasia.] I have placed it on
the table. Was that right ?

MRS. SHARPE
Quite right. [Zo stasta, who is on her way out]
Shut the door after you.

[STASIA, as tn a dream, goes out. Closes the
door. |
Won’t you be seated ?

THE STRANGER
Thank you. [One of the easy-chairs stands by
PASSING OF THE THIRD FLOOR BACK 61

the table. He pushes it nearer the fire.] Will you
take this chair ?

MRS. SHARPE

[Who is not used to having chairs offered her,
accepts it somewhat awkwardly.) Thank you.
[She sits stiffly.]

[The STRANGER crosses, seats himself the other
side of the fire. The twilight is deepening. The
red glow from the fire illumines their faces.]

THE STRANGER

[Smiling.] Now we can talk business.

MRS. SHARPE

[She bows. To bow frequently and very stiffly
ts one of her ideas of high-class manners.] To
begin with—you will excuse the question, I’m
sure—but [she ts eyeing critically his clothes] what
are you ?
THE STRANGER

I—am a wanderer.

MRS. SHARPE

You mean a traveller ?
62 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
[Accepts the correction.] A traveller.

MRS. SHARPE

For pleasure ?

THE STRANGER
For pleasure.

MRS. SHARPE

[She looks at him again ; it is a puzzling prob-
lem.] You see, I have to be perhaps a little
particular. My clientéle is drawn, as a rule, from
the higher middle-classes. [The STRANGER gives
his grave attention.] At the present moment I
have staying with me the cousin to a baronet.
Representing capital, we have Mr. Samuels, the
great silver-mine proprietor. We have also a
retired Major and family—highly connected. Mr.
Penny, the eminent artist—you may have heard
of him—

THE STRANGER

I live so out of the world.

MRS. SHARPE
—Has his studio at the top of the house. My
PASSING OF THE THIRD FLOOR BACK 63

first floor is occupied by an exceedingly wealthy
man—for years a prominent figure in the sporting
world. Indeed, I may say that all our little circle
are persons of more or less distinction.

THE STRANGER
It will be a privilege to meet them.

MRS. SHARPE

[She flashes a suspicious glance, but encounters
only his eyes of grave sincerity.| My charges, as
you will understand, are of necessity a little more
than those of the common boarding-house.

THE STRANGER

That is only to be expected.

MRS. SHARPE

[Bows.] For the room I have to offer you:
a charming apartment on the—just above the
second floor ; together with full board, consisting

of——

THE STRANGER
[He smiles away the details.] Of everything
that is needful. It goes without saying.
64 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE

[Bows again.] I usually ask two pounds ten a
week. [He may be about to speak ; she waves him
back into patience.| To you, seeing you—{[she |
cannot think of any other reason]—are a traveller— |
[with a burst of generosity]—we'll say two pounds.

THE STRANGER
But is that quite fair ?

MRS. SHARPE
[Ready for battle.] Fair !

THE STRANGER

To you. I am not a rich man—as you, with
your quick woman’s sympathy, have divined.
But I have sufficient. I can afford to pay you
your proper price.
MRS. SHARPE

The two pounds will be quite satisfactory.
THE STRANGER
You are sure ?

MRS. SHARPE

Quite sure.
PASSING OF THE THIRD FLOOR BACK 65

THE STRANGER
It is very kind of you—very kind indeed.

MRS. SHARPE
[Again the bow.] Gas, of course, will be an
extra.

THE STRANGER
Of course.

MRS. SHARPE

 

Coals

THE STRANGER

[Again he smiles away her details.] We shall not
quarrel. You have been so very considerate as it
is, I feel I can leave myself entirely in your hands.

MRS. SHARPE

Well, I always try to be fair, and—— [She
looks wp and meets his gaze full wpon her; an
embarrassed silence falls upon her.] Do you ever
get taken in—cheated ?

THE STRANGER
[Smiling.] Sometimes—by cheats.

[A silence.]
66 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE
How do you know I’m not one ?

THE STRANGER
We old travellers—it is a conceit of ours that
we can tell ladies and gentlemen from cheats.

MRS. SHARPE
You think a lodging-house keeper can be a
lady ?

THE STRANGER
Why not ?

MRS. SHARPE
No, I suppose there’s no reason. In my own
case, as it happens, I really am a lady.

THE STRANGER
You see, I was right.

MRS, SHARPE
My late husband was a solicitor. I used to-

have my At Homes in this very room—on third
Fridays.

THE STRANGER
And it is the third Friday of the month to-day.
PASSING OF THE THIRD FLOOR BACK 67

MRS. SHARPE

Why, so itis. I had forgotten. [Remembering,
becomes the landlady again.] Would you like to
go up to your room now ? We dine at six-thirty.
[She rises. ]

THE STRANGER
[Rising.] Thank you. That will just give me time.

MRS. SHARPE

I'll just see first that everything—— [He has
taken up his hat and stick, and is moving towards
the door. She pauses.}| Did I say two pounds a
week ? [Something is worrying her; it causes her
to speak in an angry, aggressive tone.]

THE STRANGER
It should have been two pounds ten. You
were kind enough to reduce it——

MRS. SHARPE.
I must have been thinking of some other room.
It should have been one pound ten.

THE STRANGER
[Stops.| Then I decline to take it. The two
pounds I can well afford.
68 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE

One pound ten are my terms. If you are bent
on paying more, you can go elsewhere. You'll
find plenty to oblige you.

THE STRANGER

[He looks at her.] Women are so wilful. [Smil-
ing] And you kind women are the worst of all.
[He has taken her hand. She laughs.]

[They go out.]

{stasta enters by the folding doors. She goes to
sideboard ; takes from a drawer some napkins ; brings
them to the table. She forgets them, stands idly by
the table gazing out of the window. MRS. SHARPE re-
enters. STASIA, dreaming, neither sees nor hears her.
MRS. SHARPE stands for awhile looking at her. A new
look has come into MRS. SHARPE’S face, a new note
in her voice, a new spirit has stolen into the house.]

MRS. SHARPE
What are you looking at ?

STASIA
[She wakes with a start.]| Nothin’. [Begins
folding the napkins.]
PASSING OF THE THIRD FLOOR BACK 69

MRS. SHARPE

[She comes nearer; looks again at the little
pale face.] Like to put on your hat—get a breath
of fresh air before dinner ?

STASIA
[Stares.] D’ye mean it ?

MRS. SHARPE
[Takes the napkins quietly from her.) Jl finish
laying the table. Don’t be too long.

STASIA

[She is off ; half-way to the door something sud-
denly stops her.] Sure you can spare me ?

MRS. SHARPE
That'll be all right.

STASIA
I won’t be long. [She runs swiftly out.]

MRS. SHARPE

[She goes on folding up the napkins. Then she,
too, forgets them. They fall from her hand. A
smile gradually breaks over the old face, strangely
altering tt; she, too, seems to be falling into @ way
70 PASSING OF THE THIRD FLOOR BACK

of dreaming.] “‘ And you kind women are the
worst of all.’ [She whispers the words, the while
her uplifted face becomes transformed with a great
tenderness as towards all things.]

THE CURTAIN FALLS
CHARACTERS IN THE PLAY

Joey Wright
Christopher Penny
Major Tompkins

Mre. Tompkins

Vivian

Jape Samuels

Harry Larkcom

Miss Kite 7
Mrs. Percival de Hooley

Stasia
Mrs. Sharpe :
The Third Floor Back.

A Retired Bookmaker.

A Painter.

Retired.

His Wife.

His Daughter.

Of the City.

His Jackal.

Unattached.

Cousin to Sir George
Tweedle, Bart.

The Slavey.

The Landlady.
THE PLAY

SCENE

The same. It is dark. A faint glow from the fire
intensifies the shadows. The light from the
dining-room outlines the folding doors. The light
from the street lamps without struggles faint and
mysterious through the windows. The two easy-
chairs have been placed one each side of the fire.

[sTasIa enters; leaves the door open behind
her. The light from the passage lifts @ little the
darkness of the room. She strikes a match, climbs
upon a chair and lights the three branches of the
gaselier. And the room takes three strides into
feeble light. An improvement has taken place in
STASIA’S appearance. Her hair is tidier, her face
and hands cleaner.]

[A sound as of a sudden burst of talking after a
silence is heard from the next room. sTasia stands

73
74 PASSING OF THE THIRD FLOOR BACK

a moment listening; it dies. She crosses to the
windows, pulls down the blinds, arranges the cur-
tains. ]

[VIVIAN comes in. She ts in evening dress, some-
what décolleté. ]

VIVIAN
Haven’t they finished dinner yet ?

STASIA

[She goes to the folding doors and peeps through
the keyhole.]| They’re a-toying with the dessert.
Why didn’t you come down? Off your feed ?
[Her voice has changed—-has taken to itself a childish
note. |

VIVIAN

[Who has seated herself in one of the easy-chairs.]
I had a headache. [She has taken an illustrated
paper from the table.]

STASIA
Going out to the theatre, ain’t you ?

VIVIAN
Yes.

Se
PASSING OF THE THIRD FLOOR BACK 75

STASIA
With the old ’un 2

VIVIAN

Will you kindly mind your own business ?
STASIA

Suppose I oughtn’t to blime you. [She speaks
more to herself than to vivian, who, glancing through
her paper, appears to take no notice.] We've all of
us got to live—somehow. [Aloud] You ain’t
seen the new lodger ?

VIVIAN
Oh! Is there a new lodger ?

STASIA

Came this evening, just before dinner. [There
is something in STASIA’s voice which causes VIVIAN
to glance round at her.]

VIVIAN
[She turns again to her paper.] What's he like ?

STASIA
[She comes to vivian.] This ain’t all the world,
is it ?
76 PASSING OF THE THIRD FLOOR BACK

VIVIAN
[Looking up.] What do you mean ?

STASIA

Us sort. [With a gesture.] All a-lyin’ and a-
cheatin’ and a-snarlin’—despisin’ one another—
and ourselves. Ain’t there anything else ?

[A silence.]

VIVIAN

Yes. There are sweet thoughts. And fine
feelings. And self-respect. [She turns to stasta.]
But such things, Stasia, are only for rich folk.

STASIA

[She goes slowly towards the door.] Bit ’ard on
us poor. [Goes out.]

[vivian drops her paper; sits staring into the
fire a few moments. The folding doors open, letting
in the sound from the dining-room. MRS. MAJOR
TOMPKINS enters and closes the door behind her.
She is dressed quietly and effectively. With her
entrance the atmosphere changes. ]

MRS. TOMPKINS
How’s your headache ?
PASSING OF THE THIRD FLOOR BACK 77

VIVIAN
I think it will be all right.

MRS. TOMPKINS

You didn’t miss much. I could have eaten an
artichoke. Of course your father grabs the dish
and clears the lot. You know, you can afford
to show a bit more shoulder. [She goes to re-
arrange the girl’s dress.]

VIVIAN
[Shrinking away.] Don’t, please. I hate being
mauled.

MRS. TOMPKINS
Funny girl you are! If you can’t bear your

 

own mother.

VIVIAN

It’s only this evening. I’m feeling irritable.
[Her eyes still on the paper.] What’s the new
lodger like ?

MRS. TOMPKINS
Don’t like him.

VIVIAN
Why not ?
78 PASSING OF THE THIRD FLOOR BACK

MRS. TOMPKINS

I can’t explain it. He makes you feel uncom-
fortable. [Resentfully] His mere presence in the
room:

 

[She is at table choosing a paper, her
back to the dining-room.|

[The folding doors have opened. MISS KITE,
followed by MRS. DE HOOLEY, ts entering : MISS KITE
in what she herself would call a “‘ killing ’”’ costume ;
MRS. DE HOOLEY in “‘ semi ’’-toilette.]

VIVIAN

Quick !—quick !

[MRS. TOMPKINS understands, but reaches the only
remaining easy-chair a second behind the KITE
woman, who slips down into it triumphant. MRs.
TOMPKINS, giving her a “look,” passes on with
ostentatious indifference, and seats herself near the
table. |
MRS. DE HOOLEY

[Taking a chair by vivian.] So sorry to hear
of your headache.

VIVIAN

It’s better now.
PASSING OF THE THIRD FLOOR BACK 79

MRS. DE HOOLEY
So glad. You haven’t seen our new guest ?

VIVIAN
I have been hearing about him.

MRS. DE HOOLEY
He reminds me so of somebody I’ve met some-
where. [She thinks a moment.] Long ago.

MISS KITE
Well, so far as I can understand, she picked
him up out of the street : not even a reference.

MRS. TOMPKINS
Do you mean that she has dared to introduce
among ladies and gentlemen——

MISS KITE
My dear, a mere passer-by.

MRS. TOMPKINS

I thought there was something very wrong about
him.
MISS KITE

We don’t know who he may be.

[JAPE SAMUELS has entered from the dining-room,
80 PASSING OF THE THIRD FLOOR BACK

closing the door behind him. He is smoking a fat
cigar. He wears evening-dress—dinner-jacket—and
one enormous diamond stud.|

MRS. TOMPKINS .
[To saPE.] What do you think of him ?

SAMUELS

[He ts at table selecting a paper, his back to the
others.| Of the latetht addition to our little
menadtherie ? Well, to begin with, he’th not my
idea of a thentleman.

MISS KITE
Looks to me as if he’d got money. [She winks
at MRS. TOMPKINS, who smiles back.]

SAMUELS
[Turns sharply.| Why? What makth you
think that ?

MISS KITE

I don’t know. He gives me that impression.

SAMUELS
Dethent enough thort of a chap, I darethay, in
all other rethpecth. We can’t help what we are
PASSING OF THE THIRD FLOOR BACK 81

born. [He has the “ Evening Standard” (white),
“ Globe” (pink), and ‘‘ Westminster ” (green) in his
hand. He places them one inside the other, so that
only the “Standard” shows. He sits near the table. ]

[Then enter the MAJOR and WRIGHT, arm-in-arm,
followed by LARKCOM. WRIGHT is in evening-dress,
gorgeous with jewellery; the MAJOR is also in evening-
dress ; LARKCOM wears his check suit. LARKCOM
closes the door and joins SAMUELS. WRIGHT and
the MAJOR are laughing—the Mason. boisterously,
WRIGHT voicelessly. WRIGHT has been telling the
MAJOR a@ smutty story.]

MAJOR

Best story I’ve ever heard! ‘‘She’d taken
them with her.” [Laughs again and digs him in
the ribs.| I must remember that one.

VIVIAN

[At entrance of her father she crosses to the desk,
where she seats herself, her back to the room, and
writes or pretends to write a letter.]

[The moment she vacates the chair, MRS. DE
HOOLEY rises to take it, but LARKCOM darts across
and flings himself into it just in front of her.]

6
82 PASSING OF THE THIRD FLOOR BACK

LARKCOM
Won by a neck. [Laughs at her, settles himself,
and takes out his pipe, which he fills and lights.]

MRS. DE HOOLEY

[She bestows disdain upon LARKCOM ; then goes
to small work-table, fetches her work-basket and
brings it to the table, where she sits within whisper-
ing distance of MISS KITE.]

MAJOR

[Crosses to table and turns over the papers.]| Any-
body seen the “Globe” ? [Z’o samuELs] What
paper have you got ?

SAMUELS
[Shows him the outside one.] Thtandard.

MAJOR
Where the devil has the ‘‘Globe” got to?
[He goes on tour of discovery.]

MRS. TOMPKINS

[She touches WRIGHT, who has taken the chair
vacated by MRS. DE HOOLEY.] She'll be ready in
a few minutes. What do you think of the new
boarder ?
PASSING OF THE THIRD FLOOR BACK 83

WRIGHT
[Shakes his head.] Not my fancy.

LARKCOM
[Turning to WRIGHT.] He’s got no conversation
—not what I call conversation.

MAJOR

I found him a fool. [He has rummaged among
the music on the piano—glanced in passing at the
desk. |]

MRS. TOMPKINS
[With a laugh.] Yes, I noticed you and he
seemed to be getting on very well together.

[stasta has entered, more or less unnoticed. She
brings the coffee in on tray.]

STASIA
[She stops first in front of MRS. TOMPKINS.]
Kaufee.

[MRS. TOMPKINS takes a cup.]

[The magsoR goes to table, snatches a paper and
seats himself between the table and MRS. DE HOOLEY.
sTasia goes her round with the coffee.]
84 PASSING OF THE THIRD FLOOR BACK
WRIGHT

[To MRS. TOMPKINS.] We don’t- want him here.
Spoils the party.
LARKCOM

He’s not our class:

MISS KITE

I can’t make out whether he’s a young man
trying to look old, or an old man trying to look
young.
MAJOR

I hate a man with eyes that you can’t get
away from. -7

MRS. DE HOOLEY

[In her soft, slow voice, still dreaming.] It was
a long time ago.
MRS. TOMPKINS

We must make it plain to him that he’s not
wanted.
WRIGHT

[fo tarKcom.] Yes. You're good at “ chip-
ping”’ people. Make it uncomfortable for him.
PASSING OF THE THIRD FLOOR BACK 85

LARKCOM

[Nods and laughs.| We'llhave a bit of fun with
him.

SAMUELS
Oh! leave him alone. He'll learn our wayth
all right.

[CHRISTOPHER has entered.]

CHRISTOPHER
Unless we first learn his.

[viv1an, who has been listening, turns round.]

MRS. TOMPKINS
Learn his! [Snorts indignantly.]

MAJOR
[With a snort—under his breath.] Young puppy !

[KITE has looked round. LARKCOM smokes. JAPE
has glanced up. WRIGHT gives vent to a feeble sneer.
HOOLEY ts still dreaming.]

