Chapter 3

ALICE, whimpering, ‘They all have. He has stolen them from me. He has taken up his permanent residence in the nursery.’

COLONEL. ‘Pooh, fiddlededee. I shall probably come round to-night to see you after dinner, Steve, and bring memsahib with me. In the meantime--’

ALICE, whose mind is still misgiving her about Amy, ‘In the meantime I want to have a word with Steve alone, Robert.’

COLONEL. ‘Very good.’ Stealing towards the nursery, ‘Then I shall pop in here again. How is the tea business prospering in London, Steve? Glad you left India?’

STEVE. ‘I don’t have half the salary I had in India, but my health is better. How are rupees?’

COLONEL. ‘Stop it.’ He is making a doll of his handkerchief for the further subjugation of Molly. He sees his happy face in a looking-glass and is ashamed of it. ‘Alice, I wish it was you they loved.’

ALICE, with withering scorn, ‘Oh, go back to your baby.’

As soon as the Colonel has gone she turns anxiously to Steve.

‘Steve, tell me candidly what you think of my girl.’

STEVE. ‘But I have never set eyes on her.’

ALICE. ‘Oh, I was hoping you knew her well. She goes sometimes to the Deans and the Rawlings--all our old Indian friends--’

STEVE. ‘So do I, but we never happened to be there at the same time. They often speak of her though.’

ALICE. ‘What do they say?’

STEVE. ‘They are enthusiastic--an ideal, sweet girl.’

ALICE, relieved, ‘I’m so glad. Now you can go, Steve.’

STEVE. ‘It’s odd to think of the belle of the Punjab as a mother of a big girl.’

ALICE. ‘Don’t; or I shall begin to think it’s absurd myself.’

STEVE. ‘Surely the boy felt the spell.’ She shakes her head. ‘But the boys always did.’

ALICE, wryly, ‘They were older boys.’

STEVE. ‘I believe I was the only one you never flirted with.’

ALICE, smiling, ‘No one could flirt with you, Steve.’

STEVE, pondering, ‘I wonder why.’ The problem has troubled him occasionally for years.

ALICE. ‘I wonder.’

STEVE. ‘I suppose there’s some sort of want in me.’

ALICE. ‘Perhaps that’s it. No, it’s because you were always such a good boy.’

STEVE, wincing, ‘I don’t know. Sometimes when I saw you all flirting I wanted to do it too, but I could never think of how to begin.’ With a sigh, ‘I feel sure there’s something pleasant about it.’

ALICE, ‘You’re a dear, old donkey, Steve, but I’m glad you came, it has made the place seem more like home. All these years I was looking forward to home; and now I feel that perhaps it is the place I have left behind me.’ The joyous gurgling of Molly draws them to the nursery door; and there they are observed by Amy and Ginevra who enter from the hall. The screen is close to the two girls, and they have so often in the last week seen stage figures pop behind screens that, mechanically as it were, they pop behind this one.

STEVE, who little knows that he is now entering on the gay career, ‘Listen to the infant.’

ALICE. ‘Isn’t it horrid of Robert to get on with her so well. Steve, say Robert’s a brute.’

STEVE, as he bids her good afternoon, ‘Of course he is; a selfish beast.’

ALICE. ‘There’s another kiss to you for saying so.’ The doomed woman presents her cheek again.

STEVE. ‘And you’ll come to me after dinner to-night, Alice? Here, I’ll leave my card, I’m not half a mile from this street.’

ALICE. ‘I mayn’t be able to get away. It will depend on whether my silly husband wants to stay with his wretch of a baby. I’ll see you to the door. Steve, you’re _much_ nicer than Robert.’

With these dreadful words she and the libertine go. Amy and Ginevra emerge white to the lips; or, at least, they feel as white as that.

AMY, clinging to the screen for support, ‘He kissed her.’

GINEVRA, sternly, ‘He called her Alice.’

AMY. ‘She is going to his house to-night. An assignation.’

GINEVRA. ‘They will be chambers, Amy--they are always chambers. And after dinner, he said--so he’s stingy, too. Here is his card: “Mr. Stephen Rollo.’”

