Night has fallen, and Amy is probably now in her bedroom, fully arrayed for her dreadful mission. She says good-bye to her diary—perhaps for aye. She steals from the house—to a very different scene, which (if one were sufficiently daring) would represent a Man’s Chambers at Midnight. There is no really valid excuse for shirking this scene, which is so popular that every theatre has it stowed away in readiness; it is capable of ‘setting’ itself should the stage-hands forget to do so.
It should be a handsome, sombre room in oak and dark red, with sinister easy chairs and couches, great curtains discreetly drawn, a door to enter by, a door to hide by, a carelessly strewn table on which to write a letter reluctantly to dictation, another table exquisitely decorated for supper for two, champagne in an ice-bucket, many rows of books which on close examination will prove to be painted wood (the stage Lotharios not being really reading men). The lamps shed a diffused light, and one of them is slightly odd in construction, because it is for knocking over presently in order to let the lady escape unobserved. Through this room moves occasionally the man’s Man, sleek, imperturbable, announcing the lady, the lady’s husband, the woman friend who is to save them; he says little, but is responsible for all the arrangements going right; before the curtain rises he may be conceived trying the lamp and making sure that the lady will not stick in the door.
That is how it ought to be, that is how Amy has seen it several times in the past week; and now that we come to the grapple we wish we could give you what you want, for you do want it, you have been used to it, and you will feel that you are looking at a strange middle act without it. But Steve cannot have such a room as this, he has only two hundred and fifty pounds a year, including the legacy from his aunt. Besides, though he is to be a Lothario (in so far as we can manage it) he is not at present aware of this, and has made none of the necessary arrangements; if one of his lamps is knocked over it will certainly explode; and there cannot be a secret door without its leading into the adjoining house. (Theatres keep special kinds of architects to design their rooms.) There is indeed a little cupboard where his crockery is kept, and if Amy is careful she might be able to squeeze in there. We cannot even make the hour midnight; it is eight-thirty, quite late enough for her to be out alone.
Steve has just finished dinner, in his comfortable lodgings. He is not even in evening dress, but he does wear a lounge jacket, which we devoutly hope will give him a rakish air to Amy’s eyes. He would undoubtedly have put on evening dress if he had known she was coming. His man, Richardson, is waiting on him. When we wrote that we deliberated a long time. It has an air, and with a little low cunning we could make you think to the very end that Richardson was a male. But if the play is acted and you go to see it, you would be disappointed. Steve, the wretched fellow, never had a Man, and Richardson is only his landlady’s slavey, aged about fifteen, and wistful at sight of food. We introduce her gazing at Steve’s platter as if it were a fairy tale. Steve has often caught her with this rapt expression on her face, and sometimes, as now, an engaging game ensues.
RICHARDSON, blinking, ‘Are you finished, sir?’ To those who know the game this means, ‘Are you to leave the other chop—the one sitting lonely and lovely beneath the dish-cover?’
STEVE. ‘Yes.’ In the game this is merely a tantaliser.
RICHARDSON, almost sure that he is in the right mood and sending out a feeler, ‘Then am I to clear?’
STEVE. ‘No.’ This is intended to puzzle her, but it is a move he has made so often that she understands its meaning at once.
RICHARDSON, in entranced giggles, ‘He, he, he!’
STEVE, vacating his seat, ‘Sit down.’