VIVIAN
[stasta has just reached her with the coffee.] No,
thank you.
86 PASSING OF THE THIRD FLOOR BACK

STASIA
Gar on. Do your ’eadache good.

VIVIAN

[She looks at her and smiles; then takes it.]
Do you mind getting me my cloak? It’s on the
bed. Sure you don’t mind ?

STASIA
Not when you speak like that. [She goes
out.]

MRS. TOMPKINS
Are you ready, dear ?

VIVIAN
Yes. [Rises.] Stasia has just gone for my
cloak.

MRS. TOMPKINS
[Rising.] You'll take care of her.

WRIGHT
[Who has risen.] That’s all right.

MAJOR
[Rises.] That’s all right. He'll take care of
our little girl for us. [He turns to his wife.]
PASSING OF THE THIRD FLOOR BACK 87

[VIVIAN has come down. WRIGHT is standing
near to her.]

MAJOR
[He indicates them with a wave of the hand. The
fond tears are in his voice.] May and—July.

LARKCOM

[He springs up, and with half a dozen steps is at
the piano. He thunders out Mendelssohn’s Wedding
March.

[THE MagoR, beaming, beats time with his hand and
his head. SAMUELS has risen and moved round to
the top of the table to look for new papers. CHRIS-
TOPHER is also selecting @ paper. STASIA has re-
entered, with vivian’s cloak. wriGHt takes the
cloak from sTasta, and puts it over VIVIAN'S
shoulders. MRS. SHARPE enters. A screen of people
has thus been formed, shutting off VIVIAN’S view.
Behind it THE STRANGER, unnoticed, has entered.
As VIVIAN turns to go out with WRIGHT, THE
STRANGER stands before her. The quiet eyes are
fied on her—those eyes that seem to have seen all
the sorrows of the world, great and little. The
cloak falls from her shoulders to the floor about
88 PASSING OF THE THIRD FLOOR BACK

her feet. And a silence has also entered. The
Wedding March dies away.]

MRS. TOMPKINS
[Who sees only vivian rooted to the ground.]
What’s the matter ?

VIVIAN

[She turns her eyes to her mother.) I am sorry.
I cannot—I shall not be able to go to-night.

MAJOR
But, my dear!

VIVIAN

[She turns again, her eyes upon THE STRANGER. |
I can’t !—I can’t!

THE STRANGER

[He passes on.]

VIVIAN

I’m sorry. [Zo wRicut.] Some other evening.
[Stooping swiftly, she picks wp her cloak, wraps it
tightly round her as one who is cold, and with bowed
head passes hurriedly from the room.]
[sg -d

“IYyBIu-O1 OB OF 2/qQe aq JOU |jeYys |

 

 

 

 

 
PASSING OF THE THIRD FLOOR BACK 89

MRS. TOMPKINS

It’s the heat of the room, She hasn’t been well
all day. [Zo the mason.] Don’t you come. [She
follows VIVIAN out.]

MRS. SHARPE
It ts a bit close in here. Shall we have the
window open ?

MISS KITE
ZI should like it.

STASIA

Till see to it. [She opens one of the windows,
afterwards taking up the tray she had left on the
desk. She goes out.]

[SAMUELS, having selected a newspaper, has
re-seated himself. ]

MAJOR
[To wricut.] Poor girl! She'll be so dis-
appointed.

[WRIGHT answers with a snarl.]

MAJOR
[Coaxingly.| Play you fifty up. Then we'll
90 PASSING OF THE THIRD FLOOR BACK

see how she is. Can we have the table, Mrs.
Sharpe ?

MRS. SHARPE
Certainly. Ill go and get it ready for you.
[She goes out.]

MAJOR

Ah, thank you. [Taking wricut’s arm, he leads
him out.] Troublesome creatures, these girls !—
troublesome creatures! Yet what could we do
without them ? What could we do [He closes
the door behind them.]

 

[CHRISTOPHER crosses and sits in easy-chair by
fire. He makes to read; but every now and again
the paper drops; he stares into the fire.]

[as. DE HOOLEY from time to time, leaning across,
whispers to the KITE woman, who sometimes answers,
but more often she is preoccupied, covertly watching
THE STRANGER. LARKCOM has remained silent,
watching events.]

THE STRANGER
How well you play!
PASSING OF THE THIRD FLOOR BACK 91

LARKCOM

[He swings round on his stool.] Hullo !—you there,

 

old cockerlor [He encounters THE STRANGER’S

eyes. Somehow they put him out of cowntenance.]
Think so ?

THE STRANGER

You have the touch of one who loves music.

LARKCOM

Here. [He rises, grins wp into THE STRANGER’S
face.] What’s the little game? Want to borrow
money ?

THE STRANGER
You see, it would be of nouse. You see through
me at once.

LARKCOM

[THE STRANGER is smiling. He turns away,
ashamed of himself.| Only my bit of fun. [By
way of explanation] My weak spot—anybody
telling me I know anything about music. Here,
of course—— [With disgust] Ah! All they under-
stand here is ‘‘ Tumpty, tumpty, tum.”
92 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
And so you give them—what they understand.

LARKCOM
Oh well! somebody’s got to do something to
liven things up a bit.

THE STRANGER

Ah! yes. [He puts a hand on the lad’s shoulder.]
Some kind, good-natured body.

LARKCOM
Oh well! it comes easy—and I like doing it.

THE STRANGER
Yes.

LARKCOM

[There is something about THE STRANGER that
invites confidence.| My idea was to have been an
entertainer.

THE STRANGER
It was a good idea. You would have succeeded,
I am sure.

LARKCOM

You see, I’ve got a voice.
?
PASSING OF THE THIRD FLOOR BACK 93

THE STRANGER

And you have humour and a sense of fun.
One reads it in your eyes.

LARKCOM

[Suspicious for an instant—till he looks into THE
STRANGER’S eyes.] That’s right. Why, some-
times—when I like to take the trouble—I’ll have
’em all round me here, laughing. Not an easy
crowd to start, mind you.

THE STRANGER
It is your vocation. It would be wrong of you
to waste your gifts.

LARKCOM
Question is, would it pay ?

THE STRANGER

I think it would. And then, that is not the only
question, is it 2? You would be giving pleasure to
so many.

LARKCOM

“Giving!” Here, don’t you run away with
the notion that Harry Larkcom is a philanthropist.
What’s it going to put into little Harry’s money-
94 PASSING OF THE THIRD FLOOR BACK

box. [He slaps his pocket.| That’s the question
little Harry always asks himself.

THE STRANGER

Always? Are you sure ?

LARKCOM
Am J——

THE STRANGER
You play them “Tumpty, tumpty, tum.”
Why ?

LARKCOM
Why! Because

 

THE STRANGER

Does it give you any pleasure—you, a musician !
Does it add anything to the “ money-box 74
[The lad stares.| No. You do it because you
are just a good fellow. You will have them all
around you, laughing. Wherever you are, life
shall be a little brighter; dull, tired faces shall
be made to smile. You give them—so much more
than money. You give them—yourself. Don’t
you call that being a philanthropist ?
PASSING OF THE THIRD FLOOR BACK 95

LARKCOM
Of course, you can put it that way.

THE STRANGER
What other way ?

LARKCOM

I do like seeing people jolly round about me ;
hearing them whispering to one another that
Harry Larkcom’s the life and. Gar on! Who
are you getting at ?—you and your philanthropists!
I just like their admiration and applause. That’s
all I do it for.

 

THE STRANGER
Their gratitude, their appreciation. Are you
not entitled to it ?

LARKCOM

You are determined——

THE STRANGER
The thanks of those you serve: that is the true
“pay” of the artist.

LARKCOM
Here. Am I an artist now ?
96 PASSING OF THE THIRD FLOOR BACK

THE STRANGER

And the artist is always a philanthropist,
serving his fellow-men, not only for the sake of
the money-box.

LARKCOM

I wonder. My old mother always would put it
that way. “‘ Harry’s never so happy,” she would
say, ‘‘as when he’s making other people happy.”

THE STRANGER

Ah! she knew you. She would have been so
proud of you.

LARKCOM

Well, it would be better than the sort of jobs
I’m doing now.

THE STRANGER
You will forgive me. I have seen it so often.
You artists are never content doing any other

work than your own. All the rest is waste of
time.

LARKCOM

Would you mind one day my trying over one
or two little things of my own on you ?
PASSING OF THE THIRD FLOOR BACK 97

THE STRANGER
I should be delighted.

LARKCOM
Honour bright ?

THE STRANGER
Honour bright! It will be pleasant—looking
back—to think that I perhaps was of help to you

in the beginning.
LARKCOM

Don’t say anything about it to any of the
others. [THE STRANGER signifies understanding. ]
“ Harry Larkcom—artist !”’

THE STRANGER

[Smiling.] And philanthropist.

LARKCOM

And philanthropist. [Zaughs.] Good-night, in
case I don’t see you again—[holds out his hand]}—
partner.

THE STRANGER
Good-night, partner.

[LARKCOM crosses.]
98 PASSING OF THE THIRD FLOOR BACK

SAMUELS
[Stops him as he passes.] Think he’th got any
money ?

LARKCOM
Oh! you find out for yourself.

SAMUELS
[Rising.] Ain’t you learned anything ? What
have you been talking about ?

LARKCOM
Want to know? Art and philanthropy. [Goes
out, slamming the door.]

SAMUELS
Art and——! ‘Here, Henry. [Follows him out.]

[MRS. DE HOOLEY has risen and put aside her
work in its basket on the table.]

CHRISTOPHER

[Rising.] Would you like this chair ?

MRS. DE HOOLEY

Thank you, I should have been glad of it earlier
in the evening. [Passes on.]
[66 -d

sau 01 ye] tUMOP 4S,

 

 

 

 

 

 

Appel iyeni int ernberssp

 
PASSING OF THE THIRD FLOOR BACK 99

MISS KITE
You're not going, dear ?

MRS. DE HOOLEY

Only to write a few letters. [She seats herself
at desk, her back to the room.].

[CHRISTOPHER takes SAMUELS’S vacated chair at
table; busies himself drawing sketches on the
margins of newspapers. THE STRANGER has drawn
near to where MISS KITE still sits.]

MISS KITE
[To THE STRANGER, indicating the vacant easy-
chair opposite to her.] Sit down. Talk to me.

[THE STRANGER draws the chair nearer ; takes his
seat.]

MISS KITE

I am going to make you a confession. I’m
afraid you'll think it fearfully bold of me.
[Giggles.] But, you know, you interest me.

THE STRANGER
I am so glad. I wish so much to interest
you.
100 PASSING OF THE THIRD FLOOR BACK

MISS KITE

Now, that’s a very pretty speech. I wonder if
you really mean it. You men are so—— [She
raises her eyes, meaning to give him one of her
“ killing’? glances. The STRANGER’S quiet, grave
eyes are fixed on her. The giggle and the gush begin
to fall from her.] Why should you wish to interest
me ?

THE STRANGER
Because you are clever and witty. And the
clever, witty woman can be so delightful a friend.

[A silence.]

MISS KITE

[She is staring straight in front of her : a suddenly
serious person.| You think me clever, witty ?

THE STRANGER
[Smiling.] You do not agree with me ?

MISS KITE

[Drily.] You have made the discovery on a
somewhat slight acquaintanceship. This is the
first time we have spoken.
PASSING OF THE THIRD FLOOR BACK 101

THE STRANGER

But I have had the privilege of listening. You
should not talk before those from whom you wish
to keep it a secret.

MISS KITE

I—— [She smiles—she cannot help it.] I did
not think you were listening so attentively. [She
turns to him with sudden anxiety.]| I hope you
didn’t think that I was at all—at all spiteful, in
any of my remarks ?

THE STRANGER

A little—caustic. It is a mistake witty talkers
so often make. You could afford to do without
it.
MISS KITE

[Looking into the fire again.] I suppose one
grows bitter as one grows old. [Remembering
herself] I mean, of course

 

[THE STRANGER’S
eyes confuse her.]
THE STRANGER

But you have not even that excuse. You are
not old.
102 PASSING OF THE THIRD FLOOR BACK

MISS KITE

Well, ’'m—[she struggles, buf THE STRANGER’S
eyes insist upon the truth}—I’m forty. You don’t
call that young, do you ?

THE STRANGER

Young enough not to have forgotten the
thoughts of youth; old enough to have learnt
pity. Forty! Why that is a beautiful age.

MISS KITE

[She is angry with THE STRANGER, with herself.]
Oh yes, I dare say. Any age, I expect, you
would think beautiful. Perhaps you think J am
beautiful.

THE STRANGER

[Gravely looking at her.] Yes, I think you are
beautiful—quite beautiful. But you have one
failing that mars it.

MISS KITE

[Snappishly.| Hadn’t you better tell me of it?
Pity it should be marred by just one failing. I
might be able to correct it,
PASSING OF THE THIRD FLOOR BACK 103

THE STRANGER

It is lack of vanity. [She glances suspiciously.
Is he making game of her ?] You look into your
glass and are, quite needlessly, dissatisfied with
yourself. It is—forgive me—so foolish of you.

MISS KITE

[She turns her eyes from him.] You mean you
would like me better without the paint and the
powder—and the dye.

THE STRANGER

I think that you yourself—I may draw the
picture ?—a graceful, comely woman, perhaps a
little pale—there are white roses and red—with
delicate features on which the sculptor Thought
has chiselled his fine lines, giving to them character,
distinction; her still-bright eyes unspoilt; with
her fit crown of soft brown hair that Time has
touched with no unkindly hand—would be the
more beautiful.

MISS KITE

[Her eyes still turned away from him.] You
don’t understand. The world makes life hard to
—old women.
104 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
Will you not help them? [She turns her eyes

to his.] By letting the world see that “old

women ”’ of forty [he is smiling] can be charming.

MISS KITE
[She rises.] Good-night.

THE STRANGER
[Rising also.] You are going ?

MISS KITE

To try to forget all that you have been saying.
Yes, I can—and I mean to. I’m a spiteful,
venomous-tongued old cat—a painted, pitiful
creature without self-respect—and I hate you
because you have made me see myself asI am. I

 

hate you. I.

[The folding doors open. wRiGgut and the MAJOR
enter. MISS KITE has restrained her angry tones to
a whisper. MRS. DE HOOLEY has continued her
writing, CHRISTOPHER his sketching.]

MAJOR
[As they enter.] Ah! you're too good for

me,
PASSING OF THE THIRD FLOOR BACK 105

WRIGHT

You weren’t up to your usual form.

MAJOR
Ah! I’m no good against a player like you. [7'o
CHRISTOPHER] Any news from upstairs ?

CHRISTOPHER
[Shakes his head.] None.

MISS KITE

[She has recovered her old self. She speaks to
impress the room.] I have enjoyed our little talk
so much. Good-night.

THE STRANGER

Good-night. [He holds out his hand. She
answers by flouncing out of the room.]

MAJOR

[To waicut.] Ill run up—see what’s happen-
ing. [Finds himself in front of THE STRANGER ; he
stops, spreads out his legs, puts his hands behind
him, and stares insultingly.] Well, what’s going
to pull off the Lincolnshire Handicap? Tell me,
and I'll go straight out and bet my boots upon it.
106 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
I think you would be ill advised. I am not an
authority.

MAJOR
Not a—Aren’t you Captain Spy of the ‘“‘ Racing
News ”’ ?

THE STRANGER
I have not that distinction.

MAJOR

God bless my soul! They told me you were
Captain Spy, travelling incognito. [Beginning a
coarse laugh, he looks round the room for support.
It is not forthcoming. The joke has fallen strangely
flat.] Shan’t be long. [He strides out, banging
the door behind him.]

WRIGHT
He always will have his little joke.

THE STRANGER

A sense of humour is a delightful trait at all
times. .

WRIGHT
I want to ask you a question. [He looks round,
PASSING OF THE THIRD FLOOR BACK 107

draws THE STRANGER further aside.] “‘ Heat of the
room” be damned. It was the moment she
caught sight of you that she changed—suddenly
discovered that she wasn’t feeling well [with a
sneering laugh]. What’s the understanding be-
tween you two?

THE STRANGER
You think it was I who influenced her ?

WRIGHT

I don’t think anything at all about it. I was
watching. Her eyes were fixed on yours all the
time.

THE STRANGER
May it not have been merely her Better Self,
pleading to her ?

WRIGHT

Her Better Self! What better can she do for
herself than marry me? I’m rich. Ain't I
going to be kind to her? Ain’t I going to settle
money on her—money on herself, to spend as she
likes? [With increasing vehemence] Ain’t I good
enough for her ?
108 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
And she? Would she have been good enough
for you ?

WRIGHT
[Puzzled.] She! Good enough for me!

THE STRANGER

Taking all your gifts—your love. Giving you
nothing in return but the cold embraces of a
shameless woman.

[A sélence.]

WRIGHT

You don’t understand. The world ain’t a
story-book—all Jacks and Jills and love in a
cottage. The girl’s got to live.

THE STRANGER

Ay! Tolive! It is a fine thing to live! [He
turns again smiling to little Old Joey.] You shall
give her Life!

WRIGHT
[Staring.] Give her Life ?
PASSING OF THE THIRD FLOOR BACK 109

THE STRANGER

The lad she loves. [Old Joey darts a glance at
CHRISTOPHER, where he sits all unconscious.| She
shall cleave to him, cherish him. She shall be the
mother of children—children who shall crown her
brows with honour! Love! Labour! That is
Life to a woman. You shall give her Life !

[Again a silence. |

WRIGHT

[Peevishly.] All jolly fine. What about. me ?
Where do I come in ?

THE STRANGER
Man, you love her ?

WRIGHT
Yes, I know I do.

THE STRANGER
Then it is all quite simple. There is nothing
else to think of but what is best—for her.