AMY. ‘I have heard of him. They said he was a nice man.’

GINEVRA. ‘The address is Kensington West. That’s the new name for West Kensington.’

AMY. ‘My poor father. It would kill him.’

GINEVRA, the master mind, ‘He must never know.’

AMY. ‘Ginevra, what’s to be done?’

GINEVRA. ‘Thank heaven, we know exactly what to do. It rests with you to save her.’

AMY, trembling, ‘You mean I must go--to his chambers?’

GINEVRA, firmly, ‘At any cost.’

AMY. ‘Evening dress?’

GINEVRA. ‘It is always evening dress. And don’t be afraid of his Man, dear; they always have a Man.’

AMY. ‘Oh, Ginevra.’

GINEVRA. ‘First try fascination. You remember how they fling back their cloak--like this, dear. If that fails, threaten him. You must get back the letters. There are always letters.’

AMY. ‘If father should suspect and follow? They usually do.’

GINEVRA. ‘Then you must sacrifice yourself for her. Does my dearest falter?’

AMY, pressing Ginevra’s hand, ‘I will do my duty. Oh, Ginevra, what things there will be to put in my diary to-night.’

II

Night has fallen, and Amy is probably now in her bedroom, fully arrayed for her dreadful mission. She says good-bye to her diary--perhaps for aye. She steals from the house--to a very different scene, which (if one were sufficiently daring) would represent a Man’s Chambers at Midnight. There is no really valid excuse for shirking this scene, which is so popular that every theatre has it stowed away in readiness; it is capable of ‘setting’ itself should the stage-hands forget to do so.

It should be a handsome, sombre room in oak and dark red, with sinister easy chairs and couches, great curtains discreetly drawn, a door to enter by, a door to hide by, a carelessly strewn table on which to write a letter reluctantly to dictation, another table exquisitely decorated for supper for two, champagne in an ice-bucket, many rows of books which on close examination will prove to be painted wood (the stage Lotharios not being really reading men). The lamps shed a diffused light, and one of them is slightly odd in construction, because it is for knocking over presently in order to let the lady escape unobserved. Through this room moves occasionally the man’s Man, sleek, imperturbable, announcing the lady, the lady’s husband, the woman friend who is to save them; he says little, but is responsible for all the arrangements going right; before the curtain rises he may be conceived trying the lamp and making sure that the lady will not stick in the door.

That is how it ought to be, that is how Amy has seen it several times in the past week; and now that we come to the grapple we wish we could give you what you want, for you do want it, you have been used to it, and you will feel that you are looking at a strange middle act without it. But Steve cannot have such a room as this, he has only two hundred and fifty pounds a year, including the legacy from his aunt. Besides, though he is to be a Lothario (in so far as we can manage it) he is not at present aware of this, and has made none of the necessary arrangements; if one of his lamps is knocked over it will certainly explode; and there cannot be a secret door without its leading into the adjoining house. (Theatres keep special kinds of architects to design their rooms.) There is indeed a little cupboard where his crockery is kept, and if Amy is careful she might be able to squeeze in there. We cannot even make the hour midnight; it is eight-thirty, quite late enough for her to be out alone.

Steve has just finished dinner, in his comfortable lodgings. He is not even in evening dress, but he does wear a lounge jacket, which we devoutly hope will give him a rakish air to Amy’s eyes. He would undoubtedly have put on evening dress if he had known she was coming. His man, Richardson, is waiting on him. When we wrote that we deliberated a long time. It has an air, and with a little low cunning we could make you think to the very end that Richardson was a male. But if the play is acted and you go to see it, you would be disappointed. Steve, the wretched fellow, never had a Man, and Richardson is only his landlady’s slavey, aged about fifteen, and wistful at sight of food. We introduce her gazing at Steve’s platter as if it were a fairy tale. Steve has often caught her with this rapt expression on her face, and sometimes, as now, an engaging game ensues.

RICHARDSON, blinking, ‘Are you finished, sir?’ To those who know the game this means, ‘Are you to leave the other chop--the one sitting lonely and lovely beneath the dish-cover?’

STEVE. ‘Yes.’ In the game this is merely a tantaliser.

