Book_iIlAxS_^ \^8>\3 The Passing of the Third Floor Back BY JEROME K. JEROME SAMUEL FRENCH, 28-30 West 38th St., New York DOROTHY'S NEIGHBORS. A brand new comedy in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," and many other successful plays. 4 males, 7 females. The scenes are extremely easy to arrange ; two plain interiors and one exterior, a garden, or, if necessary, the two interiors will answer. Costumes modem. Plays 2J^ hours. The story is about vocational trainiag, a subject now widely discussed; also, the distribution of large wealth. Back of the comedy situation and snappy dialogue there is good logic and i sound moral in this pretty play, which is worthy the attention of the experi- enced amateur. It is a clean, wholesome play, particularly suited to high school production. Price, 30 Cents. MISS SOMEBODY ELSE. A modem play in four acts by Marion Short, author of "The Touch- down," etc. 6 males, 10 females. Two interior scenes. Costumes mod- ern. Plays 854 hours. This delightful comedy has gripping dramatic moments, unusual character types, a striking and original plot and is essentially modern in theme and treat- ment. The story concerns the adventures of Constance Darcy, a multi-million- aire's young daughter. Constance embarks on a trip to find a young man who had been in her father's employ and had stolen a large sum of money. She almost succeeds, when suddenly all traces of the young man are lost. At this point she meets some old friends who are living in almost want and, in order to assist them through motives benevolent, she determines to sink her own aristo- cratic personality in that of a refined but humble little Irish waitress with the family that are in want. She not only carries her scheme to success in assisting the family, but finds romance and much tense and lively adventure during the period of her incognito, aside from capturing the young man who had defrauded her father. The story is full of bright comedy lines and dramatic situations and is highly recommended for amateur production. This is one of the best come- dies we have ever offered with a large number of female characters. The dialogue is bright and the play is full of action from start to finish; not a dull moment In it. This is a great comedy for high schools and colleges, and the wholesome story will please the parents and teachers, We strongly recommend it. Price, 30 Cents- PURPLE AND FINE LINEN. An exceptionally pretty comedy of Puritan New England, in three acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female char- acters. This is the Lend A Hand Smith College prize play. It is an admirable play for amateurs, is rich in character portrayal of varied types and is not too difficult Xrhilc thoroughly pleasing. Price, 30 Cents, (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 25 West 45th Street, New York City New and Explicit Descriptive Catalogue Mailed Free on Request THE PASSING OF THE THIRD FLOOR BACK The Passing of the Third Floor Back AN IDLE FANCY In a Prologue, A Play, and An Epilogue By JEROME K. JEROME " I will seek thy good " Samuel French : : Publisher 28-30 ^*/Vest Thirty-eighth St., New York t ) ? z u Copyright, 1921 / 9 2. / Ci^ By DODD, mead and company, Inc. Especial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher, confers no right or license to professionals or amateurs to produce the play publicly or in private for gain or charity. In its present form this play is dedicated to the reading public only, and no performance, representation, produc- tion, recitation, or public reading may be given except by special arrangement with Samuel French, 28-30 West 38th Street, New York. This play may be presented by amateurs upon payment of a royalty of Twenty-Five Dollars for each perform- ance, payable to Samuel French, 28-30 West 38th Street, New York, one week before the date when the play is given. Whenever the play is produced the following notice must appear on all programs, printing and advertising for the play: "Produced by special arrangement with Samuel French of New York." Attention is called to the penalty provided by law for any infringement of the author's rights, as follows: "Section 4966 : — Any person publicly performing or rep- resenting any dramatic or musical composition for which copyright has been obtained, without the consent of the proprietor of said dramatic or musical compositions, or his heirs and assigns, shall be liable for damages thereof, such damages, In all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dol- lars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be ^v^lful and for profit, such person or persons shall be^ guilty of a misdemeanor, and upon con- viction shall be imprisoned for a period not exceeding one year."— U. S. Revised Statutes : Title 60, Chap. 3. 1 J — 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 is] 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 upon 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 wall 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 door, surmounted by a "fanlight" ; and beyond, the ever- misty square, leafless in winter dreariness. A I7l The Passing of the Third Floor Back heavy three-branched gaselier hangs from the ceil- ing, the globes hidden under paper shades. It is a Friday afternoon in November. [MRS. SHARPE is making out her bills. She is 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 stasia, 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 ? STASIA Injoring myself. [Puts down the tray on the table.] A.11 there is to do in this plice. [81 The Passing of the Third Floor Back 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. STASIA Industrial school, if you please. MRS. SHARPE [Gives a snorting laugh.] What time did old Wright come in last night? STASIA [She is laying the table.] 'Bout 'alf past 'leven oi quarter to twelve. MRS. SHARPE Drunk ? STASIA Oh, just fuddled, sime as usual. You know, I sup- pose, that ye're out of whiskey ? MRS. SHARPE rd forgotten it. STASIA Lucky 'e wasn't in a noticing mood. I give 'im 'alf a tumblerful of cold tea and filled it up with soda water. 'E went to bed singing. [Laughs.] Isl The Passing of the Third Floor Back MRS. SHARPE [Thinking aloud.] Cold tea? Not a bad idea, that. Much the same colour. STASIA And less 'armful. MRS. SHARPE [She grows confidential.] He's the only one that ever asks for whiskey ? STASIA Only one of 'em as I'd trust not to blackmail yer afterwards for selling it to them without a licence. MRS. SHARPE No need to let him have it when he's sober. You can have mislaid the key. Understand? STASIA I understand. And where do I come in ? MRS. SHARPE You be a good girl, and maybe I'll find a blouse I've done with, when I've time to go over my drawer. STASIA Rather 'ave it 'fore you've done with it, if ye're sure yer can spare it. Don't want to be mistook, when I go out, for a bit of old London. [lO] The Passing of the Third Floor Back MRS. SHARPE We'll see about it. Perhaps [On her way back to the desk she has drifted near to the piano.] Who's been burning these candles? They are two inches shorter than when I blew them out last night — that I'll swear. STASIA Nobody been in 'ere as I know of. MRS. SHARPE The tricks and the dodges that they're up to! It's like living in a den of lions. [She has whipped out the candles, and with a pair of scissors is making se- cret marks upon them; which done, she replaces them.] 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? ["1 The Passing of the Third Floor Back 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. 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. STASIA Maybe the very one you're waiting for. Was read- ing a story only the other d'y. A young girl — ^just in [12] The Passing of the Third Floor Back a spirit of fun like — puts up a card in the window, and a young man comes along, and just 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 hills in her hand she is 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.] STASIA [Mimics.] "Don't quite like the idea of a card." Silly old fool ! Don't know her own business. [stasia thinks. She makes sure that hrs. sharpe is 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 be- ing rare.] I13] The Passing of the Third Floor Back Gorblimy, if it ain't the sun! [She smiles.] For- gotten 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 latch-key and miss KITE enters. She is a maiden lady of forty; her am- bition is to appear nineteen. She is painted and pow- dered 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 forever 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 Tvith a teapot. She puts down the teapot on the table; taking the key from her [14J The Passing of the Third Floor Back pocket, opens the tantalus on the sideboard, brings down the whiskey decanter and proceeds to fill it from the teapot. Holding it up 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 — hut of course they could not he the same. She is standing with them in her hand when re-enter stasia, with remainder of tea-things, includ- ing large teapot.] 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 your- self ? 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.] [15] The Passing of the Third Floor Back You haven't any idea, I presume, Miss Kite, who has been in here steaHng the candles ? MISS KITE Stealing the candles ! MRS. SHARPE I beg their pardon. I should say "exchanging/* That's no robbery, of course. [From mock politeness to sudden fierceness] Taking four of them measur- ing 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, remains 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 stasia] 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.] Ji6] The Passing of the Third Floor Back 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 is plump, pretty, forty- five, with white hair.] Oh, good afternoon, dear Mrs. Tompkins. [MRS. TOMPKINS ttfid 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 ex- pense. [She laughs.] Never can resist the tempta- tion 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 [17] The Passing of the TWrd Floor Back fiiaintain. 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. 