WRIGHT
Yes, there is. There’s me. Ain’t I got any
rights ?
110 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
Ah, yes. The right to serve.

WRIGHT

Here, you’re making a mistake. You’re talking
to me as if I were some high and mighty Knight
Errant sort of a chap. It’s silly of you. I ain’t
even a gentleman. I’m only a common little old
man. Why, I was a bookmaker—that’s all I was.
You know, a betting man—a bit shady at that.
Daresay it’s all right what you say. Only [he
taps his breast; his voice has risen to a plaintive
whine; Self-pity has given to it pathos] I ain’t
got it in me.

THE STRANGER
Are you sure it is I who am making the mis-
take ?

WRIGHT

[He makes a gesture of the hands, and, shaking
his head, creeps to the easy-chair. Sits crouching
with his hands stretched out to the fire.]

THE STRANGER
You are so sure, [smiling] “Sir Joseph!”
 

 

 

 

 

““Are you sure it is | who am making the mistake ?’’

p. rro]
PASSING OF THE THIRD FLOOR BACK 111

WRIGHT
[He turns.] How did you know that used to
be my nickname ?

THE STRANGER

You were a public character. Wherever you
went, men spoke of you—of your fine lordly ways,
of your wondrous kindness. Women also.

WRIGHT

Flinging your money about a bit when you’ve
got plenty of it, that ain’t the same as giving
up the woman you love.

THE STRANGER
Forgetting Self—forgetting all things but the
loving of her, and the serving of her! Ah yes,
he would be a great gentleman who could do that.
You—you do not feel yourself quite equal to it ?

WRIGHT

[He turns a poor, troubled face towards THE
STRANGER.] Why mightn’t she come to love me
—in time? I would be good to her—and kind—
and—— [The quiet eyes are fixed on him. The
foolish words die away.]
112 PASSING OF THE THIRD FLOOR BACK

THE STRANGER

I think you could win her love more readily.
So that she would think of you to the end always
with deep wonder—teach your name to her children,
that they, too, might learn to love and honour it.

[A silence reigns, broken only by the scratching
of the HOOLEY pen. Then the door opens, and
the MAJOR reappears. |

MAJOR

[Looking round, he does not at first see WRIGHT. |
Is he gone? [Coming further into the room, he
discovers him.] Ah! there you are. I’m afraid
the dear child will not be able——

WRIGHT

[He seems to have suddenly grown older, feebler.
A new note of gentleness, of humbleness, has changed
his voice. He puts the other aside with a quiet
gesture.]| Tell her it doesn’t matter. Tell her
not to—trouble. [He rises and goes slowly towards
the door.]

[MRS. DE HOOLEY, having finished her letters, has
risen. CHRISTOPHER looks up from his work. THR
STRANGER stands near the littered table.]
PASSING OF THE THIRD FLOOR BACK 113

WRIGHT
[He turns.] Pity to waste the ticket. [He draws
the theatre voucher from his waistcoat pocket—looks
from one to other.] Would anybody care for it ?
[JAPE SAMUELS has entered with papers of a
prospectus order in his hand.]
[To the Mason] Would you? Do you think Mrs.
Tompkins might like to go ?

MAJOR
Well—[he looks at his watch]—well, yes, it’s very
kind of you. Perhaps she might.

WRIGHT
[As he gives it to him.] It’s a nice little box—
for two.

MAJOR
Very kind of you—very kind of you indeed.

WRIGHT
That’s all right.

He turns again, and the little bent old figure
passes slowly out. MRS. DE HOOLEY, taking her work-
basket from the table, seats herself by the fire.

SAMUELS remains standing.]
8
114 PASSING OF THE THIRD FLOOR BACK

MAJOR
Umph! Seems a bit down in the mouth, our
poor friend.

SAMUELS
[With a laugh.] Not the evening he exthpected.

MAJOR

Ah, we lovers of women !—how we suffer !
[SAMUELS laughs.]

MAJOR

[To THE STRANGER.] Not a married man your-
self, sir ?

THE STRANGER
I have not that happiness.

MAJOR

Ah! Isympathise with you, sir. Isympathise.
[He is exchanging grimaces with JaPR, wonderfully
pleased with his own clowning.] Been married
myself four-and-twenty years. Regretted it—only
once.

[SAMUELS laughs again.]
PASSING OF THE THIRD FLOOR BACK 115

MAJOR
What are you laughing at? It’s quite right—
once, and once only.

(SAMUELS becomes convulsed.]

MAJOR

[To THE STRANGER.] These modern young men,
they ridicule all sentiment. They laugh at us—
call us “ Darby and Joan”; can’t understand a
man being in love with his own wife.

THE STRANGER
They have many things to learn.

MAJOR

Exactly what I tell them. Star of my life, I
call her, sir—always there, shining down upon
me, beaming, twinkling——

[TAPE is guffawing, MRS. DE HOOLEY smiling,
CHRISTOPHER watching. ]

THE STRANGER
[He interrupts, with a gesture.] I remember her
well—as a girl.
116 PASSING OF THE THIRD FLOOR BACK

MAJOR
[He suddenly drops his clowning.] You !—Re——
Who are you ?

THE STRANGER
A friend you have forgotten.

[ape seats himself; busies himself with his
papers. MRS. DE HOOLEY and CHRISTOPHER take
up their work again.]

MAJOR
I beg your pardon. My memory for faces, I
am sorry to say——

THE STRANGER
It was a long while ago.

MAJOR

It is very good of you to find excuse. [He is
puzzled. He keeps eyeing THE STRANGER from under
his brows. He is trying to recollect, but failing.]
It will all come back to me, I have no doubt.
Meanwhile, I thank you, sir, for recalling yourself.
Mrs. Tompkins will also, I am sure, be pleased
that you have done her the honour to remember
her
PASSING OF THE THIRD FLOOR BACK 117

THE STRANGER

To have forgotten her would have been still
more difficult, would it not? [He is smiling.]

MAJOR

It is kind of you, sir, to say so.

THE STRANGER

The evening we first met her! [The Mason
glances swiftly.| By the stepping-stones! It was
hawthorn-time, you remember? Could any vision
have been sweeter ?

MAJOR

[After a short silence, very drily.] Yes, yes, she
was a dainty little piece of goods [he turns away]—
in those days.

THE STRANGER

It is rather wonderful—you will not be jealous
of an old admirer—how lightly time has dealt
with her.

MAJOR
Yes, she has kept her good looks—to a great
extent. Of course, her figure——
118 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
[He interrupts again, smiling.] A little fuller.
A fault in the right direction, is it not ?

MAJOR
Yes, yes, I suppose it is. Never could myself
abide a scraggy woman.

THE STRANGER
You also—if you will allow me—have worn
well, sir.

MAJOR
[He turns quickly.] You think so.

THE STRANGER

The years will take their toll. But I find still
the same quick, youthful step, the same—how
may I say it ?—the same gallant jauntiness.

MAJOR
[Laughing, delighted.] Still the soldier, eh ?
Still the soldier !

THE STRANGER

I think it was that gave you an unfair advantage.
The women! they succumb so easily to a
uniform.
PASSING OF THE THIRD FLOOR BACK 119

MAJOR

[Swaggering, laughing.] Well, yes. There is
something about us that seems to appeal to them—
eh ?

THE STRANGER

‘The soldier’s reputation—for chivalry, for ten-
derness, no doubt.

MAJOR

[The conceit falls from him. He glances sus-
piciously at THE STRANGER ; fidgets, turns away.]
Very possibly.

THE STRANGER
A few of the older folks shook their heads.

But some of the younger women, I remember,
frankly confessed that they envied her.

MAJOR
Um! Ah, yes! [He laughs, awkwardly.]

[The door opens. MRS. TOMPKINS enters, an
open letter in her hand. She has come downstairs,
as she herself would express it, to “‘ have it out.”
She thrusts the letter forward.]
120 PASSING OF THE THIRD FLOOR BACK

MRS. TOMPKINS
So! So, my dressmaker, in future——

MAJOR

Ah! my dear, you are just in time. [She is
about to speak. His look, the tones of hts voice, his
vehement whisper, as he waves the letter aside,
silence her.] Another time—another time I tell
you. [Then aloud] I want to introduce you to
an old friend of ours. [He indicates THE STRANGER. |
A friend who remembers us, I am ashamed to say,
better than we seem to have remembered him; a
friend who knew us long ago—in our courting
days.

MRS. TOMPKINS

[Bewildered at the MAyoR’s manner, she looks at
THE STRANGER long and hard. The dawn of some
strange recollection comes to her. She turns a
puzaled, questioning face to her husband; then
looks again at THE STRANGER, then back to her
husband.] Yes. It was long ago—when I was a
girl—in Devonshire. [Her eyes are still fixed on
THE STRANGER. The recollection grows.]| We used
to have long talks together. I remember.
PASSING OF THE THIRD FLOOR BACK 121

THE STRANGER

Your lover—if I may take him at his word [he
turns to the Mason; smiling, lays his hand on
his shoulder|—has been telling me how happily
your marriage has turned out. [THE STRANGER
stands between them, smiling. She turns her eyes
upon her husband. He seeks to cover his confusion
with a jerky laugh. Tries to find something to say ;
can think of nothing.| May I—a little late—offer
my congratulations? In the world’s book, so
full of the vulgar stories of dead love, it is plea-
sant to come across one with the old-fashioned
ending.

[MRS. TOMPKINS remains silent. The MAJoR is
much relieved.|

MAJOR

“The old-fashioned ending.” [Laughs.] Very
good—very good indeed. They married and lived
happy—— [The theatre voucher is still in his hand.
It catches his eye.) Ah! I was forgetting. Mr.
Wright has been kind enough to suggest, my
dear, that you and I should make use of his box
for to-night. What do you think ?
122 PASSING OF THE THIRD FLOOR BACK

[The door is open. MRS. SHARPE has entered.
She stands watching.]

MRS. TOMPKINS

[She is bewildered—not quite sure whether she
is awake or dreaming.] Yes, yes; I’d be rather
glad to—to get out. I—Ishallonly bea minute. I
have only my cloak to put on. [She turns to go.]
MAJOR

[The idea occurs to him, Heaven knows since how
long. It.fits awkwardly on him.] Can—can I get
it for you, my dear ?

[SAMUELS gives vent to a low laugh.]

MAJOR

[Turns on him fiercely, having perhaps expected
something of the kind.] I beg pardon, sir. I failed
to catch your remark.
SAMUELS

[Bewildered, frightened.] I never thaid anything.

MAJOR

My mistake, sir. [He turns again to his wife.]
Can I—find it, do you think, my dear ?
(eer *d

, BUIYAUe prey Jaaau |

 
 

a aa
PASSING OF THE THIRD FLOOR BACK 123

MRS. TOMPKINS

[She has been staring. On her also forgotten
ways fit ill.] I think I left it upstairs. Thank
you, John.

[The MAJOR goes on his errand.]

[The astonished JAPE rises, and, whistling, crosses
to the desk where, having lit another cigar, he sits
and works. MRS. SHARPE goes to the little work-
table, where she pretends to look for some work,
but her eyes are on the centre of the room. CHRIS-
TOPHER and MRS. DE HOOLEY cast glances.]

MRS. TOMPKINS
So it has turned out happily—he told you

that.

THE STRANGER
That they call you “Darby and Joan.” [She
looks at him.] Nothing, it seems to me, is more
beautiful than the love that has weathered the
storms of life. The blossom that flowers in the
heart of the young, as in those days when first
youmet him, so handsome, so kind, you remember?
—that, too, is beautiful, the love of the young
for the young. -It is the beginning of life. But
124 PASSING OF THE THIRD FLOOR BACK

the love of the—forgive me—of the old for the
old, that is the beginning of things longer.

MRS. TOMPKINS

Yes, I remember your voice: it was always the
same. [She turns and looks at him.] But it is
you only I seem to remember—nothing about
you—no time, no place. I suppose it will come
back to me.

THE STRANGER
And if not, we will not trouble. The meeting-
place of friends is in the heart.

MRS. TOMPKINS
[She looks at him, smiling.] You always thought
well of me. I remember that.

THE STRANGER
I knew you—so well.

[The MAJOR re-enters with the cloak. He has
donned an Inverness cape and carries his hat and
gloves. ]

MAJOR
[He places the cloak around her.) We shall just
PASSING OF THE THIRD FLOOR BACK 125

be in time. [Zo THE STRANGER.] I shall see you
again, sir. We must talk about old days.

THE STRANGER
[Smiling.] And grow young.
[The Magor laughs.]

MRS. TOMPKINS
[To THE STRANGER, as nervously and doubtfully
she takes the MasJoR’s arm.] Good-night.

THE STRANGER
Good-night.

MRS. TOMPKINS
[At door.] Oh, I wonder—shall I want my
smelling-salts ?

MAJOR
My dear, [patting his pocket] I thought of it.

[She smiles at him. They go out. The MAJOR
closes the door behind them. |]

SAMUELS

[So soon as the door is closed, he turns round in
his chair and bursts into a laugh.] Well, if that
don’t—[laughs again]~if that don’t take——
126 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE
[With some work in her hand she has crossed

over. To JaPE, interrupting him] Can you see

to work here? Shall I get you some candles ?

SAMUELS

[He accepts the interruption.] Vell, yeth. One
ith a bit in oneth own light. Thankth. [Speaking
low] I thay

 

MRS. SHARPE
[Cuts him short.] Iwill get them for you. [She
goes out.]

SAMUELS

[Seeing there is no one to join in his laughter, he
shrugs his shoulders and turns his face to the desk.}
Ageth of miraclthes begun again.

[THE STRANGER is standing with his hands
stretched out towards the fire.]

MRS. DE HOOLEY
It is curious your having known the Major and

Mrs. Tompkins. Because I can’t help fancying
that we also are friends.
PASSING OF THE THIRD FLOOR BACK 127

THE STRANGER
I wonder !

MRS. DE HOOLEY
Each time I hear your voice it comes home to
me more and more that we have met somewhere.

THE STRANGER
[He looks at her.] Yes, you are right.

MRS. DE HOOLEY
I was sure of it. Do you know where I think
it was? At the Tatton-Jones’s ?

THE STRANGER
It was not at the Tatton-Jones’s.

MRS. DE HOOLEY

You are sure? The Yorkshire branch? Her
grandfather was Groom of the Bedchamber to
William the Fourth.

THE STRANGER
Quite sure.

MRS. DE HOOLEY
[Tries again.] My cousin, Sir George Tweedle,
Bart., has scarcely any one on his visiting-list
128 PASSING OF THE THIRD FLOOR BACK

who has not a title. So it could hardly have been
there ?

THE STRANGER
Hardly.

MRS. DE HOOLEY

I wonder, could it have been at the Eghams’s
—the Hampshire Eghams’s? He married a niece
of Lord Bath.

THE STRANGER
It was not at the Eghams’s.

MRS. DE HOOLEY

[She is sure that this time she has it right. She
smiles with confidence.| At Drayton Towers—
Lady Mitcham’s place.
THE STRANGER

Nor at Drayton Towers.

MRS. DE HOOLEY

It is curious—very curious. I feel so con-
fident——

THE STRANGER
It was before you came down in the world.
PASSING OF THE THIRD FLOOR BACK 129

MRS. DE HOOLEY
[She stares at him, but the grave, quiet eyes tell
[The rest is

 

nothing.| Before I came down
speechlessness. |

THE STRANGER
In the days when you were a great lady.

MRS. DE HOOLEY
I—I don’t understand.

THE STRANGER

Each evening, after the long day’s labour in
the factory, your work-worn hands so tired, yeu
climbed the many creaking stairs to bring help
and comfort to one all others had forsaken.

[A silence.]

MRS. DE HOOLEY

[She has risen. She looks round fearfully.] It
—it didn’t matter in those days. I-—I was no-
body.

THE STRANGER
‘You held high rank with noble men and women,

then.
9
130 PASSING OF THE THIRD FLOOR BACK

MRS. DE HOOLEY

I—I know what you mean, of course. But
you—you don’t understand. When one is—is
called upon to enter Society [She looks at
him; there is something in his eyes that stays
her.]

 

THE STRANGER
One leaves one’s womanhood behind ?

MRS. DE HOOLEY

[After a moment's silence.] One—one isn’t
expected to drag after one a sister who—who
brought disgrace upon herself.

THE STRANGER
Your cloak shall hide her wounds.

MRS. DE HOOLEY

[The poor worried lady is beginning to cry.] I—I
did quite a good deal for her. I did my Duty—
[she draws herself up] till it became impossible !

THE STRANGER

Ah yes! Duty so soon tires. [She is still crying,
her eyes downcast. His hand rests on hers a moment. ]
Love goes all the way. [She looks up.]
PASSING OF THE THIRD FLOOR BACK 131.

[The door opens. MRS. SHARPE enters, bearing
a lighted candle in each hand. She pauses a moment,
looks from wwe STRANGER tO MRS. HOOLEY, then
passes on, places the candles on the desk.]

MRS. DE HOOLEY

[She gathers her work. The tears have gone ; the
face is smiling.] So you thought me a great lady,
in those days ?

THE STRANGER
A great lady. It is the Helpless and the Fallen
that hold in their hands the patents of nobility.
[She goes towards the door, turns, smiles back at
him, then passes out.]

SAMUELS

[Without looking up.] Want to have a talk
with you, my lady, about my little bill. [Turning
on her.] What do you mean by——

MRS. SHARPE

[Staying him by a pleading gesture.] I am
sorry. For one or two items, I know, I have
overcharged you. I will make you out a new
one. [She moves away.]
132 PASSING OF THE THIRD FLOOR BACK

SAMUELS

[Looks after her—shakes his head.] Thomething
very wrong going on here. [He turns once more to
his labour.] Hope it ain’t anything catching.