RICHARDSON, almost sure that he is in the right mood and sending out a feeler, ‘Then am I to clear?’

STEVE. ‘No.’ This is intended to puzzle her, but it is a move he has made so often that she understands its meaning at once.

RICHARDSON, in entranced giggles, ‘He, he, he!’

STEVE, vacating his seat, ‘Sit down.’

RICHARDSON. ‘Again?’

STEVE. ‘Sit down, and clear the enemy out of that dish.’

By the enemy he means the other chop: what a name for a chop. Steve plays the part of butler. He brings her a plate from the little cupboard.

‘Dinner is served, madam.’

RICHARDSON, who will probably be a great duchess some day, ‘I don’t mind if I does have a snack.’ She places herself at the table after what she conceives to be the manner of the genteelly gluttonous; then she quakes a little. ‘If Missis was to catch me.’ She knows that Missis is probably sitting downstairs with her arms folded, hopeful of the chop for herself.

STEVE. ‘You tuck in and I’ll keep watch.’

He goes to the door to peer over the banisters; it is all part of the game. Richardson promptly tucks in with horrid relish.

RICHARDSON. ‘What makes you so good to me, sir?’

STEVE. ‘A gentleman is always good to a lady.’

RICHARDSON, preening, ‘A lady? Go on.’

STEVE. ‘And when I found that at my dinner hour you were subject to growing pains I remembered my own youth. Potatoes, madam?’

RICHARDSON, neatly, ‘If quite convenient.’

The kindly young man surveys her for some time in silence while she has various happy adventures.

STEVE. ‘Can I smoke, Richardson?’

RICHARDSON. ‘Of course you can smoke. I have often seen you smoking.’

STEVE, little aware of what an evening the sex is to give him, ‘But have I your permission?’

RICHARDSON. ‘You’re at your tricks again.’

STEVE, severely, ‘Have you forgotten already how I told you a true lady would answer?’

RICHARDSON. ‘I minds, but it makes me that shy.’ She has, however, a try at it. ‘Do smoke, Mr. Rollo, I loves the smell of it.’

Steve lights his pipe; no real villain smokes a pipe.

STEVE. ‘Smoking is a blessed companion to a lonely devil like myself.’

RICHARDSON. ‘Yes, sir.’ Sharply, ‘Would you say devil to a real lady, sir?’

Steve, it may be hoped, is properly confused, but here the little idyll of the chop is brought to a close by the tinkle of a bell. Richardson springs to attention.

‘That will be the friends you are expecting?’

STEVE. ‘I was only half expecting them, but I daresay you are right. Have you finished, Richardson?’

RICHARDSON. ‘Thereabouts. Would a real lady lick the bone--in company I mean?’

STEVE. ‘You know, I hardly think so.’

RICHARDSON. ‘Then I’m finished.’

STEVE, disappearing, ‘Say I’ll be back in a jiffy. I need brushing, Richardson.’

Richardson, no longer in company, is about to hold a last friendly communion with the bone when there is a knock at the door, followed by the entrance of a mysterious lady. You could never guess who the lady is, so we may admit at once that it is Miss Amy Grey. Amy is in evening dress--her only evening dress--and over it is the cloak, which she is presently to fling back with staggering effect. Just now her pale face is hiding behind the collar of it, for she is quaking inwardly though strung up to a terrible ordeal. The room is not as she expected, but she knows that men are cunning.

AMY, frowning, ‘Are these Mr. Rollo’s chambers? The woman told me to knock at this door.’

She remembers with a certain satisfaction that the woman had looked at her suspiciously.

RICHARDSON, the tray in her hand to give her confidence, ‘Yes, ma’am. He will be down in a minute, ma’am. He is expecting you, ma’am.’

Expecting her, is he! Amy smiles the bitter smile of knowledge.

AMY. ‘We shall see.’ She looks about her. Sharply, ‘Where is his man?’

RICHARDSON, with the guilt of the chop on her conscience, ‘What man?’

AMY, brushing this subterfuge aside, ‘His man. They always have a man.’

RICHARDSON, with spirit, ‘He is a man himself.’

AMY. ‘Come, girl; who waits on him?’