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 pres- ence 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, starv- ing : literally [MRS. DE HOOLEY has entered, a large, flabby, pale- [i8] The Passing of the Thh'd Floor Back 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, dear? I thought you had left it off. Not another loss, I hope ? [MRS. SHARPE has riscH and rung the bell.] MRS. TOMPKINS Not your cousin, the baronet? MRS. DE HOOLEY [Seating herself.] Her late Majesty, the Queen t will be to her own advan- tage. MRS. SHARPE Hardly to her advantage paying your debts. The Passing of the Third Floor Back MAJOR [He seats himself at the table.] Hardly to her ad- vantage 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 for business. Let me see, to-day is [He is filling in the bill.] [VIVIAN has entered unobserved. She is in walk- ing-dress. She is a tall, handsome girl, dark, with strong but finely cut features; dark, passionate eyes; and bears towards all things a weary, mocking man- ner.] VIVIAN [She looks from one to the other; closes door.] And if I don't? MAJOR My dear ! The Passing of the Third Floor Back 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. MAJOR And to be equally candid with everybody, nor more do I. VIVIAN I should risk it, Mrs. Sharpe. I think you will win. HAJOR Mrs. Sharpe, you hear. You VIVIAN Of course, there is the possibility that in some mo- ment 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 [33] The Passing of the Third Floor Back fair. Mrs. Sharpe will judge for herself whether in the end I am more likely to be influenced by self-re- spect or self-interest. MAJOR [IVhispers.] A little fretful. But plenty of sense. MRS. SHARPE [She has decided to chance it.] 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 con- tents of the hat into the street.] How dare you! Damn your infernal Impudence! How dare youl [34] The Passing of the Thkd Floor Back [Having closed the window, she faces him. The blus- ter falls from him.] The wastefulness — the wicked wastefulness! [She hands him the empty hat.] Rob- bing your own 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 a 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? [35] The Passing of the Third Floor Back MRS. TOMPKINS Vivian, haven't I always impressed it upon you 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 re- sign myself in consequence? Don't I listen to his damned silly stories? » MRS. TOMPKINS And borrow half-crowns from him. MAJOR It 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? [36I The 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 always in a hoarse whisper; wears extravagant clothes and a quantity of jewellery.] [37] The Passing of the Third Floor Back [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. MAJOR Not even with the little supper — the little supper [38] The Passing of the Third Floor Back 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.] TU 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. W^RIGHT [He nods his understanding.] That's all I came for. Sorry to have interrupted. [He goes out.] [The MAJOR carefully closes the door, vivian has taken up her hat.] MAJOR Well, what are you going to do? I39] The Passing of the Third Floor Back 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 obstinacy from. [He flings out of the room.] MRS. TOMPKINS [Following. The quarrel continues up the stairs.] Yes. rd 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 eyes, it causes her to pause. She stands a moment looking at it. A faint smile comes. She then lays down what she is carrying, and stretching out hef hands, warms them childishly in the light. Thus she is standing, her face uplifted to the light, when CHRISTOPHER enters. [40I The Passing of the Third Floor Back [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. [Latighs.] 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? 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 ? [41] The Passing of the Third Floor Back 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 peo- ple 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. CHRISTOPHER I don*t want your respect. I want you. [He seises 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? \42] The Passing of the Third Floor Back 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 aggres- sive. His dress is that of the city man. vivian collects her belongings and moves to go out. lark- com, the low comedian of the house, opens the door for her, bowing with hand on heart, samuels kisses his hand after her. She goes out. larkcom closes the door, and they both turn round with a laugh. CHRISTOPHER has notictd, 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.] [43l The Passing of the Third Floor Back 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 larkcom.] Keep him up to it. I can thell ath many ath he can paint of the 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 hke 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.] SAMUELS Put him in a cab afterwardth and bring him up to [44] The Passing of the Third Floor Back 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 ? SAMUELS [The finger to the nose again.] Have a girl with you. LARKCOM You are a rare old gimlet, you are. [Has prepared what he thinks to he 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, don't [45] The Passing of the Third Floor Back it ? [He crams the half -empty tumblers into the side- hoard. ] [stasia has entered from the other room. Her business for the next fern 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 save trouble all round. SAMUELS [Laughs.] LARKCOM Save you the trouble of living up to them. [Pro- duces from his pocket a box, opens it, and displays a pair of cheap, gaudy earrings.] Emeralds. STASIA Real old bottle glass. LARKCOM [He appeals to samuels.] Ain't they real emer- alds? SAMUELS [Examines them, with the air of an expert.] Four- [46] The Passing of the Thh-d Floor Back teen 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 arrang- ing them on a tray. The folding doors are 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. MRS. SHARPE What are you doing? [47] The Passing of the Thkd Floor Back STASIA Lying the table for dinner. MRS. SHARPE Have you taken up ever}^body 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 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 ? [48] The Passing of the Third Floor Back 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. 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 The Passing of the Third Floor Back 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 'erself — old fool! Got those glasses ready ? MRS. SHARPE Yes, they're ready. 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 I — and wuss. What's the good of us all, that's what I want to know? What's the good of us? [50] The Passing of the Third Floor Back 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 sin- gle, clear, distinctive knock. It sounds mysteriously, coming so unexpectedly into the darkening room. MRS. SHARPE and STASIA hoth start, and stand a mo- ment looking at one another.] 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. [51] The Passing of the Third Floor Back MRS. SHARPE A visitor? What sort of visitor would [The knock is 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, puzzlcd at the passing of the time, goes to the keyhole; peeps through; returns to her glasses; goes to the keyhole again — listens; the handle turns. MRS. SHARPE darts away just in time. [stasia 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 ? [52J The Passing of the Third Floor Back 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? STASIA 'E ain't the usual sort. MRS. SHARPE Thank God for that. Is he a gentleman ? STASIA [She sterns to he 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. [53] The Passing of the Third Floor Back 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 hat, his staff, quaintly suggestive of the days of pil- grimage. What age he might be it would be dijficidt to say; there are moments when the deep eyes woidd 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. // there be any- thing great about him, it lies in his simplicity, his gen- tleness. He bows to mrs. sharpe. It is the simplest of courtesies, 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 mo- ment, a lady.] X the stranger Good afternoon. [54] The Passing of the Third Floor Back 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. MRS. SHARPE Yes. There does happen to be just one. You can go, Stasia. [stasia goes to take up her tray — the stranger interposes.] THE STRANGER [To MRS. SHARPE.] May I? It is so heavy. [He carries out the tray, stasia stares after him open-mouthed. Then at mrs. sharpe, who is also staring. ] the STRANGER [Returning — to stasia.] I have placed it on the table. Was that right? MRS. SHARPE Quite right. [To stasia, who is on her way out.] Shut the door after you. [55] The Passing of the Third Floor Back [stasia, as in a dream, goes out. Closes the door.] Won't you be seated? THE STRANGER Thank you. [One of the easy-chairs stands by the table. He pushes it nearer the fire.] Will you take this chair? MRS. SHARPE {Who is not used to having chairs offered her, ac- cepts it somewhat awkwardly.] Thank you. [She sits stiffly.] [The STRANGER crosscs, 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 is one of her ideas of high-class manners.] To begin with — you will excuse the question, I'm sure — but [she is eyeing critically his clothes] what are you ? THE STRANGER I — am a wanderer. [56I The Passing of the Third Floor Back MRS. SHARPE You mean a traveller ? 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 problem.] You see, I have to be perhaps a little particular. My clientele is drawn, as a rule, from the higher middle- classes. [The STRANGER givcs his grave attention.] At the present moment I have staying v^ith 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 con- nected. 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 first [57] The Passing of the Third Floor Back floor is occupied by an exceedingly wealthy man — for years a prominent figure in the sporting world. In- deed, 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, hut 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 ofiFer 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. MRS. SHARPE [Bows again.] I usually ask two pounds ten a week. [He may he ahoiit to speak; she waves him hack into patience.] To you, seeing you — [she can- [58] The Passing of the Third Floor Back not think of any other reason] — are a traveller — [zvith 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. 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. [59] The Passing of the Third Floor Back 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 up and meets his gaze full upon her; an embarrassed silence falls upon her.] Do you ever get taken in — cheated ? THE STRANGER [Smiling.] Sometimes — by cheats. [A silence.] 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? [60] The Passing of the Third Floor Back 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. MRS. SHARPE Why, so it is. 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.] [6il The Passing of the Third Floor Back 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. 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.] [stasia enters by the folding doors. She goes to sideboard; takes front 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. t62l The Passing of the Third Floor Back MRS. SHARPE Stands for awhile looking at her, A new look has come into mrs. sharpens face, a new note in her voices a new spirit has stolen into the house.] MRS. SHARPE What are you looking at ? STASIA [She wakes with a start.] Nothin'. [Begins fold- ing the napkins.] 