MRS. SHARPE

[She goes to the table, her idea being to fold and
rearrange the journals. But the second or third
she takes up has upon its margin the sketches CHRIS-
TOPHER has been making. She pauses with it in
her hand.| You have been drawing our por-
traits.

CHRISTOPHER

[He is still sketching, his head bent over his work.
With a light laugh.) Yes ; just amusing myself.

MRS. SHARPE
They are wonderful! So like! And yet——

CHRISTOPHER

[The tone of her voice strikes him. He glances
wp.) Yet what? What is wrong with them ?
[He stretches out his ‘hand for the paper. She gives
it to him: the wonder comes to him also.) Did I
draw these ?
PASSING OF THE THIRD FLOOR BACK 133

MRS. SHARPE
Who else ?

CHRISTOPHER

But what is the meaning of it? These ate the
faces of beautiful men and women!

THE STRANGER

[Unnoticed, he has drawn near.] Are not all
men and women beautiful? Was the model
amiss ?

CHRISTOPHER

Ah! I must have been thinking of him. They
were his very words—my master, who first taught
me. ‘Ugliness,” he would always say, “it is but
skin deep. The business of Art is to reveal the
beauty underlying all things.’’ Your voice reminds
me of him.

[MRS. SHARPE goes out unnoticed. ]

THE STRANGER

Then I have been of service to you ?

CHRISTOPHER

[The enthusiasm dies out.| I am not so sure of
134. PASSING OF THE THIRD FLOOR BACK

that. I was trying to forget him. [He rises and
moves away.| He expected great things of me.

THE STRANGER

[He has remained, his hand upon the drawings.
He raises one, looks from i to the lad.] He was
wrong ?

CHRISTOPHER

Ah, if one could only be an artist without being
aman! [He turns, with a twitching smile.] You
see, sir, we young men—we want to live as well
as work— [turning away again] —to live! to love!

THE STRANGER
And Love and Art may not be comrades ?

CHRISTOPHER

Art doesn’t pay, sir, and one’s Love [with a
short, bitter laugh] demands to be kept, at least in
comfort.

THE STRANGER

“Demands”? Love gives not asks.

CHRISTOPHER
[With a gesture.| Ah, that Love!
PASSING OF THE THIRD FLOOR BACK 135

THE STRANGER
Is there another ?

CHRISTOPHER
[He turns with an appealing gesture.] What

can I do? I want her. Can I ask her to share
poverty ?

THE STRANGER

You would ask her to share shame—the reward
of the traitor ?

CHRISTOPHER
“Traitor ’’ 2

THE STRANGER

To your Art; [he lays his hand again upon the
drawing] to the great gift that has been en-
trusted to you!

CHRISTOPHER

You take a high view of Art. [Jé is, without his
meaning tt, a sneer.)

THE STRANGER
[There ts sternness in the voice—the look.] Since
when have you taken a low one ?

[A silence.]
136 PASSING OF THE THIRD FLOOR BACK

CHRISTOPHER
[He turns.] Thank you, sir. It ts a great gift.
[Then sadly] I am not worthy of it.

THE STRANGER

Worthy—who knows ?—to suffer for it. It is a
great privilege to be deemed worthy to suffer.
Art, also, has its cross.

CHRISTOPHER

[Smiling.] I wish, sir, I were as young as you
seem to be. J had such thoughts—once. [With
another laugh] I have always sought to put them
away from me as something to be ashamed of.

THE STRANGER

It is the thoughts of youth that shall one day
make the world young. I may come up, some
time, and see your pictures ?

CHRISTOPHER

To-morrow, sir. It will be so kind of you.
To-night—I am making a fire. [Smiling at THE
STRANGER, he goes out.]

SAMUELS
[He hears the click of the closing door. He looks
PASSING OF THE THIRD FLOOR BACK 137

round shyly. THE STRANGER’S back is towards
him.)

SAMUELS

[The cunning creeps into his face. He sits
for a few moments working out his plan: a few
slight movements of the hands, a little scratching
and smoothing of the evil face. Then he blows out
the two candles, and, with his papers in his hand,
softly rises and comes across. THE STRANGER
turns ; and for a moment, in face of those strange
eyes, JAPE’S brazenness deserts him. Then, recover-
ing himself, he thrusts his face forward, leering,
but meaning to be amiable.] Don’t want to make
your fortune, do you ?

THE STRANGER
Do not all men ?

SAMUELS

Got thomething here thath going to make mine.
I’m going to be a millionaire. Got a thilver mine
here— [he strikes the papers with his hand] —worth
—I’m tho exthited about it, I go about telling
everybody I meet. [Laughs.] Of courth they
don’t believe me.
138 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
Why should they not ?

SAMUELS

Well, it ain’t thenth, ith it? If a fellow hath
got hold of a good thing, he keepth it to himthelf
—doethn’t want to let a lot of other people into it.

THE STRANGER

It depends upon the “fellow.” There are gener-
ous fellows who love to share their good fortune
with their friends.

SAMUELS

[He looks at THE STRANGER; grows bolder.]
Jutht exthactly what I thay. Why not thare
with your palth? Ethpethally when—ath in thith
cath—thereth enough for all. [All the time he 1s
eyeing THE STRANGER, advancing from point to
point.| Would you like a thmall parthel? [He
opens his papers, pushes them across the table
towards THE STRANGER.] You'd do good with the
money. I can thee that. For a mere couple of
hundred. Here, don’t lithen to me. Look at
the figurth for yourthelf. They’llthow you. [He
seats himself the other side of the table. ]

 
PASSING OF THE THIRD FLOOR BACK 139

THE STRANGER

[With a gentle movement he pushes them back
across the table.) You are—is it not so %—a
Jew ?

SAMUELS

[He starts back as though struck. With snarling
anger] Vell, what if I am? You can’t help
what you wath born. Ath a matter of fact, I
ain’t a Jew—not now. And if I wath, what
differenth would that make ?

THE STRANGER
Your word would be sufficient.
[SAMUELS stares. ]

THE STRANGER
The word of a Jew.

|

SAMUELS
What makth you thay that ?

THE STRANGER
So many of the noblest men I have known,
men I have loved, [a far-away thought is in his
140 PASSING OF THE THIRD FLOOR BACK

eyes] have been Jews. It is a great race—a race
rich in honourable names.

SAMUELS

[He is hard at work thinking.] Yet to hear the
way they talk and thneer, you’d think there
wath thomething dithgrathful in even having been
born a Jew.

THE STRANGER
The Jew shall teach them their mistake.

SAMUELS

[He glances up—fidgets in his chair.] Of courthe,
I don’t thay that thome among uth mayn’t be a
bit tricky.

THE STRANGER
There are to be found everywhere those not
ashamed to bring dishonour on their people.

SAMUELS

[He rises.] Jutht exthactly what I thay.
Thereth good and bad everywhere. We’re no
worthe than anybody elthe. We can hold our
own—I don’t thay ath we can’t. If it’th a game
of who’th going to betht whom—very well, we’re
PASSING OF THE THIRD FLOOR BACK 141

in it. Ifa thentleman cometh to uth, treath uth
ath a thentleman——

THE STRANGER

He will find that the Jew can also be a gentle-
man. [A moment—he touches lightly the papers.]
You were going to be so kind——

SAMUELS

[He stares at the STRANGER, then at his wonderful
papers, then again at THE STRANGER.] Yeth, I did
What do you think about it—yourthelf-?

 

THE STRANGER
That your offer is most generous—that I accept
it, with all thanks.

SAMUELS

[He is still staring at THR STRANGER.] Don’t you
think—you’ll forgive my thaying it, but you
don’t thtrike me exthactly ath a buthineth man
—don’t you think it would be better to leave it
over for a day or two ?—conthult a friend ?

THE STRANGER
What friend better than yourself ?
142 PASSING OF THE THIRD FLOOR BACK

SAMUELS

[Slowly he draws back the ‘papers.] Got
mythelf to think of. Wath forgetting that.
You thee, if you wath to take my word and any-
thing by any chanthe wath to go wrong, J thould
feel— [Laughs, then gravely] well, I thould feel ath
though I’d been thelling the whole Jewith rathe for
a couple of hundred poundth or tho. ’Tain’t worth
it. [He moves towards the door—turns.] Thorry.
Thomething elthe, perhapth—thome other time.

[He goes out, closing the door.]

[THE STRANGER remains standing by the table.
The folding doors open. sTasta enters. A yet further
improvement has taken place in her. She has been
“ titivating ”’ herself. She wears LARKCOM’s gaudy
green glass earrings. ]

STASIA

[She crosses behind the table. Her eyes are
drawn towards THE STRANGER.] Only looked in to
see if the fire was all right. Nothing I can do for
you, before I go to bed ?

THE STRANGER
You are gaily adorned.
PASSING OF THE THIRD FLOOR BACK 148

STASIA

[Puzzled at first, then understanding.| What,
these ? [with a movement of her hands to the
great earrings]. They ain’t mine—not exactly—
not yet. Just put them on to see ‘ow they suited
me.

THE STRANGER
They are not good enough for you.

STASIA

Of course they are not real. I know that. But
they’re rather effective, don’t you think? [She
looks up at him with her serious, childish eyes.]

THE STRANGER
They do not become you. They are not pure.

STASIA
What can I expect? You see, I’m only a

slavey.

THE STRANGER
Your people—who are they ?

STASIA
My people! Do you mean relations—father,
mother, all that sort o’ thing ?
144 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
Who are they ?

STASIA

[Shakes her head.] I dunno. My mother died
in the ’orspital, so they’ve always told me. Never
*eard anything about my father.

THE STRANGER
[He lays his hand upon her shoulder.] He was
a friend of mine.

STASIA
[Her great eyes open wide.] My father !—a friend

of: [Her voice dies away in the wonder.]

 

THE STRANGER
A dear friend.

STASIA
Then—then was he a gentleman ?

THE STRANGER
[He remains silent a moment before speaking.] A
great gentleman.

STASIA
[The marvel growing.] Then am I—a lidy ?
PASSING OF THE THIRD FLOOR BACK 145

THE STRANGER
His daughter. And so like him. [He puts his

hands upon her shoulders, smiling at her.] His
kind, brave eyes

 

STASIA

[She is looking up at him, smiling.]

THE STRANGER

His ever-ready smile—his voice!

STASIA

[As in a dream.] And he was—a gentleman ?

THE STRANGER

A gallant gentleman. [He turns away a mo-
ment.| May his sins be forgot!

STASIA

And I—— [Then from her dream she wakes.]
You’re making gime of me. [he tears are in her
voice.| “Ow can I be any one? I was born in a
workhouse.

THE STRANGER,

[Again a moment’s silence.] A King, once, was

born in a stable.
10
146 PASSING OF THE THIRD FLOOR BACK

STASIA
Yus. Sort o’ King like I’m a lidy—that nobody
knows. ‘

THE STRANGER

They learnt it later.

STASIA

[She looks wp—meets his eyes.] You’re talking
sense: you mean a real King—with a crown.

THE STRANGER

Yes ; He woreacrown. So, you see, Stasia, the
place doesn’t matter. There must be poor kings
the world, for a time, does not know. So there
must likewise be poor gentlewomen, daughters of
poor gentlemen.

STASIA

[She looks at him and the doubts fall away.] Yes,
he must have been a gentleman if he was your
friend. [She smiles, and her hands creep out
timidly towards him.] Would you mind—for his
sake, like? I’ve often thought I’d like to have
a friend.
 

1 didn’t know.”

147]

p.
PASSING OF THE THIRD FLOOR BACK 147

THE STRANGER
{He stands waiting. His arms are open.]

STASIA

[She comes towards him, smiling. Then sud-
denly she stops, and a frightened, hunted look comes
into her eyes.| No. I beg your pardon; I was
forgetting. I’m a bad ’un.

THE STRANGER
[But he still stands, waiting, his arms open.]

STASIA
[She shakes her head.] You don’t understand.

I’m a bad ’un.
THE STRANGER
Did I ask you ?

STASIA
You mean it don’t matter? You can
[Step by step she has reached him.]

 

THE STRANGER
[He puts his arms about her.}

STASIA
[She.looks up into his face, her childish eyes filled
with love.| I didn’t know.
i48 PASSING OF THE THIRD FLOOR BACK
THE STRANGER

[He, bending over her, kisses her; then gently
puts her from him.] Good-night.

STASIA

[She takes from her ears the earrings. Throws
them one after the other into the fire. They fall
with a faint crash.] Good-night. [Looking back,
smiling, she goes out.]

[The dim gas-jets give but a faint, cold light.
THE STRANGER sits in the large chair that is near
to the table. The fire-glow shines upon his face.]

[After a while the door opens, and VIVIAN
enters, closing it behind her. She has changed back
into the plain black dress she wore in the afternoon.
Her hair, drawn back from her white face, she has
allowed to fall loose. She moves slowly across the
room, looking at THE STRANGER without speaking.
She kneels the other side of the fire, her arm over the
arm of the chair, staring into the fire. After a while
she turns her face and looks at him.]

VIVIAN
Who are you? Why do you follow me? I
see you in the streets; you look at me out of
PASSING OF THE THIRD FLOOR BACK 149

crowds. Why have you come here? What is it
that you want with me ?

THE STRANGER
To plead with you—will you listen ?—for one
who loves you.

VIVIAN

You are his friend. It is he who has brought
you here—to plead for him. Poor boy! [Then
hardening again.] Well, what have you to say ?
What proposals do you bring from him? What
does my lover offer me ?

THE STRANGER
Poverty—struggle ; hopes—fears; pain—joy;
love—life.

[A silence.]

VIVIAN |

[With her bitter laugh.] So he has told you I
am that—that sort of a woman? MHadn’t you
better find out the truth about me before you
waste your words? Look at me [she draws
nearer] with those eyes that seem to read one
150 PASSING OF THE THIRD FLOOR BACK

through and through. Is it not written plainly
enough, the thing I am ?

THE STRANGER
[He looks into her eyes.| A woman fair and
sweet, made for honour, for worship.

VIVIAN
[With a low cry.] Ah, perhaps! But what has
she made of herself ? What else do you read ?

THE STRANGER

It is not written.

VIVIAN

[She springs up, with a mocking laugh.] But it
soon will be. Shall I tell you the lover of my
choice ? The man who can give me all my soul’s
desire—money and the things that money can
buy. You think me a woman. I am only a
luxury-loving animal. He will give me Shame
to live with me. But after a little while I shall
get used to her. She will be clad in fine clothes,
and I shall think her Honour. Go back to him.
Tell him my choice is made. I have had a better
offer. I marry Shame.
PASSING OF THE THIRD FLOOR BACK 151

THE STRANGER
You will not wed with Shame. You shall not.

VIVIAN
[She turns.] “Shall not”? Who will stay
me ?

THE STRANGER

[He rises.] Your Better Self.

[A silence.]
There are they whose Better Self lies slain—
slain by their own hand to trouble them no more.
But yours, child, you have let grow too strong.
It will ever be your master. You must obey.
Flee from it, it will ever follow you. You cannot
escape it. Insult it, and it will chastise you with
burning thoughts, with stinging self-reproach,
with repentance that comes too late. It is your
master. You must obey. [The sternness dies,
the gentleness returns. He lays his hand upon her.]
You will marry your lover. With him you will
walk the way of sunlight and of shadow.

VIVIAN
Who are you? I know your voice. I hear it
in the wind. I hear it in the silence of the night.
152 PASSING OF THE THIRD FLOOR BACK

Who—— [She ts standing, her face illumined by the
firelight, looking at him. His facets not seen.
There comes a strange awe into her eyes—into her
voice. With a cry] You are—— [There is a move-
ment as though she were about to kneel.]

[THE STRANGER stretches out his hands and stays
her.]

[The stage has grown dark. There is a long,
strange silence. ]

THE STRANGER
A fellow-lodger. Good-night.

[She stands still gazing at him with that strange
look of awe, her face illumined by the fire. THE
STRANGER’S face ts not seen.]

THE CURTAIN FALLS
CHARACTERS IN THE EPILOGUE

An Old Bachelor

Two Lovers

A Husband and Wife
A Jew

An Entertaining Party
A Maiden Lady

A Rich Aunt

An Important Person
The Lady of the House
A Friend

153
EPILOGUE

SCENE

The same, and yet not the same. The tables and
chairs are as before—the worn carpet, the three-
branched gaselier. But the room from a dingy
boarding-house parlour has become a pleasant,
homelike place. A little furniture polish, a little
soap and water, has accomplished wonders.
Some one with a sense of art has redraped the
windows, changed some of the pictures on the
walls, hunted out some bright ‘ Sheffield plate”
for the sideboard, redecorated the gaselier, sup-
plied spring flowers in old china vases. Not so
much money as loving care has been spent. Good
taste, among other things, would seem to have
entered into the house since last we saw tt.

[It is again a foggy Friday afternoon, and again
MRS. SHARPE Sits at the desk, making out her bills—
a pale, thin lady who during the interval has grown
a good many years younger. The lines of fret and

155
156 PASSING OF THE THIRD FLOOR BACK

anger have disappeared—a gentle, somewhat shy
lady with a habit of smiling to herself. She is
dressed in a quiet, dark frock with lace shawl. It,
maybe, ts a litile old-fashioned, but it suits her.
The widow’s cap is of another patiern—and colour.
Her spectacles lie on the desk near to her hand.
STASIA enters, carrying a tray laden with tea-things,
which she proceeds to spread over a dainty tea-
cloth. The china and the. silver make a bright
picture very different to the untidy jumble of the
first Act. stasta is a neatly clad, fragile-looking
little person, her dark hair in soft folds each side of
the somewhat pallid face with its large, wistful,
childish eyes. A slight fit of coughing seizes her
after she has laid down the tray. She waits a while
to recover her breath. MRS. SHARPE, turning her
head, looks at her. stTasta smiles.]