RICHARDSON. ‘Me.’

AMY, rather daunted, ‘No man? Very strange.’ Fortunately she sees the two plates. ‘Stop.’ Her eyes glisten. ‘Two persons have been dining here!’ Richardson begins to tremble. ‘Why do you look so scared? Was the other a gentleman?’

RICHARDSON. ‘Oh, ma’am.’

AMY, triumphantly, ‘It was not!’ But her triumph gives way to bewilderment, for she knows that when she left the house her mother was still in it. Then who can the visitor have been? ‘Why are you trying to hide that plate? Was it a lady? Girl, tell me was it a lady?’

RICHARDSON, at bay, ‘He--he calls her a lady.’

AMY, the omniscient, ‘But you know better!’

RICHARDSON. ‘Of course I know she ain’t a real lady.’

AMY. ‘Another woman. And not even a lady.’ She has no mercy on the witness. ‘Tell me, is this the first time she has dined here?’

RICHARDSON, fixed by Amy’s eye, ‘No, ma’am--I meant no harm, ma’am.’

AMY. ‘I am not blaming _you_. Can you remember how often she has dined here?’

RICHARDSON. ‘Well can I remember. Three times last week.’

AMY. ‘Three times in one week, monstrous.’

RICHARDSON, with her gown to her eyes, ‘Yes, ma’am; I see it now.’

AMY, considering and pouncing, ‘Do you think she is an adventuress?’

RICHARDSON. ‘What’s that?’

AMY. ‘Does she smoke cigarettes?’

RICHARDSON, rather spiritedly, ‘No, she don’t.’

AMY, taken aback, ‘Not an adventuress.’

She wishes Ginevra were here to help her. She draws upon her stock of knowledge. ‘Can she be secretly married to him? A wife of the past turned up to blackmail him? That’s very common.’

RICHARDSON. ‘Oh, ma’am, you are terrifying me.’

AMY. ‘I wasn’t talking to you. You may go. Stop. How long had she been here before I came?’

RICHARDSON. ‘She--Her what you are speaking about--’

AMY. ‘Come, I must know.’ The terrible admission refuses to pass Richardson’s lips, and of a sudden Amy has a dark suspicion. ‘Has she gone! Is she here now?’

RICHARDSON. ‘It was just a chop. What makes you so grudging of a chop?’

AMY. ‘I don’t care what they ate. Has she gone?’

RICHARDSON. ‘Oh, ma’am.’

The little maid, bearing the dishes, backs to the door, opens it with her foot, and escapes from this terrible visitor. The drawn curtains attract Amy’s eagle eye, and she looks behind them. There is no one there. She pulls open the door of the cupboard and says firmly, ‘Come out.’ No one comes. She peeps into the cupboard and finds it empty. A cupboard and no one in it. How strange. She sits down almost in tears, wishing very much for the counsel of Ginevra. Thus Steve finds her when he returns.

STEVE. ‘I’m awfully glad, Alice, that you--’

He stops abruptly at sight of a strange lady. As for Amy, the word ‘Alice’ brings her to her feet.

AMY. ‘Sir.’ A short remark but withering.

STEVE. ‘I beg your pardon. I thought--the fact is that I expected--You see you are a stranger to me--my name is Rollo--you are not calling on me, are you?’ Amy inclines her head in a way that Ginevra and she have practised. Then she flings back her cloak as suddenly as an expert may open an umbrella. Having done this she awaits results. Steve, however, has no knowledge of how to play his part; he probably favours musical comedy. He says lamely: ‘I still think there must be some mistake.’

AMY, in italics, ‘There is no mistake.’

STEVE. ‘Then is there anything I can do for you?’

AMY, ardently, ‘You can do so much.’

STEVE. ‘Perhaps if you will sit down--’

Amy decides to humour him so far. She would like to sit in the lovely stage way, when they know so precisely where the chair is that they can sit without a glance at it. But she dare not, though Ginevra would have risked it. Steve is emboldened to say: ‘By the way, you have not told me _your_ name.’

AMY, nervously, ‘If you please, do you mind my not telling it?’