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.] I'll 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. I63I The Passing of the Third Floor Back 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 it; she, too, seems to he falling into a way of dreaming.] " And you kind women are the worst of all." [She whispers the words, the while her up- lifted face becomes transformed with a great tender- ness as towards all things.] THE CURTAIN FALLS r&4i CHARACTERS IN THE PLAY Joey Wright Christopher Penny Major Tompkins Mrs. Tompkins Vivian Jape Samuels . Harry Lark com Miss Kite 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. [^1 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 mysteri- ous 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 a 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 appear- ance. 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 a moment listening; it dies. She crosses to the win- dows, pulls down the blinds, arranges the curtains. \ C671 The Passing of the Third Floor Back [VIVIAN comes in. She is in evening dress, some'' what decollete.^ 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 pa- per from the table.] STASIA Going out to the theatre, ain't you? VIVIAN Yes. STASIA With the old 'un? VIVIAN Will you kindly mind your own business ? STASIA Suppose I oughtn't to blime you. [She speaks more [681 The Passing of the Third Floor Back 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? 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.] I69] The Passing of the Third Floor Back VIVIAN Yes. There are sweet thoughts. And fine feehngs. And self-respect. [She turns to stasia.] 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 at- mosphere changes.] MRS. TOMPKINS Hovv^'s your headache ? VIVIAN I think it v^ill be all right. MRS. TOMPKINS You didn't miss much. I could have eaten ati 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 rearrange the girl's dress.l [70] The Passing of the Third Floor Back 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? MRS. TOMPKINS I can't explain it. He makes you feel uncomfort- able. [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, fol- lowed by MRS. DE HOOLEY, is entering: miss kite in what she herself would call a " killing " costume; MRS. DE HOOLEY in " scmi "-toilette.] \n\ The Passing of the Third Floor Back 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 osten- tatious 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. 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. \72] The Passing of the Third Floor Back MRS. TOMPKINS Do you mean that she has dared to introduce among ladies and gentlemen MISS KITE My dear, a mere passer-by. MRS. TOMPXINS 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 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 jape.] What do you think of him? SAMUELS [He is at table selecting a paper, his back to the others.] Of the latetht addition to our little menad- therie? Well, to begin with, he'th not my idea of a thentleman. [73] The Passing of the Third Floor Back 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 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 major boisterously, wright voicelessly. wright has been telling the major a smutty ^^0^3;.] [74I The Passing of the Third Floor Back MAJOR Best story IVe 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.] 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 whispering dis- tance of miss kite.] MAJOR [Crosses to table and turns over the papers.] Any- body seen the "Globe"? [To samuels] What pa- per have you got ? [75] The Passing of the Third Floor Back 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, zvho 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 ? WRIGHT [Shakes his head.] Not my fancy. larkcom [Turning to wright.] He's got no conversation — not what / 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. [stasia has entered, more or less unnoticed. She brings the coffee in on tray.] [76] The Passing of the Third Floor Back STASIA [She stops first in front of mrs. tompkins.] Kau- fee. [MRS. TOMPKINS takes a cup.] [The MAJOR goes to table, snatches a paper and seats himself between the table and mrs. de hooley. STASIA goes her round with the coffee.] 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. MRS. DE HOOLEY [In her soft, slow voice, still dreaming.] It was a long time ago. [77] The Passing of the Third Floor Back MRS. TOMPKINS We must make it plain to him that he's not wanted. WRIGHT [To LARKCOM.] Yes. You're good at " chipping"' people. Make it uncomfortable for him. LARKCOM [Nods and laughs.] We'll have a bit of fun with him. SAMUELS Oh! leave him alone. He'll learn our wayth all right. [CHRISTOPHER hos entered.] CHRISTOPHER Unless we first learn his. [viviAN, 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. weight gives vent to a feeble sneer. HOOLEY is still dreaming.] [78) The Passing of the Third Floor Back VIVIAN [stasia has just reached her with the coffee.] No, thank you. 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.] \79l The Passing of the Third Floor Back [vTViAN has come down, wright is standing near io 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 major, beaming, heats 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 a paper, stasia has re-en- tered, with Vivian's cloak, wright takes the cloak from stasia, 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 fixed 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 her feet. And a silence has also entered. The Wedding March dies away ] [80] The Passing of the Third Floor Back 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. [To v^right.] Some other evening. [Stooping swiftly, she picks up her cloak, wraps it tightly round her as one who is cold, and with bowed head passes hurriedly from the room.] MRS. TOMPKINS It's the heat of the room. She hasn't been well all day. [To the major.] Don't you come. [She follows VIVIAN out.] 181} The Passing of the Third Floor Back MRS. SHARPE It is a bit close in here. Shall we have the window open ? MISS KITE / should like it. STASIA I'll see to it. [She opens one of the windows, after- wards taking up the tray she had left on the desk. She goes out.] [SAMUELS, haznng selected a newspaper, has re- seated himself.] MAJOR [To WRIGHT.] Poor girl! She'll be so disap- pointed. [WRIGHT answers with a snarl.] MAJOR [Coaxingly.] Play you fifty up. Then we'll see how she is. Can we have the table, Mrs. Sharpe? MRS. SHARPE Certainly. I'll go and get it ready for /ou. [She goes out.] [82] The Passing of the Third Floor Back MAJOR Ah, thank you. [Taking Wright's arm, he leads him out.] Troublesome creatures, these girls! — trou- blesome creatures ! Yet what could we do without them? What could we do [He closes the door behind them.] [CHRISTOPHER crossBs and sits in easy-chair by fire. He makes to read; but every now and again the pape> drops; he stares into the fire.] [MRS. 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, watch- ing events.] THE STRANGER How well you play ! LARKCOM [He swings round on his stool] Hullo! — you there, old cockerlor [He encounters the stranger's eyes. Somehow they put him out of countenance.] Think so? the stranger You have the touch of one who loves music. [83] The Passing of the Third Floor Back LARKCOM Here. [He rises, grins up into the stranger's face.] What's the little game? Want to borrow money ? THE STRANGER You see, it would be of no use. 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 understand is " Tumpty, tumpty, tum." 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. [84I The Passing of the Third Floor Back THE STRANGER Yes. LARKCOM [There is something about the stranger that in- vites confidence.] My idea was to have been an en- tertainer. the stranger It was a good idea. You would have succeeded, I am sure. LARKCOM You see, I've got a voice. 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, sometimes — 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. IBs] The Passing of the Third Floor Back LARKCOM Question is, would it pay? THE STRANGER I think it would. And then, that is not the only question, is it? 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-box ? [He slaps his pocket.] Thafs the question little Harry always asks himself. THE STRANGER Always? Are you sure? LARKCOM Ami THE STRANGER You play them " Tumpty, tumpty, turn." Why ? LARKCOM Why ! Because THE STRANGER Does it give you any pleasure — ^you, a musician! Does it add anything to the "money-box"? [The 1861 The Passing of the Third Floor Back 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 ? LARKCOM Of course, you can put it that way. THE STRANGER What other way ? LARKCOM I do like seeing people jolly round about me ; hear- ing them whispering to one another that Harry Lark- com's the life and Gar on! Who are you get- ting 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 [87l The Passing of the Third Floor Back THE STRANGER The thanks of those you serve: that is the true " pay " of the artist. LARKCOM Here. Am I an artist now? 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. [881 The Passing of the Third Floor Back LARKCOM Would you mind one day my trying over one or two little things of my own on you ? 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. [Laughs.] Good-night, in case I don't see you again — [holds out his hand] — partner. THE STRANGER Good-night, partner. I89I The Passing of the Third Floor Back [larkcom crosses.] 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 riseu 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.] [90] The Passing of the Third Floor Back MISS KITE You're not going, dear? MRS. DE HOOLEY Only to write a few letters. [She seats herself at desk, her hack to the room.] [CHRISTOPHER takes SAMUELS* vacoted chair at table; busies himself drawing sketches on the mar- gins 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. miss kite Now, that's a very pretty speech. I wonder if you really mean it. You men are so [She raises [91I The Passing of the Third Floor Back 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 some- what slight acquaintanceship. This is the first time we have spoken. 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 [92] The Passing of the Third Floor Back 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 re- marks ? 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. miss kite Well, I*m — [she struggles, hut the stranger's eyes insist upon the truth] — Vm 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. [93l The Passing of iHe Third Floor Back kiss KITE [She is angry with the stranger, mith herself.] Oh yes, I dare say. Any age, I expect, you would think beautiful. Perhaps you think / 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. THE STRANGER It is lack of vanity. [She glances suspiciously. Is he making game of herf] 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 pow- der — and the dye. THE STRANGER I think that you yourself — I may draw the picture? [94] The Passing of the Thh«d Floor Back — 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. 