MRS. SHARPE

[Turning again to her work.] You don’t get
rid of that cough of yours.

STASIA

It’s only these fogs. I'll be all right’ when the
sun comes.
PASSING OF THE THIRD FLOOR BACK 187
MRS. SHARPE

Shall pack you off to the seaside for a month
if you don’t get rid of it soon.

STASIA

[Looks up from her laying of the table.] Pack
meoff! Fora mon ! [Laughs contemptuously. |
A nice muddle Id find everything in when I got
back.

 

MRS. SHARPE

[Laughs.] Don’t you be so conceited—thinking
nobody can get on without you. How many
candles have you had for Mr. Wright this week ?

STASIA
Six.

MRS. SHARPE
[Looks up.] Six? I thought it was four.

STASIA

Let me see. There’s the pair on the mantel-
piece. Then one—no, you're right. “Twas only
four.

MRS. SHARPE
I thought I only recollected four. [Writes.]
158 PASSING OF THE THIRD FLOOR BACK

STASIA

I was counting in the two left over from last
week. [From the sideboard drawer she has taken
the afternoon apron and cap. The former she has
put on, the cap she is now fixing.| Haven’t got a
pin, have you ?

MRS. SHARPE

[Examining the pin-cushion of her chatelaine.]
I don’t think—yes, I have, just one.

[sTasta has come over and kneels down. MRS.
SHARPE is “ fixing” the cap.]
You needn’t wear it, if you’d rather not. It’s
only a custom.

STASIA

Oh, I think it gives tone to the house. I don’t
see anything to be ashamed of in it. I rather
think it suits me.

MRS. SHARPE

[Looks at her. Then, smiling, pats her cheek.
[The girl rises.| Why didn’t Miss Kite come
down to lunch ?

STASIA
Said she wasn’t feeling hungry.
PASSING OF THE THIRD FLOOR BACK 159

MRS. SHARPE
Not ill, is she ?

STASIA
She’s fretting herself.

MRS. SHARPE
[After a pause.] I am sorry for her. She’d

be really a nice-looking woman if it wasn’t

for

 

STASIA
Would you mind my talking to her ?

MRS. SHARPE
You!

STASIA

You see, if anybody else was to say anything
to her it might hurt her. I’m only a little servant-
girl that she needn’t even listen to, if she
don’t want to.

MRS. SHARPE
You think it could be of any use ?

STASIA
She only wants a little courage put into her.
160 PASSING OF THE THIRD FLOOR BACK
MRS. SHARPE
Very well—try.

STASIA

T’ll make the tea, and then
[The door opens. Enter JaPE SAMUELS. The

 

otliness, the aggressiveness, have disappeared. The
cunning has gone out of the face; it is seen to be
rather a handsome face with its chiselled nose, its
high forehead. The moustache has been shaved off,
the thick hair brushed back.]

SAMUELS

Good afternoon! [To stasta] How’th the
cough? [His lisp remains, but somehow it is no
longer objectionable. ]

STASIA

[Indignant.] What cough ? Everybody talking
about me as if I was some bedridden old woman,
past her work. Haven’t got a cough !

[She goes out, pulling the door sharply. The
gong is heard a little later.]
MRS. SHARPE

I’ve been threatening to send her off to the sea-
PASSING OF THE THIRD FLOOR BACK 161

side. It has made us a bit short-tempered.
[Laughs.] You are home early.

SAMUELS

Friday is always a short day in the City—for
us Jews. [MRS. SHARPE looks at him.] Is that
my bill? [He is by desk. Takes up one of the
bills.]

MRS. SHARPE
[Glances at it.] Yes.

SAMUELS
You’ve made a mistake.

MRS. SHARPE
Have I ?

SAMUELS
Chop on Wednesday you haven’t charged me
for. [Gives it her back.]

MRS. SHARPE

I had forgotten. [Leaning over the desk, she
adds the item.] Will you be leaving us ?

SAMUELS
Why should I ?
ll
162 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE
Well, you’ve referred once or twice of late to
the fact of your being a Jew. I have been fear-

 

ing
SAMUELS

It isn’t what he eats and how it’s cooked that
makes the Jew. It wasn’t the manna, it was
the Ten Commandments that led us out of bondage
—welded us into a people. [His voice has taken
a fine ring; a fine look in his eyes.) Will the
“salon”? be well attended this afternoon ?
[Smiling.] It ts the third Friday, is it not ?

MRS. SHARPE
[Laughs.] Yes. Yes, I think everybody will
be here.

SAMUELS
It was a delightful idea.

MRS. SHARPE

It is foolish of me, perhaps. But it brings back
old times. [With another nervous little laugh] I
like to imagine—if only once a month—that you
are all my guests.
PASSING OF THE THIRD FLOOR BACK 163

SAMUELS

Your guests always. [He takes from her hand
the receipted bill.) We pay you—little enough—
for the accommodation of a boarding-house. [He
slips the coins into her hand.] Your thoughtful-
ness, your kindness, have given to us a home.
Your bill still leaves us in your debt. [She gives
him a grateful smile.]

[Opening the door, he finds vivian on_ the
point of entering. He draws back, holding the door
open for her. She enters, passing him with a smile
and bow. They exchange a “Good afternoon.”
VIVIAN carries a bouquet of early hyacinths.]

VIVIAN
You are running away from us ?

SAMUELS
To return more worthy of my company. [Smiles.
He goes out.]

VIVIAN
I am the first ?

MRS. SHARPE
And therefore the most welcome. [Kisses her.]
How is your mamma ?
164 PASSING OF THE THIRD FLOOR BACK

VIVIAN

She’s got a slight headache. She’ll be down in
afew minutes. [She is near the sideboard.] Shall
I put these in water ?

MRS. SHARPE

They are my favourite flowers.

VIVIAN

[She fixes the flowers in a bowl with water, and
brings them to the table.] I heard you say so on
Sunday. She worries herself about papa. The
more cheerful he is, the more she persists in re-
garding it as a cloak concealing an aching heart.
[Laughs.] As a matter of fact, he is doing re-
markably well, and is naturally pleased with
himself.

MRS. SHARPE

I suppose she dislikes the idea of his having
become a commercial traveller. I can under-
stand it.

VIVIAN

Ican’t. I’ve just been having it out with her
 

“They are my favourite flowers.’

P 164)
 
PASSING OF THE THIRD FLOOR BACK 165

Why shouldn’t a gentleman do useful work for
which he has special qualifications ?

[The door opens, the MAJOR puts in his head.]

MRS. SHARPE
[Laughing.]| We are talking about you.

MAJOR
(Entering, hat and canein hand.] Tam honoured.

VIVIAN
I was saying how fitted you were to be a com-
mercial traveller.

[MaJOR winces.]

VIVIAN

[She goes up to him.] You are not the poor
fellow that gets shown the door. [She is touching
up his hair.| Nobody dares to be impertinent to
so fine a gentleman.

MAJOR
[Laughing, well pleased.} Well, yes. I sup-
pose manner and bearing [draws himself up]

do——
166 PASSING OF THE THIRD FLOOR BACK

VIVIAN

Why, it’s taken even me quite a long time.
[Kisses him.]

MAJOR
[He takes her hand in his.] My dear, if—

[Enter stasia with tea and a plate of muffins,
which she places.] -

MAJOR

[Seeing her, breaks off and turns to MRS. SHARPE.]
It was, to tell you the truth, Mrs. Sharpe, about
that little bill transaction of ours that I looked in.

MRS. SHARPE
Oh, don’t let that worry you.

MAJOR

I have instructed my bankers to take it up—
on Tuesday.

MRS. SHARPE

It is very kind of you. You are sure—~—

MAJOR

The kindness, dear lady, has been yours—
throughout. [He goes out.]
PASSING OF THE THIRD FLOOR BACK 167

[Outside he meets MRS. DE HOOLEY. They are
unseen, but their conversation is heard—or rather
partly heard.]

MAJOR
Ah, good afternoon! And how do we find our-
selves this afternoon 2?

MRS. DE HOOLEY
Oh, just so-so. Your lumbago, I trust, Major,
is better.

MAJOR
I thank you—a little.

MRS. DE HOOLEY
So glad.

[The MasoR goes his way upstairs. MBS. DE
HOOLEY enters the room.]

MRS. SHARPE
[Greeting her.] How are you, dear ?

MRS. DE HOOLEY
How are you, dear ?
[They kiss.]
What do you think of it? [She stands and turns
168 PASSING OF THE THIRD FLOOR BACK

for them to inspect her new dress. It is a simple
dress of poor material, but it has points.]

MRS. SHARPE
[After a pause.] I think she’s going to be clever.

MRS. DE HOOLEY

It’s absolutely her first attempt, you must
remember. [Zo vivian] How do you like it,
dear ?

VIVIAN
[Joining them.] Is that the frock your sister
has been making for you ?

MRS. DE HOOLEY
Yes. Of course, she’s got a lot to learn.

VIVIAN
I like the way she’s cut the skirt.

MRS. SHARPE
If she can cut a skirt well, that’s everything.

STASIA
[Unnoticed, has approached.] I like that little
how on the shoulder.
‘Japjnoys ay uo Mog 2391] ey) ay! |

 
PASSING OF THE THIRD FLOOR BACK 169

MRS. DE HOOLEY
Do you know, I think it does help.

STASIA
Looks so saucy.

MRS. SHARPE
[Playfully pushes her towards door.] Here, you

take yourself off. And don’t forget those muffins.
[STASIA goes out.]

MRS. SHARPE
I should say she would do well.

MRS. DE HOOLEY

I’ve taken a place for her in Judd Street. It’s
a bigger rent than I intended, but then, it’s so
handy for the "buses.

MRS. SHARPE

She must be very grateful to you, I’m sure,
dear.

MRS. DE HOOLEY

Well, you see, dear, there’s the children. Four
of them, and really——

[There enters JOHY WRIGHT with CHRISTOPHER.
170 PASSING OF THE THIRD FLOOR BACK

WRIGHT ts a tubby, kindly-looking little man, with
small twinkling eyes. So much of his appearance
as a man himself may be deemed responsible for
has been altered for the better. CHRISTOPHER is
the same, except that hope and enthusiasm have
taken hold of the boy. They enter talking and
laughing. The women break up. MRS. SHARPE
goes to the tea-table. MRS. DE HOOLEY and VIVIAN
remain talking. ]

MRS. SHARPE

[As she turns away from them.] We shall all
do what we can, dear. [She crosses and greets
the two new-comers.] How is the picture getting
on ?
CHRISTOPHER

We were just discussing a point.

WRIGHT

What do you think he wants to do? Paint
me as a friar.

CHRISTOPHER

Don’t you think it would be a good idea ?
[faking Mrs. SHARPE’S lace shawl from her shoulders,
PASSING OF THE THIRD FLOOR BACK 171

he drapes it as a cowl round wricut’s head.] ‘A
Friar of Orders Grey.”
MRS. SHARPE

[Zaughs.] You are quite right. He does make
an excellent monk.
CHRISTOPHER

[He replaces the shawl round MRS. SHARPE’S
shoulders. She is pouring out tea.] We will try
it to-morrow. I'll have the dress ready. [To
MRS. SHARPE] Can I help ?

MRS. SHARPE
[She hands him two cups of tea.] Yes. You
can say something pleasant to Mrs. de Hooley

about her frock.
CHRISTOPHER

What an extraordinary——

MRS. SHARPE

I didn’t ask you to criticise it. I asked you
to say something pleasant about it. I'll tell you
why afterwards.

[CHRISTOPHER laughs. He crosses with the cups.]
172 PASSING OF THE THIRD FLOOR BACK

[MRS. DE HOOLEY and VIVIAN are near the piano,
MRS. DE HOOLEY sitting, VIVIAN standing. CHRIS-
TOPHER joins them, and they talk together. Occasion-
ally a few words are heard, for instance :

VIVIAN
What do you know about it? [With a laugh.}
[CHRISTOPHER having been expressing views
concerning MRS. DE HOOLEY’S dress.]
MRS. DE HOOLEY
But, my dear, an artist——

WRIGHT

I want you to do me a favour. As soon as
he’s finished with me, I want you to let him
paint you!

MRS. SHARPE
I should like it immensely, but I’m afraid I
can’t afford——

WRIGHT

Don’t be silly. You don’t think I mean you
to pay for it. We'll have it over the mantelpiece
in the dining-room. I’m tired of looking at
myself in a mirror that makes me out twice as
broad as I’m long.
PASSING OF THE THIRD FLOOR BACK 173

MRS. SHARPE

[Understands, and she smiles at him.] What a
good fellow you are! [She has risen to greet her
new guest. |

[LaRKcoM has entered, a cheery young biade,
dressed in a grey frock suit, clean-shaven, his hair
somewhat long and “ artistically’ arranged.]
How did the concert go off ?

LARKCOM

[He has developed @ theatrical manner, which
rather suits him. He is fond of the centre of the
stage and of gestures.] The greatest success I have
ever achieved.

CHRISTOPHER
A good house ?

LARKCOM

[He shrugs his shoulders.| The house—might
have been better. But the enthusiasm !—the
enthusiasm! That new song of mine! [ could
have been singing it now.

[Between the others an amused smile passes.]
174 PASSING OF THE THIRD FLOOR BACK

MRS. SHARPE

[Who, having shaken hands with LaRKCOM, has
returned to her duties.] You will be glad of a cup
of tea.

[SAMUELS has entered—in changed dress.]

SAMUELS
Well, how did it go off ?

LARKCOM

My boy——

[MRS. SHARPE hands him his cup of tea.]
LARKCOM

Thank you. There was one man, in the second
row

 

SAMUELS

Only one!

[The oTHERS laugh. LaRKcom, putting down
his cup, seizes a knife. sapn, laughing, places
himself the other side of the table.]

MRS. SHARPE
[She holds out to LaRKcom the empty hot-water
jug-] Hand that down the stairs to Stasia, will
PASSING OF THE THIRD FLOOR BACK 175

you? for some more hot water. I don’t want to
give her the trouble of coming up twice.

LARKCOM
[Taking the jug.] You think one jug will be
sufficient among so many ?

MRS. SHARPE
[Laughs.] Don’t you be impertinent.

[LARKCOM goes out.]

MRS. SHARPE

I’m ashamed to say I’ve never heard him—
except, of course, here of an evening. I never
seem to get the time. [She is replenishing cups
which CHRISTOPHER has brought over.]

WRIGHT
Oh! he’s good.

SAMUELS

Not as clever as he thinks himself. [With a
laugh] I suppose one could say that of all of us.
But he’s worth hearing.

MRS. SHARPE
I must really try.
176 PASSING OF THE THIRD FLOOR BACK

[The MAasoR and MRS. TOMPKINS have entered.
MRS. SHARPE rises and greets them. |
Sorry to hear, dear, that you’ve got a headache.

MRS, TOMPKINS

Oh! it’s all right now. I think it must be his
coming home that has taken it away. [With a
laugh] They say one trouble will always drive out
another. [She gives a little squeeze to his hand.]

MAJOR

[He fetches and places a chair for her.] You
bear witness, Mrs. Sharpe, I am compared to 9
headache.

MRS." SHARPE
[Who has reseated herself ; she laughs.| You are
very badly treated.

[The mason, making himself generally useful,
hands some bread and butter to MRS. SHARPE, the
muffins to his wife. Later he joins vivian and
CHRISTOPHER, and laughs and talks with them.
LARKCOM has re-entered with jug of hot water.]

LARKCOM
[He brings it over to MRS. SHARPE.] Couldn’t
PASSING OF THE THIRD FLOOR BACK 177

find Stasia. I took it the hot water was the
essential thing.

MRS. SHARPE
Thank you very much.

[MRS. DE HOOLEY has joined the group at the
tea-table.]

MRS. TOMPKINS
Is that the sister’s frock ?

MRS. DE HOOLEY
Yes. I thought——

MRS. TOMPKINS

I want you to give me her address, dear. I'll
tell you what I’ve been thinking——

[They sink their voices.]

MRS. SHARPE

[Handing a cup to saPE.] Sorry to have kept
you waiting.
SAMUELS

[He takes it with a “ Thank you.” He has been
talking to LARKCOM. |

[grasia has appeared at door.]
12
178 PASSING OF THE THIRD FLOOR BACK

STASIA
May I speak to you ?

MRS, SHARPE
{She hands a cup of tea to MRS. TOMPKINS,
and then joins svasia by the door, where they

whisper.]

WRIGHT

I say, Samuels, what’s become of that silver-
mine of yours—in Ireland ?

SAMUELS
Do you still want to be in it ?

WRIGHT
Well, is it any good ?

SAMUELS
As a silver mine—— [snaps his fingers]. As a
dairy-farm—might be a good sound investment.

WRIGHT
A dairy-farm ?

SAMUELS
Take a run over with me on Monday, see what
you think of it.
PASSING OF THE THIRD FLOOR BACK 179

WRIGHT
Thanks, I will.

SAMUELS
With a good manager—everything up-to-
date——

MRS. SHARPE
[Coming down.] If you please—everybody.
[ALL turn towards her.]

Miss Kite—— [To stasia.] Just keep a look

out——

{stasta stands with the open door in her
hand.]

MRS. SHARPE

Miss Kite is on her way downstairs. [Her air
and tone of mystery claim attention.] The question
is, how are we going to receive her ?

MRS. TOMPKINS
Why—what ?

MRS. SHARPE
It will not be the Miss Kite we have hitherto
known. It will be a new Miss Kite. According
180 PASSING OF THE THIRD FLOOR BACK

to Stasia, a pale-faced, middle-aged lady, with
brown hair—a little thin on the top.