STEVE. ‘Oh, very well.’ First he thinks there is something innocent about her request, and then he wonders if ‘innocent’ is the right word. ‘Well, your business, please?’ he demands, like the man of the world he hopes some day to be.

AMY. ‘Why are you not in evening dress?’

STEVE, taken aback, ‘Does that matter?’

AMY, though it still worries her, ‘I suppose not.’

STEVE, with growing stiffness, ‘Your business, if you will be so good.’

Amy advances upon him. She has been seated in any case as long as they ever do sit on the stage on the same chair.

AMY. ‘Stephen Rollo, the game is up.’

She likes this; she will be able to go on now.

STEVE, recoiling guiltily or so she will describe it to Ginevra, ‘What on earth--’

AMY, suffering from a determination from the mouth of phrases she has collected in five theatres, ‘A chance discovery, Mr. Stephen Rollo, has betrayed your secret to me.’

STEVE, awed, ‘My secret? What is it?’ He rushes rapidly through a well-spent youth.

AMY, risking a good deal, ‘It is this: that woman is your wife.’

STEVE. ‘What woman?’

AMY. ‘The woman who dined with you here this evening.’

STEVE. ‘With me?’

AMY, icily, ‘This is useless; as I have already said, the game is up.’

STEVE, glancing in a mirror to make sure he is still the same person, ‘You _look_ a nice girl but dash it all. Whom can you be taking me for? Tell me some more about myself.’

AMY. Please desist. I know everything, and in a way I am sorry for you. All these years you have kept the marriage a secret, for she is a horrid sort of woman, and now she has come back to blackmail you. That, however, is not my affair.’

STEVE, with unexpected power of irony, ‘Oh, I wouldn’t say that.’

AMY. ‘I do say it, Mr. Stephen Rollo. I shall keep your secret--’

STEVE. ‘Ought you?’

AMY. ‘--on one condition, and on one condition only, that you return me the letters.’

STEVE. ‘The letters?’

AMY. ‘The letters.’

Steve walks the length of his room, regarding her sideways.

STEVE. ‘Look here, honestly I don’t know what you are talking about. You know, I could be angry with you, but I feel sure you are sincere.’

AMY. ‘Indeed I am.’

STEVE. ‘Well, then, I assure you on my word of honour that no lady was dining with me this evening, and that I have no wife.’

AMY, blankly, ‘No wife! You are sure? Oh, think.’

STEVE. ‘I swear it.’

AMY. ‘I am very sorry.’ She sinks dispiritedly into a chair.

STEVE. ‘Sorry I have no wife?’ She nods through her tears. ‘Don’t cry. How could my having a wife be a boon to you?’

AMY, plaintively, ‘It would have put you in the hollow of my hands.’

STEVE, idiotically, ‘And they are nice hands, too.’

AMY, with a consciousness that he might once upon a time have been saved by a good woman, ‘I suppose that is how you got round her.’

STEVE, stamping his foot, ‘Haven’t I told you that she doesn’t exist?’

AMY. ‘I don’t mean her--I mean her--’

He decides that she is a little crazy.

STEVE, soothingly, ‘Come now, we won’t go into that again. It was just a mistake; and now that it is all settled and done with, I’ll tell you what we shall do. You will let me get you a cab--’ She shakes her head. ‘I promise not to listen to the address; and after you have had a good night you--you will see things differently.’

AMY, ashamed of her momentary weakness, and deciding not to enter it in the diary, ‘You are very clever, Mr. Stephen Rollo, but I don’t leave this house without the letters.’

STEVE, groaning, ‘Are they your letters?’

AMY. ‘How dare you! They are the letters written to you, as you well know, by--’

STEVE, eagerly, ‘Yes?’

AMY. ‘--by a certain lady. Spare me the pain, if you are a gentleman, of having to mention her name.’

STEVE, sulkily, ‘Oh, all right.’

AMY. ‘She is to pass out of your life to-night. To-morrow you go abroad for a long time.’

STEVE, with excusable warmth, ‘Oh, do I! Where am I going?’

AMY. ‘We thought--’

STEVE. ‘We?’

AMY. ‘A friend and I who have been talking it over. We thought of Africa--to shoot big game.’