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 T mean to. I*m a spiteful, venomous- tongued old cat — a painted, pitiful creature without [95] The Passing of the Third Floor Back self-respect — and I hate you because you have made me see myself as I am. I hate you. I [The folding doors open, wright 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. WRIGHT You weren't up to your usual form. MAJOR Ah! Fm no good against a player like you. [To CHRISTOPHER] Any news from upstairs? CHRISTOPHER [Shakes his head.] None. MISS KITE [She has recovered her old self. She speaks to im- press 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.] [96] The Passing of the Third Floor Back MAJOR [To WRIGHT.] ril run up — see what's happening. [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. THE STRANGER I think you would be ill advised. I am not an au- thority. 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 Cap- tain 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 be- hind him.] [97J The Passing? of the Thkd Floor Back 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, 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 between you two? THE stranger You think it was I who influenced her ? WRIGHT I don't think anything at all about it. I was watch- ing. Her eyes were fixed on yours all the time. THE stranger May it not have been merely her Better Self plead- ing to her? WRIGHT Her Better Self ! What better can she do for her- self than marry me? I'm rich. Ain't I going to be kind to her? Ain't I going to settle money on her— I98I The Passing of the Third Floor Back money on herself, to spend as she likes? [With in- creasing vehemence.] Ain't I good enough for her? 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 noth- ing in return but the cold embraces of a shameless woman. [A silence.] 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! To live! 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? [99l The Passing of the Thkd Floor Back 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 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 ? THE STRANGER Ah, yes. The right to serve. [ 100 J The Passing of the Third Floor Back 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 gen- tleman. I'm only a common little old man. Why, I was a bookmaker — that's all I was. You know, a bet- ting 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 mistake ? 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 ! " WRIGHT [He turns."] How did you know that used to be my nickname ? THE STRANGER You were a public character. Wherever you went, [loi] The Passing of the Third Floor Back 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.] 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 [102] The Passing of the Third Floor Back fhe 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 dis- covers 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 ges- ture.] 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, the STRANGER Stands near the littered table.] 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 hos entered with papers of a pro- spectus order in his hand.] [103 J The Passing of the Third Floor Back [To the MAJOR.] Would you? Do you think Mrs. Tompkins might like to go ? MAJOR Well — [he looks at his watch] — well, yes, it's veiy 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 re- mains standing.] major Umph ! Seems a bit down in the mouth, our poor friend. SAMUELS [With a laugh.] Not the evening he exthpected. [104] The Passing of the Third Floor Back MAJOR Ah, we lovers of women ! — how we suffer ! [SAMUELS laughs.] MAJOR [To THE STRANGER.] Not a married man yourself, sir? THE STRANGER I have not that happiness. MAJOR Ah! I sympathise with you, sir. I sympathise. [He is exchanging grimances with J ape, wonderfully pleased with his own clowning.] Been married myself four-and-twenty years. Regretted it — only once. [SAMUELS laughs again.] 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 [105] The Passing of the Third Floor Back , 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, beam- ing, twinkling [jape is guffawing, MRS. de hooley smiling, Chris- topher watching.] the stranger [He interrupts, with a gesture.] I remember her well — as a girl. major [He suddenly drops his clowning. ] You ! — Re Who are you? the stranger A friend you have forgotten. [jape seats himself; busies himself with his papers. MRS. DE HOOLEY and CHRISTOPHER take up their work again. ] [io6j The Passing of the Third Floor Back 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. Mean- while, 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. 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 major glances swiftly.] By the stepping-stones! It was hawthorn- time, you remember? Could any vision have been sweeter ? 1 1071 The Passing of the Third Floor Back 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 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 [io8] The Passing of the Third Floor Back 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, llie women ! they succumb so easily to a uniform. MAJOR [Szuaggering, laughing.] Well, yes. There is something about us that seems to appeal to them — eh ? THE STRANGER The soldier's reputation — for chivalry, for tender- ness, no doubt. MAJOR [The conceit falls from him. He glances suspi- ciously 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. [109] The Passing of the Third Floor Back MAJOR Um! Ah, yes! [He laughs, awkzmrdly.] [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.] 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 his voice, his vehe- ment 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 major's manner, she looks at THE STRANGER loHQ and hard. The dawn of some strange recollection comes to her. She turns a puz- zled, questioning face to her husband; then looks fiio.l The Passing of the Third Floor Back again at the stranger, then back to her husband.] Yes. It was long ago — when I was a girl — in Devon- shire, [Her eyes are still fixed on the stranger. The recollection grows.] We used to have long talks together. I remember. the stranger Your lover — if I may take him at his word [he turns to the major; smiling, lays his hand on his shoulder] — ^has been telling me how happily your mar- riage 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 pleasant 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. I III' The Passing of the Thkd Floor Back 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 ? [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 — I shall only be a 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. [112] The Passing of the Third Floor Back MAJOR My mistake, sir. [He turns again to his wife.] Can I — find it, do you think, my dear ? 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. Christopher and MRS. DE HOOLEY cast glanccs.] 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 you met him, so handsome, so kind, you remember? — that too, is beautiful, the love of the young for the young. It is the beginning of [ii3l The Passing of the Third Floor Back life. But 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 be in time. [To the stranger.] I shall see you again, sir. We must talk about old days. [Ii4l The Passing of the Third Floor Back THE STRANGER [Smiling.] And grow young. [The MAJOR laughs.] MRS. TOMPKINS [To THE STRANGER, OS fiet'vously and doubtfully she takes the major's arm.] Good-night. THE stranger Good-night. MRS. TOMPKINS [At door.] Oh, I wonder — shall I want my smell- ing-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 MRS. SHARPS [With some work in her hand she has crossed over. To JAPE, interrupting him.] Can you see to work %ere ? Shall I get you some candles ? [IIS] The Passing of the Third Floor Back SAMUELS [He accepts the inierntption.] Veil, yeth. One ith a bit in oneth own light. Thankth. [Speaking low] I thay MRS. SHARPE [Cuts him short.] I will get them for you. [She goes ottt.] 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. 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. [116] The Passing of the Third Floor Back 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 Wil- liam 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 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 Passing of the Third Floor Back 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 confident THE STRANGER It was before you came down in the world. MRS. DE HOOLEY [She stares at him, but the grave, quiet eyes tell nothing.] Before I came down [The rest is 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 [ii8] The Passing of the Third Floor Back factory, your work-worn hands so tired, you 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 nobody. THE STRANGER You held high rank with noble men and women, then. 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 ex- pected to drag after one a sister who — who brought disgrace upon herself. THE STRANGER Your cloak shall hide her wounds. 1 119] The Passing of the Third Floor Back 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.] [The door opens, mrs. sharpe enters, hearing a lighted candle in each hand. She pauses a moment, looks from the stranger to mrs. de 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 [120] The Passing of the Third Floor Back you, my lady, about my little bill. [Ticrmng 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. ] 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 Christo- pher has been making. She pauses with it in her hand. ] You have been drawing our portraits. 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 [121] The Passing of the Third Floor Back up.] 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 / draw these ? MRS. SHARPE Who else? CHRISTOPHER But what is the meaning of it ? These are 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 gocs out unnoticcd.] THE STRANGER Then I have been of service to you? CHRISTOPHER [The enthusiasm dies out.] I am not so sure of I 122 J The 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 drazvings. He raises one, looks from it to the lad.] He was v/rong ? CHRISTOPHER Ah, if one could only be an artist without being a man ! [ 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 [zvith 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! THE STRANGER Is there another? I 1231 The Passing of the Third Floor Back 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"? THE STRANGER To your Art; [he lays his hand again upon the drawing] to the great gift that has been entrusted to you! CHRISTOPHER You take a high view of Art. [It is, without his meaning it, a sneer.] THE STRANGER [There is sternness in the voice — the look.] Since when have you taken a low one? [A silence.] CHRISTOPHER [He turns.] Thank you, sir. It is a great gift. [Then sadly.] I am not worthy of it. [1241 The Passing of the Third Floor Back 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. / had such thoughts — once. [With an- other 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 stran- ger, he goes out.] SAMUELS [He hears the click of the closing door. He looks round shyly, the stranger's back is towards him. ] SAMUELS [The cunning creeps into his face. He sits for a [125] The Passing of the Third Floor Back few moments working out his plan: a few slight move- ments 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 mo- ment, in face of those strange eyes, jape's hrazenness deserts him. Then, recovering himself, he thrusts his face forward, leering, hut meaning to he amiahle.] 