[A movement and a silence.]

MAJOR
[Striking the table with his hand.] Speaking for
myself, I shall like her better.

MRS. TOMPKINS
[Laughs.] I think we all shall.

MRS. SHARPE

She’ll be terribly nervous, poor lady! We
must make it as easy as we can for her.
MRS. TOMPKINS

Well, I shall congratulate her on her good sense.

MRS. DE HOOLEY

I think, with perfect truth, we shall be able to
tell her it is an improvement.

LARKCOM

Take my advice, you'll say nothing.

MRS. TOMPKINS

But surely she’ll expect us——
PASSING OF THE THIRD FLOOR BACK 181

MRS. SHARPE

Do you know, I’m inclined to agree with Harry.
I know I should myself. I should rather nobody
took any notice.

CHRISTOPHER
I think that’s right.

MRS. TOMPKINS
Well, if you all think so.

SAMUELS

That’s the right idea. She’s a sensible woman.
She’ll understand.

STASIA
I think I heard her door.

MRS. SHARPE

Go out through the dining-room.

[STASIA goes out through the folding doors.]
Then that’s settled. [She slips back to her place.)

MAJOR
That’s right.

SAMUELS
[Turning to wRicHt.] She'll be more grateful
182 PASSING OF THE THIRD FLOOR BACK

to us for silence than for anything we could
say.

WRIGHT
We can just be nice and pleasant to her. Let
her fee] that——

[There enters MISS KITE, a quietly dressed, middle-
aged, pale-faced lady, but good-looking. Her thin
brown hair tinged with grey is parted in the middle
and neatly arranged each side of her face. Mrs.
SHARPE is busy with the tea. MRS. TOMPKINS and
MRS. DE HOOLEY are talking dress. WRIGHT and
SAMUELS are discussing the farm. LARKCOM, by
desk, is talking to vivian. The MAJOR and CHRIS-
TOPHER have hastily plunged into Art.]

MAJOR
[Whose voice ts always easily heard above that

of the others.| What I say about Velasquez is

this—— [He stops as MISS KITE enters.]

MRS. SHARPE
[Rising, she goes to MisS KITE. Kisses her.]
So glad you have come, dear.
PASSING OF THE THIRD FLOOR BACK 183

MRS. DE HOOLEY
[She is standing close by.] We should have
missed you so much.

MRS. TOMPKINS
[From her chair.] We always look to you for
our conversation.

MISS KITE

[The poor lady ts in an agony of nervousness.
Her voice is uncertain.] Thank you. I’m afraid
my conversation this afternoon—— [She is on
the point of breaking down.)

MAJOR
[Placing a chair for her.] Won’t you be seated ?

MISS KITE
[It ts in a central position. She hesitates, looking
about her, frightened.] Thank you. I——

LARKCOM

[He notices her desire to keep her face turned
away as much as possible from every one. With
rapid explanatory pantomime to the MAsJOR—who,
grasping the idea, smiles and nods—he places instead
one of the easy-chairs in front of the fire, where she
184 PASSING OF THE THIRD FLOOR BACK

can sit apart.| Wouldn’t you rather be nearer the
fire ?

MISS KITE
[She gives him a quick, grateful glante.] Thank

you. I don’t know whether it is my fancy, but

it does seem to me to be a bit chilly this afternoon,

[She sits.]

WRIGHT
[He brings over and places a footstool.] We good
people have got to take care of ourselves.

[MIss KITE turns to him with a smile.]

CHRISTOPHER
[He has brought over tea on a tray with the et
ceteras.| Cream or milk ?

MISS KITE

It’s so kind of you. [Helping herself with
trembling hand, she spills the milk.] I’m so sorry.
I seem so clumsy.

CHRISTOPHER

[He wipes her dress with his handkerchief.] I
don’t think it will mark. Luckily it was only the
milk.
PASSING OF THE THIRD FLOOR BACK 185

SAMUELS

[He brings her a plate of small cakes.] Take my
advice, try one of these. [He returns to his talk
with WRIGHT. |

[stasta has entered with fresh muffins. VIVIAN
brings one over to Miss Kite. She places tt on
the right arm of the chair, and stooping, whispers: |

VIVIAN
You are looking so nice.

MISS KITE
[She looks up at the girl. She cannot speak.
She draws her nearer and kisses her.]

[VIVIAN returns the kiss, then slips away.]

MISS KITE
You are all of you so kind, I—— [The tears
begin to come. She takes out her handkerchief.]

[They have appeared to notice nothing. A
sympathetic smile has now and then, perhaps,
passed—a whisper of instruction or advice. The
idea has been to put her at her ease, as far as the
difficulty will permit. They talk as before among
186 PASSING OF THE THIRD FLOOR BACK

themselves, laughing, moving here and there.
CHRISTOPHER has joined VIVIAN again. SAMUELS
and WRIGHT are talking. The MasJoR has joined
them. MRS. SHARPE is in her place at tea-table.
MRS. DE HOOLEY, MRS. TOMPKINS, and LARKCOM
form a group near her. stTasta is on her way
out.]

SAMUELS
[Raising his hand.] Listen !

[From the foggy street, faint at first, growing
fuller, rises the voice of a singer. The words are
in strange tongue, but the sweet voice fills the
little room with its music. STASIA pauses.
MISS KITE dries her eyes. The listening faces
lighten.]

MRS. SHARPE
[After a silence, to CHRISTOPHER] Open the
window. [To the women] Do you mind? De you
mind, Miss Kite ?
[They answer “ No,” “I should like it,” “Please,
do.” CHRISTOPHER goes to the lower window,
opens tt. The sownd of the voice comes clearer.]
PASSING OF THE THIRD FLOOR BACK 187

MRS. SHARPE
Who is it ?
CHRISTOPHER

[At the window.] There is no one.

MRS. SHARPE
No one ?

CHRISTOPHER
I can see no one.

MAJOR
Must be in some other street.

[The song dies away. CHRISTOPHER closes the
window. ]

MRS. SHARPE
It sounded to me like a child’s voice.

CHRISTOPHER
I thought it a woman’s.

VIVIAN
Hark! I hear it again.

MRS. SHARPE
It is further off.
188 PASSING OF THE THIRD FLOOR BACK

SAMUELS
Some beggar, I suppose. Poor fellow!

[They listen. They have turned towards the
window. ]

[The door opens. THE STRANGER stands there as
in the Prologue, with hat and staff in hand.]

[None at first see him, except stasta. He makes
a sign to her; she remains silent. The voice dies
away. He puis aside his hat and staff.]

MRS. SHARPE
[She turns and sees him.] Ah! [She goes to
him, smiling.] You come at the end of the feast.

THE STRANGER
[Smiling.] It is when friends feel kindest
towards one another.

MRS. SHARPE
[She laughs.] I was beginning to be afraid——
[She pauses. ]

THE STRANGER

Afraid ?

[The others return to their talk. MISS KITE
alone remains seated.]
tegr td

1/3882} 242 JO pUa ay 1B awWOD NO)

 

 

 

 

 
PASSING OF THE THIRD FLOOR BACK 189

MRS. SHARPE

 

T never feel quite sure how long [Laughs.]
You know you told me, when you came, you

were but a Wanderer.

THE STRANGER

[Smiling.] But then I was a Stranger—and
now a Friend.

MRS. SHARPE
Yes. But we lose our friends.

STRANGER
Ah no. They are with us always. [She looks
at him.]

SAMUELS :

[He comes to them—holds out his hand to mrs.
SHARPE.] I have some letters to write before
the country post goes out. [He shakes hands
with her, then turns to THE STRANGER.] You do
not happen to be looking for a sound investment ?
[Laughs.] If so—I’m turning my silver - mine
into a dairy-farm.

THE STRANGER
You think that the more profitable ?
190 PASSING OF THE THIRD FLOOR BACK

SAMUELS
The more profitable. Though maybe [with a
smile] I’d have made more pounds, shillings, and
pence out of it, but for you, sir. This fellow,
Mrs. Sharpe, [They are near the table, MRS. SHARPE
has returned to her duties] has a trick of leading
a poor devil into extravagant tastes—love of
one’s good name, desire for the honour of one’s
people. Such things cost dear, in the City.

THE STRANGER

It is the mission of the Jew—to teach the Law.
You remember the words: ‘Ye shall be unto
Me a kingdom of priests, an holy nation.” A
great inheritance, though, as you say, sir, may
be somewhat costly to maintain.

[MRS. SHARPE has poured out a cup. STASIA
brings it to THE STRANGER together with a plate
of cakes or small biscuits. He takes it with a smile
of thanks—eats and drinks. sTaSta waits, watch-

ing.]
SAMUELS

[After a@ moment.] You have always taken it
‘for granted, sir, in all our conversations that I
PASSING OF THE THIRD FLOOR BACK 191

was a fine fellow, in. sympathy with fine ideals.
But that is not what surprises me: it is to find
—that you are right. [Smiling.]

THE STRANGER

[He has taken but a bite and sip—has handed
the cup back to stasta.] Yes. And this is what
we will tell to the young men—that the fear
that keeps men little is the fear of being great.

SAMUELS
[He looks at him.] Yes. We will tell it to the
young men. Good-bye.

THE STRANGER
[Taking his outstretched hand.] Good-bye.

[SAMUELS goes out. ]

[MRS. DE HOOLEY ts talking toLARKCOM. WRIGHT
i3 with VIVIAN and CHRISTOPHER by piano, MISS
KITE in her chair by the fire, MRS. SHARPE at head
of table. She is piling wp the tea-things on tray.]

MAJOR
We also, Mrs. Sharpe, must be going. [Checking
her reply.] Mrs. Tompkins is of opinion that a
192 PASSING OF THE THIRD FLOOR BACK

little dinner—[He turns to his wife; they smile
ai one another|—at the restaurant, followed by
the theatre would be a fitting complement to a
delightful afternoon.

[Leaving his wife to say a few words to MRS.
SHARPE, he comes to THE STRANGER. |
I have Mrs. Tompkins’s commands, sir, to ask
you to join us.

THE STRANGER

[He negatives the suggestion.] You know the
old proverb.

MAJOR

“Two are company, three are none.” Ah,
yes. But with you, sir, somehow, it seems differ-
ent. We cannot help feeling that it was you,
sir, who—without knowing it—brought us together
again. [THE STRANGER listens. The MAJOR
glances round, sinks his voice.} Mrs. Tompkins
and myself, before you came, had not—had not
been getting on as well together as—as perhaps we
led you to believe. [He glances at THE STRANGER,
but the grave, quiet face is unreadable.] My fault,
sir—my fault.
PASSING OF THE THIRD FLOOR BACK 193

THE STRANGER
[Smiling.] It is always “our ”’ fault.

MAJOR

[He laughs. With a glance again towards his
wife.] Children, sir—that’s all they are, just
children. [Confidentially.] Maybe sometimes a
little trying. A gentleman should always remem-
ber to be gentle with them.

THE STRANGER

[He lays his hand upon the MasoR’s arm.] Re-
membering all our promises to them, even to
the foolish ones, for our own Honour’s sake.

[The mason looks at him; he is smiling. There
is @ moment's pause. MRS. TOMPKINS joins them.]

MRS. TOMPKINS

It has just occurred to me, John. [She gives
his neck-tie a little twist of rearrangement.] May
not Vivian think it unkind, our going out and
leaving her ?

MAJOR
[He glances across at the growp at the piano.)

Do you know, I really don’t think ——
13
194 PASSING OF THE THIRD FLOOR BACK

MRS. TOMPKINS
[Smiles.] Perhaps not. But she may be hurt
at our not asking her.

MAJOR
We will find out how the land lies. [He joins
the group at the piano.]

MRS. TOMPKINS
You are coming with us ?

THE STRANGER
[Again he puts aside the invitation. Smiling]
You shall be content with one admirer.

MRS. TOMPKINS

You confess yourself that ? [Then more serious-
ly.| Thank you. It is of so much help to a
woman to have an admirer—[she looks up at him
with a smile|}—one who thinks well of her, who
expects from her—her best.

THE STRANGER
You see, I have known you—so long.

MRS. TOMPKINS
Not all the time, I’m glad to think. We women
PASSING OF THE THIRD FLOOR BACK 195

forget it is our privilege to be the “ Better Half ’?
—the more forbearing. You men are such good
creatures—[laughs]}—if only we remember you
are nothing more than just big boys.

THE STRANGER
Ah, yes. The whole round world—what is it ?
But Woman’s child, claiming from her tenderness.

MAJOR

[Returning.] It is all right. Quite a coinci-
dence. Young Christopher was only waiting to
ask our consent to his taking Vivian out to dinner
this evening.

MRS. TOMPKINS
And you gave it ?
MAJOR

It seemed to just fit in.

MRS. TOMPKINS
[Half acquiescing, half despairing.| I suppose
you know he hasn’t a penny.

MAJOR
My dear! He has a cheque for fifteen pounds.
196 PASSING OF THE THIRD FLOOR BACK

He showed it me. Has sold two pictures in
one month !

MRS. TOMPKINS

[She laughs and shrugs her shoulders.] Well!
[Turning to THE STRANGER] So you will not
come ?

THE STRANGER
You shall place an empty chair for me—between
you.

MAJOR
My dear, we will. He shall be our guest, if
not in body then in spirit. Good-bye, sir.

THE STRANGER

Good-bye. A pleasant evening.

[The mason goes a little way towards the door.
MRS. TOMPKINS does not immediately follow. He
stands waiting.|

MRS. TOMPKINS

[Her eyes om THE STRANGER.] It is odd. I
remember you so well——-_ But never the time—
the vlace. It is as if we had met—in dreams.
PASSING OF THE THIRD FLOOR BACK 197

THE STRANGER
And so much of life is dream. It is a good
meeting-place.

[She joins the Mason. He opens the door for
her. She turns with one last look to THE STRANGER,
then passes out. The Magor follows her, closes
the door.]

[LARKCOM, leaving MRS. DE HOOLEY with MRS.
SHARPE, comes to THE STRANGER. |

LARKCOM
[Smiling.] Got a bone to pick with you, sir.
You have never been to see my show.

THE STRANGER

You are sure ?

LARKCOM
You—you mean you have paid ?

THE STRANGER
You think it was not worth it? [Smiling.]

LARKCOM
[Shakes his head.] I didn’t want you to do
198 PASSING OF THE THIRD FLOOR BACK

that, sir. The whole thing was your idea. I have
always looked upon you, sir, as my partner.

THE STRANGER

I shall always regard it as a title of honour.
[His hand is on the boy’s shoulder. He looks at
him.)

LARKCOM

[Taking out his book and pen, and writing.]
Any time, sir, any place—you just come in—
take your seat. [He gives THE STRANGER his card,
repockets his book and pen.] I don’t think, sir,
you will find anything i in it to make you ashamed
of the connection. ‘‘ Fun without Vulgarity ”
that’s my motto.

THE STRANGER
It could not be better.

LARKCOM
[Holding out his hand.] And thank you again
for having revealed to me that I was an artist !

THE STRANGER
[Taking his hand, smiling.| And Philanthropist?
PASSING OF THE THIRD FLOOR BACK 199

LARKCOM

Well, if taking pleasure in giving pleasure,
irrespective of how much is in the house, is philan-
thropy—[smiling]—yes, sir.
THE STRANGER

Ah!

[MRS. SHARPE is about to carry out the piled-up
tray.]
LARKCOM

Shall I take it down ?

MRS. SHARPE
Well, it is——

LARKCOM

[He takes it and, crossing with it, pushes open
with his foot one of the folding doors. Then turns.]
Don’t forget—at any time—in any place.

THE STRANGER
[Smiling.] Thank you—Partner.

{[LARKCOM goes out.]

[MRS. SHARPE is busying herself putting all
things in order.] 7
200 PASSING OF THE THIRD FLOOR BACK

[THE STRANGER has remained standing near the
fire. MRS. DE HOOLEY comes to him.]

MRS. DE HOOLEY
I wonder, do you take any interest in women’s
frocks ?

THE STRANGER

[Smiling.] Why not? Women are of so much
importance, and a woman’s frock of so much
importance—to a woman.

MRS. DE HOOLEY
[Laughs.] Tell me, what do you think of it ?
My sister—she thought she would like to be a
dressmaker.
(MRS. SHARPE, busy with her affairs, goes out,
leaving the door partly open.]
This is her first production.

THE STRANGER
TI think it a beautiful frock.

MRS. DE HOOLEY
You like it ?

THE STRANGER
It becomes you.
PASSING OF THE THIRD FLOOR BACK 201

MRS. DE HOOLEY

I shall be so glad if she succeeds—for the chil-
dren’s sake. I quite look upon them as my own.
[Then in another voice] We women are poor
things without children.

THE STRANGER
And there are always children.

MRS. DE HOOLEY

[She nods.] Rather fortunate, is it not ?—
for lonely old women. [She goes on quickly]
To tell the truth, I was getting a bit tired of being
the poor relation. It is pleasant finding oneself
for a change—[she looks up at him, smiling}—the
rich aunt.

THE STRANGER
Ah! you have learnt it: that all the best fun
in life is—Giving.
[Laughter comes to them from the group by the
piano.]
MRS. DE HOOLEY

Yes. It is good fun. You will come and see
them one day—will you not ?—my children.
202 PASSING OF THE THIRD FLUOR BACK

THE STRANGER
One day. I promise.

MRS. DE HOOLEY

[Pausing on her way; she turns again.] Re-
member.

THE STRANGER

One day. I promise.
[She goes out.]
[THE STRANGER furns. MISS KITE has risen.]

MISS KITE

You see, I have grown vain.

THE STRANGER

You have excuse.