STEVE, humouring her, ‘You must be very fond of this lady.’

AMY. ‘I would die for her.’

STEVE, feeling that he ought really to stick up a little for himself, ‘After all, am I so dreadful? Why shouldn’t she love me?’

AMY. ‘A married woman!’

STEVE, gratified, ‘Married?’

AMY. ‘How can you play with me so, sir? She is my mother.’

STEVE. ‘Your mother? Fond of me!’

AMY. ‘How dare you look pleased.’

STEVE. ‘I’m not--I didn’t mean to. I say, I wish you would tell me who you are.’

AMY. ‘As if you didn’t know.’

STEVE, in a dream, ‘Fond of me! I can’t believe it.’ Rather wistfully: ‘How could she be?’

AMY. ‘It was all your fault. Such men as you--pitiless men--you made her love you.’

STEVE, still elated, ‘Do you think I am that kind of man?’

AMY. ‘Oh, sir, let her go. You are strong and she is weak. Think of her poor husband, and give me back the letters.’

STEVE. ‘On my word of honour--’ Here arrives Richardson, so anxious to come that she is propelled into the room like a ball. ‘What is it?’

RICHARDSON. ‘A gentleman downstairs, sir, wanting to see you.’

AMY, saying the right thing at once, ‘He must not find me here. My reputation--’

STEVE. ‘I can guess who it is. Let me think.’ He is really glad of the interruption. ‘See here, I’ll keep him downstairs for a moment. Richardson, take this lady to the upper landing until I have brought him in. Then show her out.’

RICHARDSON. ‘Oh, lor’.’

AMY, rooting herself to the floor, ‘The letters!’

STEVE, as he goes, ‘Write to me, write to me. I must know more of this.’

RICHARDSON. ‘Come quick, Miss.’

AMY, fixing her, ‘You are not deceiving me? You are sure it isn’t a lady?’

RICHARDSON. ‘Yes, Miss--he said his name was Colonel Grey.’

Ginevra would have known that it must be the husband, but for the moment Amy is appalled.

AMY, quivering, ‘Can he suspect!’

RICHARDSON, who has her own troubles, ‘About the chop?’

AMY. ‘If she should come while he is here!’

RICHARDSON. ‘Come along, Miss. What’s the matter?’

AMY. ‘I can’t go away. I am not going.’

She darts into the cupboard. It is as if she had heard Ginevra cry, ‘Amy, the cupboard.’

RICHARDSON, tugging at the closed door, ‘Come out of that. I promised to put you on the upper landing. You can’t go hiding in there, lady.’

AMY, peeping out, ‘I can and I will. Let go the door. I came here expecting to have to hide.’

She closes the door as her father enters with Steve. The Colonel is chatting, but his host sees that Richardson is in distress.

STEVE, who thinks that the lady has been got rid of, ‘What is it?’

RICHARDSON. ‘Would you speak with me a minute, sir?’

STEVE, pointedly, ‘Go away. You have some work to do on the stair. Go and do it. I’m sorry, Colonel, that you didn’t bring Alice with you.’

COLONEL. ‘She is coming on later.’

STEVE. ‘Good.’

COLONEL. ‘I have come from Pall Mall. Wanted to look in at the club once more, so I had a chop there.’

RICHARDSON, with the old sinking, ‘A chop!’ She departs with her worst suspicions confirmed.

STEVE, as they pull their chairs nearer to the fire, ‘Is Alice coming on from home?’

COLONEL. ‘Yes, that’s it.’ He stretches out his legs. ‘Steve, home is the best club in the world. Such jolly fellows all the members!’

STEVE. ‘You haven’t come here to talk about your confounded baby again, have you?’

COLONEL, apologetically, ‘If you don’t mind.’

STEVE. ‘I do mind.’

COLONEL. ‘But if you feel you can stand it.’

STEVE. ‘You are my guest, so go ahead.’

COLONEL. ‘She fell asleep, Steve, holding my finger.’

STEVE. ‘Which finger?’

COLONEL. ‘This one. As Alice would say, Soldiering done, baby begun.’

STEVE. ‘Poor old chap.’