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. 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 keepeth it to himthelf — doethn't want to let a lot of other people into it. The Passing of the Thkd Floor Back THE STRANGER It depends upon the " fellow." There are generous 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 is 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'll thow you. [He seats himself the other side of the table.] THE stranger [With a gentle movement he pushes them hack across the table.] You are — is it not so? — a Jew? SAMUELS [He starts back as though struck. With snarling anger.] Veil, what if I am? You can't help what you wath born. Ath a matter of fact, I ain't a Jew— [W7l The Passing of the Third Floor Back 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. [A silence.] SAMUELS What makth you thay that? THE STRANGER I So many of the noblest men I have known, men I have loved, [a far-away thought is in his eyes] have been Jews. It is a great race — a race rich in honour- able names. SAMUELS [He is hard at work thinking.] Yet to hear the way they talk and thneer, you'd think there wath thome- thing dithgrathful in even having been bom a Jew. THE STRANGER The Jew shall teach them their mistake. [128] The Passing of the Thkd Floor Back 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 in it. If a thentleman Cometh to uth, treath uth ath a thentleman THE STRANGER He will find that the Jew can also be a gentleman. [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 ? [129] The Passing of the Third Floor Back THE STRANGER That your offer is most generous — that I accept it, with all thanks. SAMUELS [He is still staring at the 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 ? 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 anything by any chanthe wath to go wrong, / thould feel — [Laughs, then gravely] well, I thould feel ath though I'd been thell- ing the whole Jewith rathe for a couple of hundred poundth or tho. 'Tain't worth it. [He moves to- wards the door — turns.] Thorry. Thomething elthe, perhapth — thome other time. [He goes out, closing the door.] [the STRANGER remains standing by the table. The [130I The Passing of the Third Floor Back folding doors open, stasia 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. 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.] [131I The Passing of the Third Floor Back 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? 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. [132] The Passing of the Thh-d Floor Back 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 ? 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 moment.] May his sins be forgot ! STASIA And I [Then from her dream she wakes.] U33] The Passing of the Third Floor Back You're making gime of me. [The 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. STASIA Yus. Sort o' King like I'm a lidy — that nobody knows. THE STRANGER They learnt it later. STASIA [She looks up — meets his eyes.] You're talking sense : you mean a real King — with a crown. THE STRANGER Yes; He wore a crown. 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 gen- tlemen. STASIA [She looks at him and the doubts fall away.] Yes, he must have been a gentleman if he was your friend. The Passing of the Third Floor Back [She smiles, and her hands creep out timidly towards him.] Would you mind — for his sake, like? I've often thought Fd like to have a friend. THE STRANGER [He stands waiting. His arms are open.] STASIA [She comes towards him, smiling. Then suddenly she stops, and a frightened, hunted look comes into her eyes. ] No. I beg your pardon ; I was forgetting. Fm a bad 'un. THE STRANGER [But he still stands, waiting, his arms open.] STASIA [She shakes her head.] You don't understand. Fm 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.] 1 1351 The Passing of the Third Floor Back STASIA [She looks up into his face, her childish eyes filled with love.] I didn't know. THE STRANGER [He, bending over her, kisses her; then gently puis 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 hack, smiling, she goes out.] [The dim gas-jets give hut a faint, cold light, the STRANGER sits in the large chair that is near to the tahle. 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. ] [136] The Passing of the Third Floor Back VIVIAN Who are you ? Why do you follow me ? I see you in the streets; you look at me out of 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 harden- ing again. ] Well, what have you to say ? What pro- posals 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? Hadn't you better find out the truth about me before you waste your words? Look at me [she draws nearer] with those eyes that [137] The Passing of the Third Floor Back seem to read one 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. THE STRANGER You will not wed with Shame. You shall not. [138] The Passing of the Third Floor Back 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. Who [She is standing, her face illumined by the firelight, looking at him. His face is not seen. There comes a strange awe info her eyes — into her voice. With a cry] You are [There is a movement as though she were about to kneel.] I139I The Passing of the Third Floor Back [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 gating at him with that strange look of awe, her face illumined by the fire, the stranger's face is not seen.] THE CURTAIN FALLS [140] 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 [14/J 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, supplied spring flowers in old china vases. Not so much money as loving care has been spent. Good taste, among other things, woidd seem to have entered into the house since last we saw it. [It is again a foggy Friday afternoon, and again MRS. SHARPE sits at the desk, making out her bills — [143J The Passing of the Third Floor Back a pale, thin lady who during the interval has grown a good many years younger. Th-e lines of fret and 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 shazvl. It, maybe, is a little old-fashioned, but it suits her. The widow's cap is of another pattern — 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 un- tidy jumble of the first Act. stasia 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. stasia 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. [144] The Passing of the Third Floor Back 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 me off! For a mon ! [Laughs contemptuously.] A nice muddle Vd 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 mantelpiece. Then one — no, youVe right. 'Twas only four. MRS. SHARPE I thought I only recollected four. [Writes.] STASIA I was counting in the two left over from last week. [From the sideboard drawer she has taken the after- [1451 The Passing of the Third Floor Back noon 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. [stasia has come over and kneels down. MRS. SHARPE is " fixing " the cap. ] You needn't v^ear 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 w^asn't feeling hungry. MRS. SHARPE Not ill, is she ? STASIA She's fretting herself. The Passing of the Third Floor Back foS. 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. MRS. SHARPE Very well — try. STASIA I'll make the tea, and then [The door opens. Enter jape samuels. The oilu ness, the aggressiveness, have disappeared. The cun- ning has gone out of the face; it is seen to he rather a [147] The Passing of the Third Floor Back handsome face with its chiselled nose, its high fore- head. The moustache has been shaved off, the thick hair brushed back.] SAMUELS Good afternoon! [To stasia.] How'th the cough? [His lisp remains, but somehow it is no longer objec- tionable.] 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 IVe been threatening to send her off to the seaside. 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. 1 148] The Passing of the Third Floor Back SAMUELS You've made a mistake. MRS. SHARPE Havel? SAMUELS Chop on Wednesday you haven't charged me for. [Gives it her hack.] MRS. SHARPE I had forgotten. [Leaning over the desk, she adds the item.] Will you be leaving us? SAMUELS Why should I? MRS. SHARPE Well, you've referred once or twice of late to the fact of your being a Jew. I have been fearing ■ 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 Com- mandments 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 is the third Friday, is it not ^ 1 149] The Passing of the Third Floor Back 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. SAMUELS Your guests always. [He takes from her hand thf receipted hill] We pay you — little enough — for the accommodation of a boarding-house. [He slips the coins into her hand.] Your thought fulness, 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.] I ISO] The Passing of the Third Floor Back 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 ? VIVIAN She's got a slight headache. She'll be down in a few 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 Sun- day. She worries herself about papa. The more cheerful he is, the more she persists in regarding it as a cloak concealing an aching heart. [Laughs.] As a The Passing of the Third Floor Back matter of fact, he is doing remarkably well, and is naturally pleased with himself. MRS. SHARPE I suppose she dislikes the idea of his having become a commercial traveller. I can understand it. VIVIAN I can't. I've just been having it out with her. 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 cane in hand.] I am honoured. VIVIAN I was saying how fitted you were to be a commercial 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. [152I The Passing of the Third Floor Back MAJOR [Laughing, well pleased.] Well, yes. I suppose manner and bearing [draws himself up] do 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 [153] The Passing of the Third Floor Back MAJOR The kindness, dear lady, has been yours — through- out. [He goes out.] [Outside he meets mrs. de hooley. They are un- seen, hut their conversation is heard — or rather partly heard. ] MAJOR Ah, good afternoon ! And how do we find our- selves this afternoon? 