MISS KITE
You still think me beautiful ?

THE STRANGER
I think you beautiful.

MISS KITE

[She comes to him.] I understand. All men
 

“You still think me beautiful 2 ’’

Pp. 202]
PASSING OF THE THIRD FLOOR BACK 203

and women are fair. Only so many of us disguise
ourselves in all manner of ugly colours.
THE STRANGER

All men and women are fair. And some are
fairer than others. And they shall be the kinder,
having the more to make them kind.
MISS KITE

[Smiling.] To which do I belong ?

THE STRANGER

[He also is smiling.] Your glass shall tell you.

MISS KITE
[Laughs.] You are determined I shall be vain.

THE STRANGER
Of your rightful place among fair women.

MISS KITE

[She looks at him.] It is curious. Your voice
conjures up to me always the same picture: of
an elfish child, with her chin upon her knees,
asking questions of the fire. [Thinking, she
shakes her head.] I see only the little rounded
back, like a note of interrogation.
204 PASSING OF THE THIRD FLOOR BACK

THE STRANGER
The little wistful face was very fair.

[She gives him her hand. Then, in silence, she
goes towards the door; turns, smiling, then goes

out.]

[wRicHt and the LOVERS, talking, have drawn
nearer. WRIGHT comes forward. |

WRIGHT
You have not been up to see my portrait.

THE STRANGER
[Turns.] It is finished ?

WRIGHT
All but the drapery. Should rather like you
to see it.

CHRISTOPHER
[Laughs.] The fact is, sir, we are quarrelling

about the price. We thought that, perhaps,

you might be able to decide between us. .

WRIGHT
I want to pay him what it’s worth to me.
That’s business.
PASSING OF THE THIRD FLOOR BACK 205

CHRISTOPHER

He wants to pay me—well, [laughs] I won’t
say more than it’s worth—but more than I would
get from any one else. I can’t accept, can I?
It would be——

THE STRANGER
A gift. And no man may accept a gift with
honour—save from a friend.

[A silence.]

CHRISTOPHER

It isn’t that, sir. He is a friend—[he puts his
arm shyly round the old man’s shoulders|—a dear
friend. That’s why I can’t bear the thought of
imposing upon him.

WRIGHT
Who’s imposing ? I know what I’m about. I’m
not a picture-dealer. I’m an Art Patron [with his
trick of pointing to himself.]| Always thought I’d like
to be an Art Patron. I’m going to brag about it,
later on, that it was I who discovered you.

CHRISTOPHER
[Laughs.] I seem to be in an awkward position.
206 PASSING OF THE THIRD FLOOR BACK

THE STRANGER

You have a partner. And in business, when
one is in an awkward position—[smiling] you
see, I know all about it—one leaves it to the
partner. She shall decide. [He turns to her.]
Whether it shall be price, such as stranger pays
to stranger—or gift, that we may take with
honour only from the hands of those we love.

VIVIAN

[She comes forward, gives to the old fellow both
her hands.] Yes. Let it be gift. [She draws
nearer to him, smiling into his eyes, kisses him.]

WRIGHT

[The old fellow is taken aback. The tears come
into his eyes. He turns away. After a moment,
from over his shoulder, he speaks to THE STRANGER. ]
Should like you to see it—one day—when you’ve
got the time. Clever bit of work. [He sinks
his voice—jerks his thumb in the direction of
CHRISTOPHER.] Wonderful sense of colour—quite
wonderful. [He passes out.]

[A silence.]
PASSING OF THE THIRD FLOOR BACK 207

CHRISTOPHER
[He looks toward the open door through which old

WRIGHT has passed.] How is one to know people ?

I used to think him such a bad man. [Laughs.]

THE STRANGER
[Smiling.] “The business of Art is to reveal

the beauty underlying all things.”

CHRISTOPHER

{To vivian] They were his words—my Master,
who first taught me. [He turns to THE STRANGER]
How I wish he were still here among us! How
you would have liked one another!

THE STRANGER
You have given up—“‘ trying to forget him ” ?

CHRISTOPHER

I am trying to remember him, sir, how much
he expected of me. [He puts his arm round
VIVIAN, draws her towards him.] We are going
to do good work—whether it pays, or whether
it doesn’t. We have discussed it all thoroughly,
so that we shall not be taken by surprise like—
like other people are. We are going to be prepared
for everything—even for poverty.
208 PASSING OF THE THIRD FLOOR BACK

THE STRANGER

Ah! that is the secret. Love! she is a woman.
And all men can she love—save one; with all
men may she dwell—save one: with all men
save the coward. It is not poverty; it is the
fear of poverty that drives out Love.

[A moment.]

CHRISTOPHER

[He holds out his hand.] Good-bye, sir. I am
glad you came into this house. I cannot tell you
all you have done for me. It would not sound
much—in words. I wish there was something
we could do for you, in return.

THE STRANGER

You would? [He is between them. He lays a
hand on each.] It will seem so easy. But there
will come days when the memory of a promise
made to a friend may help. You shall give me,
as a gift, this promise: that through all things
to the end you love one another.

[The fog is thickening. The light struggling
through the twin windows is faint and yellow.
They move towards the doors. A white hyacinth,
PASSING OF THE THIRD FLOOR BACK 209

fallen from the bowl wpon the table, lies upon the
floor. vivian, stooping, picks it up, holds it pressed
between her folded hands. One feels that often in
the years to come she will take it from its secret
place ; that, gazing at tt, she will see again the fading
room, THE STRANGER standing with bent shoulders.]

[They turn their eyes again to THE STRANGER |
his face is towards them. They pass out, smiling,
through the open door. MRS. SHARPE has entered
through the folding doors. She stands watching.
They pass out without seeing her. THE STRANGER
turns. She comes towards him.]

MRS. SHARPE

You are going away from us: something tells
me. Ah no! do not answer me: do not let me
know. It is only for a little while. You will
be returning—very soon. Your room will be
ready for you—always.

THE STRANGER
[He, smiling, holds out his hand.] As friends,
at eventide, we will merely say Good-night.

MRS. SHARPE

[Smiling, she takes his hand.] Good-night.
14
210 PASSING OF THE THIRD FLOOR BACK

[She turns. Upon the shining mahogany table stands
only the bowl of hyacinths. A few drops of water are
spilled. With her handkerchief she wipes them away.
At the folding doors she turns again, smiling.]
Good-night. [She passes out, closing the doors.]

[THE STRANGER stands silent. After a while
the door opens again. sTasta enters.]

STASIA
[She goes to the sideboard, opens it, takes out
the tablecloth.] Still keeps foggy, don’t it ?

THE STRANGER
[Her eyes are bent upon her work. He stands
before her.] I see blue skies and sunshine.

STASIA

[She looks up. He is looking into her eyes,
smiling.} You mean me? [She laughs] Yes,
it doesn’t matter, does it? [She lets fall her work;
flings her arms about him.] Oh, it was such a
muddle before you came—life! everything! I
couldn’t make head or tail of it.

THE STRANGER
There are so many cannot make head or tail of it.
PASSING OF THE THIRD FLOOR BACK 211

STASIA

[Still with her arms about him.] And all the
while it is beautiful. [The clock on the unseen
mantelpiece strikes the half-hour—two strokes. She
unclasps her arms.] Time does fly, doesn’t it ?
[She goes to take up the cloth again.]

THE STRANGER

[He stays her.] There is something I want
you to do for me. Come to the door with me.
Leave-takings are but wasted sadness. Let me
pass out quietly. Close it softly behind me.
STASIA

[A dumb pain is taking hold of her.] You must
go?
THE STRANGER

I also am a servant. I have my work.
STASIA

[She conquers herself—drives back her tears
behind smiles. She puts out her hands to him.]
It was so kind of you—to come.
THE STRANGER

[He takes her in his arms.] I came because
you wanted me.
212 PASSING OF THE THIRD FLOOR BACK

[She goes to the door with him, opens it. He
does not turn his face again. She stands with the
door in her hand till beyond the misty square he
passes from her sight. Then very softly she closes
the door.]

[She comes back slowly into the quiet room, goes
to the table, smooths out the folded cloth, takes it
up in her hands. She has left the room door open.
Through the fanlight steals the sunshine. It lies,
a beam of light, across the room. Turning, she
sees it. She goes to tt. Her arms stretched out
each side of her, she raises her face so that the sun-
light, bathing her face, kisses her parted lips. So
she stands a while, her face framed in the light.
Then she takes up again the folded cloth, goes with
tt through the folding doors. And the face that passes
out is the face of one to whom Love itself has spoken.)

[The stage remains empty. The bowl of hyacinths
upon the shining mahogany table. The shaft of
sunlight falling on the worn carpet.]

THE CURTAIN FALLS

 

Printed by Hazell, Watson & Viney, Ld., London and Aylesbury.
[ziz -d
‘puey Jay Ul Joop aya yim spueis ays

= Sa

 
  

 

 

 
 

 
PATERNOSTER HOUSE
PATERNOSTER ROW
Lonpon, E.C., February, 1910.

NEW BOOKS

TO BE PUBLISHED BY

HURST @ BLACKETT, Ltd.

IN THE

SPRING of 1910.

The Moon of the
Fourteenth Night

By EUSTACHE DE LOREY
and DOUGLAS SLADEN

Jomt Authors of ‘‘ Queer things about Persia.”

In demy 8v0, cloth gilt and gilt top, with 32 full page illustrations 16s. net.

This book is practically the autobiography of a French Diplomat
in Persia, giving not only the politics, diplomacy and descriptions
of European life and society in Teheran which belonged to his public
life, but also throwing much light on the customs, religion and laws
of Persia. The book, which is treated in a vivid picturesque way,
reminds one of Pierre Loti in his “‘ Madame Chrysanthéeme.”’ Indeed,
it may be described as a Persian ‘‘ Madame Chrysanthéme’’ in
the vividness of its writing and its picturesque methods, but the
gap which usually exists in Pierre Loti’s writings has in this case
been filled by working into the narrative an account of the events
which culminated in the recent dethronement of one Shah, and
the creation of another. This book gives a graphic account of the
story of the Revolution. No one is better qualified to write such
a book than M. de Lorey, for he has been in the French Legation
at Teheran for several years, and the book gives the diplomatic
atmosphere of Teheran in a manner that has never before been

attempted. mt Hy
The Fair Quakeress

Hannah Lightfoot and Her Relations with George the Third.

By MARY L. PENDERED
Author of ‘‘Three Comely Maids,” etc.

Demy 8v0, cloth gilt, 168. net.

With a photogravure frontispiece and 16 other illustrations.

This is an attempt to penetrate a mystery that has
aroused curiosity and speculation for the past one hundred and
fifty years, and to deal fully with a subject which has so far
received only more or less superficial treatment. Miss
Pendered has been fortunate in accidentally obtaining certain
first-hand knowledge of the ‘‘ Fair Quakeress ’’ about whose
name and fame legend has been so persistently industrious.
She has, moreover, critically weighed and sifted the evidence
for and against the claim made for Hannah Lightfoot, that
also she was legally married to George IV., and should have
been Queen of England. The book is well illustrated with
portraits, including that of the Fair Quakeress herself, from the
picture at Knowle Park (by kind permission of Lord Sack-
ville), and those of the two most amazing adventuresses known
to history—Elizabeth Chudleigh and Olive Wilmot Serres—
both of whom were strangely interested in the fortunes of
Hannah Lightfoot.

For Naturalists and Sportsmen

The Mammals of
Somaliland

By R. E. DRAKE-BROCKMAN, F.z.S., F.R.G.S.

(Colonial Service)

In one volume, demy 8vo (9t X 63), with 18 full-page illustrations
in collotype, 128. Gd. xne?.

“ Although there are several works dealing with the mammals of Somaliland from
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illustrated and handsomely-printed volume is therefore deserving of a hearty welcome,
more especially since the author appears to have made himeelf in the main a thorough
master of the subject.”—Country Life.

2
A most readable and enjoyable book by a popular writer

Queer Things
about Egypt

By DOUGLAS SLADEN

Author of “ Egypt and the English,” “ Queer Things about Japan,”
“ Queer Things about Persia,” ete.

Ln one large vol., demy 8vo, cloth gilt, 21S. net.

With a large number of beautiful illustrations, printed on art paper.

“ Queer Things about Egypt ’’ proceeds upon the same lines as the Author’s very
successful book, “‘ Queer Things about Japan.” A large part of it deals with the
humours of Egypt and the Egyptians, chiefly modern, but to the extraordinary
fascinations of Egypt, with its medieval glories and ancient monuments, Mr. Sladen
gives special attention. He takes the spectacular and romantic side, which the general
public can understand, and avoids difficult ancient Hgyptian names and the ancient
Egyptian mythology. The simplicities and curiosities of native life, and the delights
and experiences of the Englishman travelling in Egypt are fully described.

Mr. Sladen spent his entire day in the open air, notebook and camera in hand,
and a large part of the book is a distillation of the humours he observed as he stoed
and watched in the bazaars of Cairo or the ruins of Karnak—~as he rode in the desert
or along the banks of the Nile; as he halted in Arab villages or Arab markets; as
he stayed in hotels in town and country; as he shopped in the native streets and
bazaars.

The volume will have as beautiful illustrations as those contained in ‘‘ Egypt and
the Hnglish,” a book to which the Hgyptian Press is still devoting many columns,
months after its publication.

“ Queer Things about Egypt ’’ is the book which Mr. Sladen really went to Egypt
to write, and for which he filled his notebooks. The country and the people have lent
themselves to his humorous observation, and the result is certainly the best book of
the kind the Author has written, successful as they have been.

Recently published
BY THE SAME AUTHOR

Egypt and
the English

In super royal 8vo0, cloth gilt top, illustrated by 40 half-tone
reproductions from photographs, 2S. ner.

“Mr. Douglas Sladen has written a brilliant book on Egypt. Mr. Sladen knows
as well as any man how to write a readable book, and this volume touches on almost
every aspect of Egyptian life and travel always with spirit and originality and some-
times with real genius.”—Daily Chronicle. Ho
UNDER THE AUTHORITY OF THE WAR OFFICE.

In four volumes, small 4to. Price 178. Gd. net per
vol. to Subscribers for the entire set, and one
guinea net per volume to Non-Subscribers.

The History of the War
in South Africa

COMPILED FROM OFFICIAL SOURCES
By Major-General Sir JOHN FREDERICK MAURICE, K.C.B.

Author of ‘‘History of Ashanti Campaign, ” ‘‘Official History of 1882 Campaign,”
“ Balance of Military Power in Europe,” &c., &c.

Volumes I, II and III, with portfolios of maps, now ready.
The fourth and concluding volume is now in the press, and will be ready shortly.
Maps for the several volumes sold separately, price 5. each set net.

For full particulars, with notes on the contents of the various volumes,
see separate circulars.

By the most successful writer of Rhodesian novels

Jill's Rhodesian Philosophy

or The Dam Farm

By GERTRUDE PAGE
Author of ‘‘ Love in the Wilderness,” ‘‘ The Sileut Rancher,” ‘‘ The Edge o’ Beyond.”
In crown 8v0, cloth gilt, with the Authors portrait, 2@. 6d. net.
A most interesting and humorous description of life on a
Rhodesian farm. Light, entertaining, and full of incident, it

nevertheless tells much that is instructive. The author knows
of what she writes, for she has lived the life for years.

4
In answer to eager applications from all parts of the World
Messrs. Hurst & Blackett Ltd. have determined to issue immediately
a New Seven-and-Sixpenny Edition with all the pictures and plans
eontained in the Guinea Edition of

The Secrets of the Vatican,
The Palace of the Popes
By DOUGLAS SLADEN

Author of “ The Tragedy of ihe Pyramids,” “‘ Queer Things about Japan,” etc.

In demy octavo, 78. 6d. net, with about 60 half-tone reproductions
Srom photographs and a plan ; 150,000 words—a marvellous
Seven-and-Sixpence worth.

The book is an account of the things not generally ace to those who speak
only English, about the Pope, his Oardinals, his Officials and his Guards in the Vatican.

The volume gives the only description in English of the Vatican considered, not
merely as a collection of museums, but as the palace of the Pope, and the seat of the
Papal Government. Much interest will be taken in the curious and picturesque details
arising out of the deaths and elections of Popes and the creation of Cardinals, and in
the account of the Papal system and the Vatican hierarchy.

The illustrations are taken from photographs of parts of the Vatican not usuaily
shown to visitors, reproductions of prints of Old St. Peter’s and the treasures of the
Orypt, and various plans of the Vatican and the Crypt to explain the gradual growth
of the palace and Cathedrals of the Popes from the date of St. Peter’s Martyrdom—
A.D. 67—to our own day.

‘* A volume that cannot be neglected by anyone who wants to know what the Papal
Court and Papal Palace really are in the twentieth century.”—Standard.

“ A handsome and adequate volume abounding with interesting information about a
subject which is never stale.” —Field.

“A book for every traveller.” Westminster Gazette.

“It is a book which every Catholic should possess.”’—Catholic Times.

“The most complete guide to the Vatican in English.” —Jilustrated London News.

“ Douglas Sladen has a mind of poetical mould, he has an essential reverence, the

artiality of the his Jorian, a true appreciation of artistic beauty, industry for research,
a ty for taking a compreh2nsive view of men and things, a rare versatility of taste
and an admirable enthusiasm for his theme.’”—Freeman’s Journal (the leading Irish
Catholic paper).

“No better account of the working of the most interesting government in Europe
has ever been written in English—likely to remain of permanent and possibly indispen-
sable use.”—Daily Telegraph.

“ The reviewer feels that he is powerless to do justice to the veritable ‘ embarrass-
ment of riches’ which its contents offer.”—Pall Mall Gazette.