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 MAJOR goes his way upstairs, mrs. de hooley enters the room.] MRS. SHARPS [Greeting her.] How are you, dear? MRS. DE HOOLEY How are you, dear? [ 154 J The Passing of the Third Floor Back [They kiss.] What do you think of it ? [She stands and turns 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 remem- ber. [To 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 bow on the shoulder. [1551 The Passing of the Third Floor Back MRS. DE HOOLEY Do you know, I think it does help. STASIA Looks so saucy. MRS. SHARPE [Play f idly 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 ver>' 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 joey wright with Christopher. WRIGHT is a tuhhy, kindly-looking little man, with small twinkling eyes. So much of his appearance as The Passing of the Third Floor Back 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 azvay 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? [Taking MRS. SHARPENS lacc showl from her shoidders, he drapes it as a cowl round Wright's head. ] " A Friar of Orders Grey." MRS. SHARPE [Laughs.] You are quite right. He does make an excellent monk. The Passing of the Third Floor Back CHRISTOPHER [He replaces the shawl round mrs. sharpe's shoul- ders. She is pouring out tea.] We will try it to- morrow. Ill 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. Til tell you why after- wards. [CHRISTOPHER laugks. He crosses with the cups.] [MRS. DE HOOLEY and VIVIAN are near the piano, MRS. DE HOOLEY sitting, VIVIAN Standing. Christo- pher 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 con- cerning mrs. de hooley's dress.] 1 158 J The Passing of the Third Floor Back 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 din- ing-room. I'm tired of looking at myself in a mirror that makes me out twice as broad as I'm long. MRS. SHARPE [Understands, and she smiles at him.] What a good fellow you are! [She has risen to greet her new gtiest.] [larkcom has entered, a cheery young blade, 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 a theatrical manner, which [i59l The Passing of the Third Floor Eack 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! I could have been singing it now. [Between the others an amused smile passes.] MRS. SHARPE [Who, having shaken hands with larkcom, has re- turned 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 honds him his cup of tea.] [i6o] The Passing of the Third Floor Back 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, jape, 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 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 suf- ficient among so many? MRS. SHARPS [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 I161] The Passing of the Third Floor Back the time. [She is replenishing cups which Christo- pher 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. [The MAJOR 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 com- ing 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 hef.] You bear witness, Mrs. Sharpe, I am compared to a headache. MRS. SHARPE [Who has reseated herself; she laughs.] You are very badly treated. [162] The Passing of the Third Floor Back [The MAJOR, making himself generally useful, hands some bread and butter to MRS. sharpe, the muffins to his wife. Later he joins vivian and Chris- topher, 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 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.] [163I The Passing of the Third Floor Back MRS. SHARPE [Handing a cup to jape.] Sorry to have kept you waiting. SAMUELS [He takes it with a " Thank you." He has been talking to larkcom.] [stasia has appeared at door.] STASIA May I speak to you? MRS. SHARPE [She hands a cup of tea to mrs. tompkins, and then joins stasia 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. [164] The Passing of the Third Floor Back WRIGHT A dairy-farm? SAMUELS Take a run over with me on Monday, see what you think of it. iVRIGHT 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 [stasia 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? [165I The Passing of the Third Floor Back MRS. SHARPE It will not be the Miss Kite we have hitherto known. It will be a new Miss Kite. According 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 [i66] The Passing of the Third Floor Back MRS. SHARPE Do you know, Vm 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 wright.] She'll be more grateful to us for silence than for anything we could say. [167] The Passing of the Third Floor Back WRIGHT We can just be nice and pleasant to her. Let her feel 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 Christopher have hastily plunged into Art.] major [Whose voice is 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. MRS. DE HOOLEY [She is standing close by.] We should have missed you so much. [i68] The Passing of the Third Floor Back MRS. TOMPKINS [From her chair.] We always look to you for our conversation. MISS KITE [The poor lady is in an agony of nervousness. Her voice is uncertain.] Thank you. I'm afraid my con- versation this afternoon [She is on the point of breaking down.] MAJOR [Placing a chair for her.] Won't you be seated? MISS KITE [It is 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. IVifh rapid explanatory pantomime to the major — who grasping the idea, smiles and nods — he places instead one of the easy-chairs in front of the fire, where she can sit apart.] Wouldn't you rather be nearer the fire? MISS KITE [She gives him a quick, gratefid glance.] Thank [169] The Passing of the Third Floor Back 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 trem- bling 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. SAMUELS [He brings her a plate of small cakes.] Take my advice, try one of these. [He returns to his talk with WRIGHT. ] [stasia has entered with fresh muffins, vivian [T70] The Passing of the Third Floor Back }irings one over to miss kite. She places it on the right arm of the chair, and stooping whispers :\ vaviAN 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 sympa- thetic 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 per- mit. They talk as before among themselves, laugh- ing, moving here and there. Christopher has joined VIVIAN again, samuels and wright are talking. The MAJOR has joined them. mrs. sharpe is in her place at tea-table, mrs. de hooley, mrs. tompkins, and larkcom form a group near her. stasia is on her way out. ] . . . [171] The Passing of the Third Floor Back 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, hut 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 win- dow. [To the women] Do you mind? Do you mind, Miss Kite ? [They answer ''No," "I should like it," "Please, do." CHRISTOPHER goes to the lower window, opens it. The sound of the voice comes clearer.] MRS. SHARPE Who is it? CHRISTOPHER [At the window.] There is no one. MRS. SHARPE No one? CHRISTOPHER I can see no one. [172I The Passing of the Third Floor Back 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. SAMUELS Some beggar, I suppose. Poor fellow ! [They listen. They have turned towards the win- dow.] [The door opens, the stranger stands there as in the Prologue, with hat and staff in hand. ] [None at first see him, except stasia. He makes a sign to her; she remains silent. The voice dies away. He puts aside his hat and staff.] [173] The Passing of the Third Floor Back 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.] MRS. SHARPE I 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, 1 174 J The Passing of the Third Floor Back THE 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? SAMUELS The more profitable. Though maybe [zmth a smile] rd 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. [1751 The Passing of the Third Floor Back You remember the words : " Ye shall be unto Me a kingdom of priests, an holy nation." A great inherit- ance, 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, stasia waits, watching.] SAMUELS [After a moment.] You have always taken it for granted, sir, in all our conversations that I 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 hut a bite and sip — has handed the cup back to STASIA.] 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. [176] The Passing of the Third Floor Back THE STRANGER [Taking his outstretched hand.] Good-bye. [SAMUELS goes out.] [MRS. DE HOOLEY is talking to LARKCOM. WRIGHT is with VIVIAN and Christopher by piano, miss kite in her chair by the fire, mrs. sharpe at head of table. She is piling up the tea-things on tray.\ MAJOR We also, Mrs. Sharpe, must be going. [Checking her reply.] Mrs. Tompkins is of opinion that a Httle dinner — [He turns to his wife; they smile at one another] — at the restaurant, followed by the theatre would be a fitting complement to a delightful after- noon. [Leaving his wife to say a few words to mrs. sharpe, he comes to the stranger.] I have Mrs. Tompkins* 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. [1771 The Passing of the Third Floor Back But with you, sir, somehow, it seems different. Wc cannot help feeling that it was you, sir, who — without knowing it — brought us together again. [the STRANGER Hstefis. The MAJOR glances round, sinks his voice.] Mrs. Tompkins and myself, before you came, had not — had not been getting on as well to- gether 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. 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 remember to be gentle with them. the stranger [He lays his hand upon the major's arm.] Re- membering all our promises to them, even to the foolish ones, for our own Honour's sake. [The major looks at him; he is smiling. There is a moment's pause, mrs. tompkins joins them.] I178J The Passing of the Third Floor Back 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 group at the piano.] Dw you know, I really don't think 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 witK 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 seriously.] Thank you. It is of so much help to a woman to have [179] The Passing of the Third Floor Back 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 for- get 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. Imajor [Returning.] It is all right. Quite a coincidence. 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. [180I The Passing of the Third Floor Back 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. 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 MAJOR goes a little way towards the door. MRS. TOMPKINS does not immediately follow. He stands waiting.] MRS. TOMPKINS [Her eyes on the stranger.] It is odd. I re- liSiJ The Passing of the Third Floor Back member you so well But never the time — the place. It is as if we had met — in dreams. THE STRANGER And so much of life is dream. It is a good meet- ing-place. [She joins the major. He opens the door for her. She turns with one last look to the stranger, then passes out. The major follows her, closes the door.] [larkcom, leaving mrs. de hooley with Mrs. sharps, conies 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 that, sir. The whole thing was your idea. I have always looked upon you, sir, as my partner. The Passing of the Third Floor Back 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, re pockets his book and pen.] I don't think, sir, you will find any- thing 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? LARKCOM Well, if taking pleasure in giving pleasure, irrespec- tive of how much is in the house, is philanthropy—- [smiling] — ^yes, sir. 1 183] The Passing of the Third Floor Back THE STRANGER Ah! [MRS. SHARPE u ah Out 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 husying herself putting all things in order.] [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 Passing of the Third Floor Back •fHE STRANGER [Smiling.] Why not? Women are of so much importance, and a woman's frock of so much impor- tance — 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, biisy with her affairs, goes out, leav- ing the door partly open.] This is her first production. THE STRANGER I think it a beautiful frock. MRS. DE HOOLEY You like it? THE STRANGER It becomes you. MRS. DE HOOLEY I shall be so glad if she succeeds — for the children'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. [185] The Passing of the Third Floor Back 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. THE STRANGER One day. I promise. MRS. DE HOOLEY [Pausing on her way; she turns again.] Remem- ber. THE STRANGER One day, I promise. [She goes out.] [i86] The Passing of the Third Floor Back [the stranger turns, 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 and women are fair. Only so many of us disguise our- selves 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. [187] The Passing of the Third Floor Back 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 ques- tions of the fire. [Thinking, she shakes her head.] I see only the little rounded back, like a note of inter- rogation. 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.] [WRIGHT 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? [1881 The Passing of the Third Floor Back 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. 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. [189J The Passing of the Third Floor Back WRIGHT Who's imposing? I know what I'm about. Tnt 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. THE STRANGER You have a partner. And in business, when one ia 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 conn into his eyes. He turns away. After a moment^ 1 1903 The Passing of the Third Floor Back from over his shoulder, he speaks to the stranger.] Should you like 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.] 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 [191] The Passing of the Third Floor Back 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. 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 [1^1 The Passing of the TWrd Floor Back come days when the memory of a promise made to a friend r/nay 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 , fallen from the howl upon 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 ic come she will take it from its secret place; that, gazing at it, she will see again the fading room, the r ITRANGER Standing with bent shottlders.] [They turn their eyes again to the stranger, his iace 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 — 1 103 J The Passing of the Third Floor Back very soon. Your room will be ready for you — al- ways. 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. [She turns. Upon the shining mahogany table stands only the howl 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, stasia 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 be- fore her.] I see blue skies and sunshine. STASIA [She looks up. He is looking into her eyes, smil- [194I The Passing of the Third Floor Back ing.] 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. -fHE STRANGER There are so many cannot make head or tail of it. STASIA [Still with her arms about him.] And all the while it is beautiful. [The clock on the unseen mantel- piece strikes the half-hour — two strokes. She un- clasps 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-tak- ings 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 THE STRANGER I also am a servant. I have my work. 1 195 J The Passing of the Third Floor Back STASIA [She conquers herself — drives back her tears be- hind smiles. She puts out her hands to him.] It was so kind of you — to come. THE STRAITGER [He takes her in his arms.] I came because you wanted me. [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 it. Her arms stretched out each side of her, she raises her face so that the sunlight, 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 it through the folding doors. And the face that passes out is the face of one to whom Love itself has spoken.] [196I The Passing of the Third Floor Back [The stage remains empty. The bowl of hyacinths upon the shining mahogany table. The shaft of sun- light falling on the worn carpet.] THE CURTAIN FALLS twl THE RETURN OF HI JINKS. A comedy in four acts, by Marion Short, author of "The Varsity Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes modern. One interior scene. This comedy is founded upon and elaborated from a farce comedy in two acts written by J. H. Horta, and originally produced at Tuft's College. Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier type), and a young moving picture actress (Mary Pickford type), are the leading characters in this lively, modern farce. Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes to think up a scheme to throw ridicule upon him during a visit of the Hoosic Glee Club to jinks's home town. Jinks has obligingly ac^ed as a one-day substitute in a moving picture play, in which there is a fire scene, and this gives Hodge his cue. He sends what seems to be a bona fide account of Jinks's heroism at a Hoosic fire to Jinks's home paper. Instead of repudiating his laurels as expected. Jinks decides to take a flyer in fame, confirms the fake story, confesses to being a hero and is adored by all the girls, to the chagrin and discomfiture of Hodge. Of course, the truth comes out at last, but Jinks is not hurt thereby, and his romance with Mimi Mayflower comes to a successful termination. This is a great comedy for amateurs. It is full of funny situations and is sure to please. Price, 30 Cents. JUNE. A most successful comedy-drama in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's Neighbors," etc. 4 males, 8 females. One interior scene. Costumes modern. Plays 2% hours. This play has a very interesting group of young people. June is an appealing little figure, an orphan living with her aunt. There are a number of delightful, life-like characters: the sorely tried, likeable Mrs. Hopkins, the amusing, haughty Miss Banks of the glove department, the lively Tilly and Milly, who work in the store, and ambitious Snoozer; Mrs. Hopkins's only son, who aspires to be Presi- dent of the United States, but finds his real sphere is running the local trolley car. The play is simplicity itself in the telling of an every-day story, and the scenic requirements call for only one set, a room in the boarding house of Mrs. Hopkins, while an opportunity is aflForded to introduce any nunxber of extra characters. Musical numbers may be introduced, if desired. Price, 30 Cents. TEMPEST AND SUNSHINE. A comedy drama in four acts, by Marie Doran. 5 males and 3 females. One exterior and three interior scenes. Plays about 2 hours. Every school girl has revelled in the sweet simplicity and gentleness of the characters interwoven in the charms that Mary J. Holmes commands in her story of "Tempest and Sunshine." We can strongly recommend this play as one of the best plays for high school production published in recent years. Price, 30 Cents. (The Above Are Subject to Royalty When Produced) 5 THE TOUCH-DOWN. A comedy In four acts, by Marion Short. 8 males, G females, but any number of characters can be introduced in the ensembles. Costumes mod- ern. One interior scene throughout the play. Time, 2^ hours. This play, written for the use of clever amateiirs, is the story of life in Siddell, a Pennsylvania co-educational college. It deals with the vicissitudes and final triumph of the Siddell Football Eleven, and the humorous and dramatic incidents connected therewith. "The Touch-Down" has the true varsity atmosphere, college songs are sung, and the piece is lively and entertaining throughout. High schools will mak<» no mistake in producing this play. We strongly recommend it as a high-class and well. written comedy. Price, 30 Cents. HURRY, HURRY, HURRY. A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. One interior scene. Costumes modern. Plays 2% hours. The story is based on the will of an eccentric aunt. It stipulates that her pretty niece must be affianced before she is twenty-one, and married to her 5ance within a year-, if she is to get her spinster relative's million. Father has nice notions of honor and fails to tell daughter about the will, so that she may make her choice untrammeled by any other consideration than that of true love. The action all takes place in the evening the midnight of which will see her reach twenty-one. Time is therefore short, and it is hurry, hurry, hurry, if she is to become engaged and thus save her father from impending bankruptcy. The situations are intrinsically funny and the dialogue is sprightly. The characters are natural and unaffected and the action moves with a snap such as should be expected from its title. Price, 30 Cents. THE VARSITY COACH. A three-act play of college life, by Marion Short, specially adapted to performance by amateurs or high school students. 5 males, 6 females, but any number of boys and girls may be introduced in the action of the play. Two settings necessary, a college boy's room and the university campus. Time, about 2 hours. Like many another college boy, "Bob" Selby, an all-round popular college man, becomes possessed of the idea that athletic prowess is more to be desired than scholarship. He is_ surprised in the midst of a "spread" in his room in Regatta week by a visit from his aunt who is putting him through college. Aunt Serena, "a lady of the old school and the dearest little woman in the whole world," has hastened to make this visit to her adored nephew under the mistaken impression that he is about to receive the Fellowes prize for scholarship. Her grief and chagrin when she learns that instead of the prize Robert has received "a pink card," which is equivalent to suspension for poor scholarship, gives a touch of pathos to an otherwise jolly comedy of college life. How the repentant Robert more than redeems himself, carries ofT honors at the last, and in the end wins Ruth, the f?ithfiil little sweefh^srt of the "Prom" rind the class- room makes a story of dramatic interest and brings out very clearly certain phases of modern college life. There are several opportunities for the introduction of college songs and "stunts." Price, 30 Cents. (The Above Are Subject to Royalty When Produced) 4 DOROTHY'S NEIGHBORS. A brand new comedy in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," and many other successful plays. 