“* A treasure-house for every visitor to Rome.”—Globe.

“Not only visitors to Rome, but students of history will find much to interest and
instruct.”— British Weekly.

“ We welcome his book as a timely corrective to much current prejudice.”"— Tablet

5
Standard Books on the Horse

By Capt. M. HORACE HAYES, F.R.C.V.S.

 

Points of the Horse.
A Treatise on the Conformation, Movements, Breeds and Evolution
of the Horse, with 658 illustrations. Third edition, revised and
oan and 279 illustrations added. Super royal 8vo, gilt top,
4, j=
Friedberger and Frohner’s Veterinary Pathology

With notes on Bacteriology by Prof. R. TANNER HEWLETT, M.D.,
D.P.H. 2 -vols., demy 8vo, 21/< net.

Veterinary Notes for Horse Owners.

An illustrated manual of Horse Medicine and Surgery, written in
simple language, with 270 illustrations. Revised throughout,
considerably enlarged, and 124 new and original photographs added.
Large crown 8vo, buckram, 15/« net.

Stable Management and Exercise

A book for Horse-Owners and Students. Illustrated by numerous
reproductions of photographs taken specially for this work. In I
vol. demy 8vo, 12/= net.

Illustrated Horsebreaking
Third Edition, revised and enlarged. Demy 8vo, 12/= net.

Among Horses in Russia
With 53 illustrations taken chiefly by the author. In 1 vol. crown
8vo, 10/6 net.

Prjevalsky’s Horse
Translated and edited by Prof. Cossar Ewart. Large crown
8vo, 5/=

Among Horses in South Africa

In one vol. crown 8vo, 5/=

Horses on Board Ship

A Guide to their Management. In 1 vol. crown 8vo, numerous
illustrations from photographs taken by the author during two
voyages.to S. Africa, 3/6 net.

6
Ready Immediately.

A New Revised and Enlarged Edition of Captain M. HORACE HAYES’
important and authoritative work.

Riding and Hunting

By the Author of ‘‘ Stable Management,” ‘‘ Points of the Horse,” etc.

In one volume, demy 8vo. cloth, 168. net, with between 200 and 300 reproduc-
tions of Photographs and Drawings, including new illustrations.

Of the first edition of ‘‘ Riding and Hunting’ three impressions were required to
meet the demand which has steadily continued since the work was first published.
It has been found to supply a want, and a thoroughly revised edition brought up-to-
date is sure of a good welcome. Mr. Hedworth T. Barclay, so well known in hunting
circles as one of the finest horsemen in Leicestershire, has kindly undertaken the
work of revision, and his additions will prove of the greatest value. An interesting
feature of the new edition will be a chapter on Military Riding by Major W. H. King,
Riding Master of the Royal Horse Guards, who has dealt in a very thorough and clear
manner with the subject on which he is so eminently competent to speak with authority.
It includes a description of the requirements of the army horse, his breeding and general
training, the training of recruits, the military seat, officer's riding and riding in the
ranks. There will be a number of new photographic illustrations, which have been
taken specially for the new edition.

Just Ready. By the same Author
NEW EDITION REVISED AND ENLARGED

Stable Management and Exercise
A BOOK FOR HORSE OWNERS AND STUDENTS
By Captain M. H. HAYES, F.R.C.V.S.

Illustrated by numerous Reproductions of Photographs taken specially for this
work, In one volume, demy 8v0. Price 12s. net,

“The work of an exceptionally competent authority, who thoroughly understands
his subject, and is able to make the results of his practical knowledge clear to readers.”
—Badminton Magazine.

In the Press.
A NEW AND REVISED EDITION, ENLARGED.

The Horsewoman

A PRACTICAL GUIDE TO SIDE-SADDLE RIDING.
By MRS. HAYES
Edited by Captain M, H. HAYES.

In one volume, demy 8vo, cloth gilt, 128. net, with numerous illustrations
from Photographs.

A great part of this book has been re-written and brought up to date. There will be
several new illustrations from photographs, and two entirely new chapters have been
added. ‘The Horsewoman” is the only book in English or any other language in
which the writer has illustrated her text in a thoroughly practical manner, by riding
without a skirt in order to show, by means of instantaneous photographs, the seat and
grip and length of stirrup in the various paces of the horse.

7
Trailing and Camping
in Alaska

By ADDISON M. POWELL
With 30 full page Illustrations on Art Paper from Photographs
In large crown 8v0, cloth gilt, 7s. Gd. net.

A record of the author’s ten years of trail-making and exploring
in the Copper River District of Alaska, 4 country which up. to
the present has received comparatively little attention, and is one
of the greatest copper regions of the world. This region is, more-
over, where the white tourist may stand amidst the largest group
of high mountains in the world—where flowers bloom beside the
most wonderful glaciers ever seen by man; where he may look
upward at the perpendicular precipice of Mount Sanford’s southern
face, a mile straight above, where eagles flying in front of their
nests resemble sparrows; he may watch the spiral smoke and
steam of Unaletta’s volcano; or gaze at the rainbow-coloured
waterfalls that descend, apparently, from the heavens.

A Vicarious Vagabond

By DENIS CRANE
Author of ‘' The Life Story of Sir Robert W. Perks,” etc.
With Illustrations
In crown 8vo, cloth gilt, 3s. 6d. net.

The remarkable experiences of one who voluntarily descended
into London’s underworld, eating the bread and sharing the pillow
of Society’s ‘‘ off-scourings.” Assuming the role of a match-
seller, a station tout, an out-and-out cadger and a peripatetic news-
vendor, the author made valuable investigations into the life and
opinions, the morality and amusements, of the London outcast.
His experiences in remote slums, shelters for homeless men, and a
typical Casual Ward, throw a new and sensational light on modern
methods of poor relief and other kindred questions of the day.
The book will be of absorbing interest to the general reader, but
to the student of humanity and those interested in social questions
will make a special appeal. ali oe
 

| NEW Gs. NOVELS

Each in crown 8vo, cloth gilt.

 

 

 

 

The O'Flynn

BY JUSTIN HUNTLY McCARTHY

Author of “The Gorgeous Borgia,” ‘“‘ The God of Love,” etc.

Mr. Justin Huntly McCarthy’s new novel, ‘‘ The O’Flynn,”
is a tale of love and war, with a somewhat novel environment
as far as recent fiction is concerned. The scene is laid in
Ireland in the year 1689, the year when. the Boyne battle
gave so disastrous a blow to the hopes of James the Second
and his adherents. The time was a brilliant one. Irish
soldiers of fortune with delightful names did splendid deeds
against desperate odds, and fair Jacobite ladies moved
graciously through the glitter of a transient court at Dublin.
Flynn O’Flynn is one of these soldiers of fortune who returns
from the foreign wars to an impoverished estate and a ruined
dwelling known to the countryside as Castle Famine. His
love for the beautiful Lady Benedetta Mountmichael is the
main theme of the story, and for her sake the O’Flynn does
many gallant actions and renders rare service to the un-
happy king whose cause is hotly championed by the heroine.
Adventure succeeds adventure, incident follows incident, till
in the end, though the Stuart cause is lost in the waters of
Boyne river, the O’Flynn, fantastically exalted from ruin to
opulence, wins the heart and the hand of the woman he had
so loyally served and so fondly worshipped. The fact that
“ The O’Flynn ” is now being performed by Sir H. Beerbohm
Tree with great success should largely add to the popularity
of this book.
TWO REMARKABLE NOVELS.

Each in crown 8vo, cloth gilt, 6%.

 

Sixth Edition.

The Tragedy of the
Pyramids

By DOUGLAS SLADEN
Author of “A Japanese Marriage,” “The Admiral,” “My Son Richard,” ete.
With a frontispiece in colours by Benton Fletcher

“Reaches a high level of excellence.’’—Standard.

“*The Tragedy of the Pyramids’ is an admirable story,
told with nerve and elaborate care. It is quite enjoyable.”
—Daily Chronicle.

“Mr. Sladen has succeeded uncommonly well and given
us a story which is extremely exciting. No one can-;read
‘ The Tragedy of the Pyramids ’ without interest.’,-—Morning
Post.

 

Seventh Large Edition.

Poppy
The Story of a South African Girl

By CYNTHIA STOCKLEY

Author of “ Virginia of the Rhodesians."””

“Cynthia Stockley is a writer of unusual ability. She
has written a remarkable novel.’—Observer. PRESTO RE

“A very remarkable performance. There aref#moments
in reading this book when we have the odd feeling that Miss
Braddon must be collaborating with Miss Olive Schreiner
to produce the result. ‘ Poppy’ is a book to read.”—West-
minster Gazette.

“A clever, entertaining, and vivid story. There is not
a dull page in the book, and though it is. long we are in no wise
tempted to skip a line of it.” —Daily Telegraph.

“ There is no denying the cleverness. The book is clever.
Its author is an artist; she has sought to set before us a
strong personality, strongly influenced for good and bad by
its environments, and she has stopped at nothing to make
her picture live.’—The World.

10
NEW Gs. NOVELS.

 

An exceptionally fine novel by
a new writer.

A Sinner in Israel
By PIERRE COSTELLO:

A powerful and realistic novel of modern Jews, a
phase of life singularly neglected of late by the novelist,
The author writes with intimate knowledge, reverence
and keen appreciation of the great race, and of the problems
fraught with immense interest to modern Jewry.

It is a book which everyone will read, a book which
is bound to create widespread interest, if not, indeed,
sensation.

““A Sinner in Israel’’ is the first published book of
Mr. Pierre Costello, and it places him in the front rank of
forceful dramatic writers. The novel has the virility of a
Zola. It teems with incident, and the characters in the
story are living men and women.

““A Sinner in Israel’’ is in no sense of the word a
religious work, nor does Mr. Pierre Costello hold a brief
for any particular religion. At the same time, it is obvious
that his sympathies are with the Jewish people ; but, like
Mr. Zangwill, he is not blind to their faults. Quite apart
from this particular interest, “A Sinner in Israel” is a
fascinating and intensely thrilling story, which chains the
reader’s interest at the first word. One thing is certain,
every Jew will read it.
NEW Gs. NOVELS.

Now

By CHARLES MARRIOTT
Author of “ The Intruding Angel,” ‘ The Column,”

“Now” is a story of the immediate future. The
narrator, a middle-aged professional man, assumes that the
present social, and particularly the present commercial
epoch, is incapable of further development on its own
lines. It will be ended and mended. However, not by
socialistic or other political methods of reform, but by
the simple process of desertion. Already from every class
of society people are dropping out to stand on one side and
let the stream go by. Under the influence of a Jewish
ex-financier named Morrison, an association has been
formed of “ droppers out’’ as the basis of a new social
order composed of people who have nothing to lose.
Among them is a young vagabond named Conrad Lowe
whom the narrator meets in Cornwall living in a house-
boat. Conrad comes in contact with Julia Kenwyn-Brown,
the daughter, and mentally, though not physically, the
“ugly duckling ” of an extremely enlightened middle-class
business family. The central theme of the story is the
development of Julia and her hesitation between the
influence of the past as exerted by her people, and the call
of the future, and of her sub-conscious nature in the
attraction of Conrad Lowe, who remains carefully passive,
until she has made up her mind. This finally she does in
a hurry, with disconcerting consequences to her family.

12
NOVELS OF RHODESIAN LIFE

GERTRUDE PAGE

In crown 8v0,"cloth gilt, 6S.

The Silent Rancher

“Gertrude Page is becoming the wizard of Rhodesia” says
the Pall Mall Gazette, and it is undoubtedly true that she is fast
making for herself a big name in the literary world for her African
stories.

Love in the Wilderness

“This is the wild prairie land of Rhodesia, with its space,
freshness, freedom and kopjes, the breath of life to one girl and
the poison of another. A bright story with a glow of real life in
it.’—Daily Chronicle.

The Edge O’Beyond

-@&‘‘In this story of Rhodesian life the author has shown im-
partially both the sunshine and the shadows of that Jand of charms
and mystery.’”’—Punch.

Paddy, the Next Best Thing

“‘ All novel readers will love Paddy, who was a wild girl, ‘ the
next best thing’ to being a boy.””—Moyrning Post.

EDNA LYALL’S NOVELS

In new cloth binding, gilt, each in one volume, crown 8v0, SS. 6d.

Donovan: A Modern Englishman We Two
Knight Errant In the Golden Days
Won by Waiting AHardy Norseman
To Right the Wrong In Spite of All

43

 
NEW BOOKS at 1/- net.

In pictorial cover in three colours, crown 8vo,

Mafoota By DOLF WYLLARDE

Author of “As ye have Sown,” ‘The Guardians of Pansy.”

Perhaps the cleverest of all the clever books written by this
author. It is of unusual interest, as its scenes are laid in a country
of which little has been written.

Spies of the Kaiser

By WILLIAM LE QUEUX
Author of ‘‘ The House of the Wicked,” ‘‘The Man from Downing Street.”

This novel has caused a great deal of controversy, owing to
the revelations which it contains.

Already Published.

The Passing of the
Third Floor Back —= 22» tHousano.

By JEROME K. JEROME

 

BY THE LEADING NOVELISTS

HURST & BLACKETT’S
New Library of 2d. Copyright Novels

These volumes are well printed on good paper, and are attractively bound

in cloth gilt, with illustrated wrapper in twe colours; the size is 63 by 42,

and each volume eontains a frontispiece by a well-known artiet, and a
decorative title page, both well printed on art paper.

NEW VOLUMES
The Cuckoo in the Nest
By MRS. OLIPHANT
A March in the Ranks

By JESSIE FOTHERGILL
Author of “The First Violin.”
New Library of 7d. Copyright Novels

ALREADY PUBLISHED,

COLONEL DAVERON ... .«. By Perey White

THE ILLUSTRIOUS 0’ HAGAN .. By dustin Huntly McCarthy
THE STRONGEST OF ALL THINGS... By Madame Albanesi

THE YOUNGEST MISS MOWBRAY... By Mrs. B. M. Croker

THE IDES OF MARCH sie .. By Mrs. Baillie Reynolds
Author of “ Thalassa,” ete.

A YOUNG MAN FROM THE COUNTRY By Madame Albanesi
THE TURNSTILE OF NIGHT... .. By Mrs. C. N. Williamson
HER OWN PEOPLE _... sais .. By Mrs. B. M. Croker

THE BEST VALUE EVER OFFERED

New Gd. Copyright Novels

For I9IO

BY WELL-KNOWN AUTHORS

INCLUDING THE MOST POPULAR OF EDNA LYALL’S NOVELS
NOW FIRST PUBLISHED IN THIS CHEAP FORM

Clearly printed from New Type on Good Paper
and bound in Attractive Covers

By EDNA LYALL
Donovan In the Golden Days
Won by Waiting We Two

M. E. Braddon Sys .. THE CONVICT

Lucas Cleeve .. WOMAN AND MOSES
Tom Gallon ; JIMMY QUIXOTE

J. Middleton Macdonald — THUNDERBOLT

Mrs. Fred Reynolds LOVES MAGIC

Morley Roberts __.. .. THE FLYING CLOUD
Beatrice Whitby ... .. BEQUEATHED

Curtis Yorke se .. A MEMORY INCARNATE

Percy White deg .. THE HOUSE OF INTRIGUE
15
HURST & BLACKETT'S
New Gd. Copyright Novels

(CONTINUED)
ALREADY PUBLISHED.

ALBANESI (Madame)
15 Marian Sax

ALBXANDER (Mrs.)
36 A Crooked Path

ASKEW (Alice & Claude)
42 The Orchard Close
BARR (Robert)
28 A Rock in the Baltic

35 The Triumphs of Eugene Val-
mont

BRADDON (M. B.)
29 Dead Love HasgChains
33 During Her Majesty’s Pleasure
1 The White House
CAMBRIDGE (Ada)
38 A Happy Marriage
CRAIK (Mrs.) ‘
19 John Halifax, Gentleman
21 A Brave Lady
24 A Noble Life
25 A Life for a Life
26 Hannah
CROKER (Mrs. B. M.)
30 The Company’s Servant

FARJEON (B. L.)
44 The Tragedy of Featherstone
GALLON (Tom)
37 Fortunes a-Begging
GORON (M. F.)
2 The World of Crime
GRAND (Sarah)
32 Emotional Moments
HUME (Fergus)
40 The Mother of Emeralds
KERNAHAN (Coulson)
39 The Red Perit
LB QUEUX (William)
4 The House of the Wicked
The Man from Downing Street

 

MACDONALD (Dr. Geo.)
13 Alec Forbes of Howglen
11. David Elginbrod
12 Robert Falconer
14 Sir Gibbie

MATHERS (Helen)
27 Pigskin and Petticoat

OXENHAM (John)

17 God’s Prisoner
PHILLPOTTS (Bden)

7 Folly and Fresh Air
“RITA Fe

31 A Man of No Importance

41 Saba Macdonald

SERGEANT (Adeline)
34 Caspar Brooke’s Daughter
83 Sir Anthony

SOMERSET (Lady Henry)
5 Under the Arch of Life

*“*THE DEVIL'S PEBPSHOW;?
(by the Author, of)|

3 A Time of Terror

‘THE VIEWS OF CHRISTOPHER”
(by the Author of)

76 The Showman}

“‘THE YELLOW ASTER” (by the
Author of)

23 He for God Only
TYNAN (Katherine)
18 A King’s Woman
WATTS-DUNTON (Theodore)
20 Aylwin
WHITBY (Beatrice)
9 The Awakening of Mary Fenwick
10 Mary(Fenwick’s;Daughter
WILLIAMSON (Mrs. C. N.)
22 The Silent Battle
YORKE (Curtis)
8 Bungay of Bandiloo
OU % AGN
 

  

 

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