4 males, 7 females. The scenes are extremely easy to arrange ; two plain interiors and one exterior, a garden, or, if necessary, the two interiors will answer. Costumes modern. Plays 2^ hours. The story is about vocational training, a subject now widely discussed; also, the distribution of large wealth. Back of the comedy situation and snappy dialogue there is good logic and a sound moral in this pretty play, which is worthy the attention of the experi- enced amateur. It is a clean, wholesome play, particularly suited to high school production. Price, 30 Cents. MISS SOMEBODY ELSE. A modern play in four acts by Marion Short, author of "The Touch- down," etc. 6 males, 10 females. Two interior scenes. Costumes mod- ern. Plays 2% hours. This delightful comedy has gripping dramatic moments, unusual character types, a striking and original plot and is essentially modern in theme and treat- ment. The story concerns the adventures of Constance Darcy, a multi-million- aire's young daughter. Constance embarks on a trip to find a young man who had been in her father's employ and had stolen a large sum of money. She almost succeeds, when suddenly all traces of the young man are lost. At this point she meets some old friends who are living in almost want and, in order to assist them through motives benevolent, she determines to. sink her own aristo- cratic personality in that of a refined but humble little Irish waitress with the family that are in want. She not only carries her scheme to success in assisting the fariiily, but finds romance and much tense and lively adventure during the period of her incognito, aside from c.inturing the young man who had defrauded her father. The story is full of bright comedy lines and dramatic situations and is highly recommended for amateur production. This is one of the best come- dies we have ever ofiFered with a large number of female characters. The dialogue is bright and the play is full of action from start to finish; not a dull moment '"n it. This^ is a great comedy for high schools and colleges, and the wholesome Story will please the parents and teachers. We strongly recommend it. Price, 30 Cents. PURPLE AND FINE LINEN. An exceptionally pretty comedy of Puritan New England, in three acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female char- acters. This is the Lend A Hand Smith College prize play. It is an admirable play for amateurs, is rich in character portrayal of varied types and is not too difficult while thoroughly pleasing. Price. 30 Cents. (The Above Are Subject to Royalty When Produced) 1 JPST PTJBLISmSU, CHRISTOPHER JUNIOR A Comedy in 4 Acts. By Madeleine Lucette Ryley. Modern coi Aime. Time, 2^ hours. Three interior scenes; 8 males, 4 females iJhristopher Jedbury, Jr., having accidentally placed himself in ai unfortunate position Tvith a lady in the West Indies, is forced U marry her without seeing her. He returns to England. His fathei Snds out about the marriage, quarrels with him, and turns him out 4edbury, Jr., goes to India as a clerk in his father's office, then discovers defalcations by the manager, and falls in love with Dora ttedway. He is reconciled to his father, and Dora turns out to h« is wife. Highly recommended for amateurs. Price, 60 Cents. MICE AND MEN A Romantic Comedy. Four Acts. By Madeleine Lucette Ryic^ Costume about 1786. Time, 2 hours, 30 minutes. Three interioi ane exterior scene ; 7 males, 5 f emaJes. Mark Embury, a man of oven forty, is of opinion that the perfect wife must be educated from $ tftate of ignorance and simpUcity to the ideal of the man she is aboul to marry. He accordingly proceeds to impart his views to a girf fresh from the Foundling. His young nephew comes on the scene, and Embury realizes that nature intended the young to mate with the young. This beautiful costume comedy can be played by all females, and is highly recommended for use by girls' schools and colleges. This play was originally produced by Mr. Charles Froh^ voan witk Miss Annie Russell in the leading role. Price, 60 Cents. SNUG LITTLE KINGDOM , A Comedy in 3 Acts. By Mark Ambient. Modem costume Time, 2i hours. One interior scene throughout; 3 males, 4 females. Bernard Gray, a composer of music, lives in a garret in Soho. Undei his charge is a young girl in the ballet, whose mother had died whe? she was young. Hubert Gray, the brother of Bernard, rescues > wealthy old gentleman from an accident the latt*!* eventuaUjr tiinr *ftg out to be the girl's father. ■Pricft. 60 r»«t8 JUST PUBLISHED Nothing But the Truth A Farcical Comedy in Three Acts By James Montgomery Cast of Characters Bob Bennett B. M. Ralston Clarence "Van Dusea Bishop Doran Dick Donnelly Gwen Mrs. Ralstoa Ethel Mabld Sable Martha SCENES ACT 1. A Broker's Office ACT 2. Parlor of a Country Home ACT 3. " " " " TIME: The Present "Nothingr But the Truth" is built upon th© siMpl© M«a of its hero speaking nothing but the absolute truth for a stated period. He bets a friend ten thousand dollars that he can do it, and boldly tackles truth to win the money. For a very short time the task is placidly easy, but Truth routs out old man Trouble and then things be- gin to happen. Trouble doesn't seem very large and aggressive when he first pokes his nose into the noble resolve of our hero, but he grows rapidly and soon we Bee our dealer in truth disrupting the domestic relations of his partner. In fact. Trouble works overtime, and reputations that have been unblemished are smirched. Situations that are absurd and complications almost knotted, pile up, all credited to Truth, and the result of the wager to foster and cherish that great virtue from the lips of the man who has espoused the cause of truth to win a wager. It is a novel idea and so well has it been worked out that an audience is kept in throes of laughter at the seemingly impossible task to untangle snarls into which our hero has involved all those he comes into contact with. It is a clean bright farce of well drawn characteru and was built for laughing purposes only. William Collier played "Nothing But the Truth" for a year at the Longacre Theatre, New York, and it be^ beea on tour for over two seasons. After three years continuous success on the profesa- ional stage we are now offering "Nothing But the Truth* for amateur production. It is one of the funniest aii4 brightest farces ever written, and it Is admirahlx auHe^ lo amateur production. Puce 6o Cbivt^ BILLETED. A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 males, 6 females. One easy interior scene. A charming comedy, constructed with uncommon skill, and abounds with clever lines. Margaret Anglin's big success. Amateurs will find this comedy easy to produce and popular with all audiences. Price, 60 Cents. NOTHING BUT THE TRUTH. A comedy in 3 acts. By James Montgomery. 5 males, 6 females. Cos- tumes, modern. Two interior scenes. Plays 2J^ hours. Is It possible to tell the absolute truth — even for twenty-four hours? It is — &t least Bob Bennett, the hero of "Nothing But the Truth," accomplished the feat. The bet he made with his business partners, and the trouble he got into— with his partners, his friends, and his fiancee — this is the subject of William Collier's tremendous comedy hit. "Nothing But the Truth" can be whole-heartedly recommended as one of the most sprightly, amusing and popular comedies that this country can boast. Price, 60 Cents. IN WALKED JIMMY. A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 3 females (although any number of males and females may be used as clerks^ etc.) Two interior scenes. Costumes, modern. Plays 3^ hours. The thing into which Jimmy walked was a broken-down shoe factory, when the clerks had all been fired, and when the proprietor was in serious contemplation of suicide. Jimmy, nothing else but plaia Jimmy,, would have been a mysterious figure had it not been for his matter-of-fact manner, his smile and his everlasting humanness. He put the shoe business on its feet, won the heart of the girf •lerk, saved her erring brother from jail, escaped that plaee as a permanent boarding house himself, and foiled the villain. Clean, wholesome comedy with just a touch of human nature, just a dash of excitement and more than a little bit of true philosophy make "In Walked Jimmy" one of the most delightful of plays. Jimmy is full of the religion of life, the religion of happiness and the religion of helpfulness, and he so permeates the atmosphere with his "religion" that everyone is happy. The spirit of optimism, good cheer, and hearty laughter dominates the play. There is not a dull moment in any of the four acts. We strongly re«ommend it. Price, 60 Cents. MARTHA BY-THE-DAY. An optimistic comedy in thre« acts, by Julie M. Lippmann, author of the "Martha" stories. 5 males, 5 females. Three interior scenes. Cos- tumes modern. Plays 25^ hours. It is altogether a gentle thing, this play. It is full of quaint humor, old- fashioned, homely sentiment, the kind that people who see the play will recall and chuckle over tomorrow and the next day. Miss Lippmann has herself adapted her very successful book for stage service, and in doing this has selected from her novel the most telling incidents, infectious comedy and homely sentiment for the play, and the result is thoroughly delightful. Price, 60 Cents. (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 25 West 45th Street, New York C ity New and Explicit Descriptive Catalogue Mailed Free on Request FRENCH'S Standard Library Edition Includes Plays by Clyde Fitch Booth Tarkington William Gillette J. Hartley Manners Augustus Thomas James Forbes George Broadhurst James Montgomery Edward E. Kidder Wm. C. de MiUe Percy MacKaye Roi Cooper Megrue Sir Arthur Conan Doyle Edward E. Rose Louis N. Parker Israel Zangwill R. C. Carton Henry Bernstein Alfred Sutro Harold Brighouse Richard Harding Davis Channing Pollock Sir Arthur W. Pinero Harry Durant Anthony Hope Oscar V/ilde Haddon Chambers Wmchell Smith Margaret Mayo Edward Peple A. E. W. Mason Jerome K. Jerome Charles Klein Cosmo Gordon Lennox Henry Arthur Jones H. V. Esmond A. E. Thomas Mark Swan Fred. Ballard Grace L. Fumiss Cyril Harcourt Marguerite Merrington Carlisle Moore Hermann Sudermann Ernest Denny Rida Johnson Young Laurence Housman Arthur Law Harry James Smith Rachel Crothers Edgar Selwyn Martha Morton Augustin McHugh H. A. Du Souchet Robert Housum W. W. Jacobs Charles Kenyon Madeleine Lucette Ryley C. M. S. McLellan French's International Copyrighted Edition con- tains plays, comedies and farces of international reputation; also recent ] professional successes by famous American and English Authors. Send a four-cent stamp for our new catalogue describing thousands of plays. SAMUEL FRENCH Oldest Play Publisher in the World | 25 West 4'5'th Street, NEW YORK CITY ^'^P^e?ff Deacidified using the Bookkeeper process Neutralizing agent: Magnesium Oxide Treatment Date: April 2009 PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATIOf 111 Thomson Park Drive Cranberry Township, PA 1 6066