Armorel arranged for the reading of the play one evening four or five days later. It was a short notice, but she secured the people whom she wanted most, and trusted to chance for the others. She occupied herself in the interval in arranging the details and leading situations for a little comedy drama of her own—a play of some melodramatic force, in which, as in 'Hamlet,' a certain guilty person was to discover by a kind of dumb show that his guilt was known to her. It was to be a comedy which no one, except herself, was to understand. You shall see, directly, what an extremely clever little comedy it was, and how effective to the person principally concerned. She said nothing at all about this comedy even to Effie. As for words, there were none. They were left to the principal character. This is, indeed, the ancient and original drama. The situations were, at the outset, devised beforehand. The actors filled in the dialogue. This form of drama is still kept up, and with vigour. When the schoolboy sets the booby-trap, or sews up the shirt-sleeves, or greases the side-walk—if that old situation is still remembered—or practises any other kindly and mirthful sally, the victim supplies the words. The confidence trick in all its branches is another form of the primitive drama, and this evening's performance with reference to a certain person was only another example. You will hear, presently, what admirable dialogue was elicited by Armorel's situations.
By half-past eight she had completed the mounting of her piece. First, for the reading of the play she placed a table at the side of the room, with a space at the back sufficient for a chair, or for a person to sit. A reading-lamp, with one of those silver cowls that throw the whole light upon the table, stood at either end, illuminating a small space in the middle. This was for the manipulation of the dolls. For, though the people had been asked to come for a reading, Armorel had determined to try the experiment of a recitation, accompanied by the presentment of those puppets which Effie had dressed with such care, and her brother manipulated so deftly. Needless to say that more than one rehearsal had been held. In front of the table she placed a semicircle of chairs for some of her audience. At one side of the table was the piano: a music-stand, with a violin case, gave promise of an overture. Between the music-stand and the table was room for a person to stand, and on the table a water-decanter and a glass showed that this was the place for the reciter. On the other side of the table, in the corner of the room, stood an easel, and on it a picture, with curtains arranged so that they could fall over and cover it up. The picture was lighted up by two lamps. The room had no other lights in it at all, so that, if these two lamps were lowered or extinguished, the only light would be that thrown by the reading-lamps upon the table. As for the picture, it was as yet unfinished, but nearly finished. Of course it was Roland Lee's new picture. This evening, indeed, which professed to be the simple reading of a new play by a new writer, included a great deal more: it included, in fact, Roland's return to the arena he had deserted, and, as you shall see, the stepping upon the stage of both the twins, brother and sister. When one adds that Mr. Alec Feilding would be one of the company, you understand, dear reader, the nature of Armorel's comedy, and the kind of situation devised and prepared by that artful and vindictive young lady.
'How long will it take, dear?' asked Mrs. Elstree, wearily contemplating these preparations.
'I should say that the play will take an hour and a half or two hours to recite. Then there will be a little music between the acts. I dare say it will last two hours and a half.'
'Oh, that will bring us to half-past eleven at least! And then it will be too late for anything else.'
'We don't want anything else to-night.'
'No, dear. The play will be quite enough for us. I wish it was over. I am so constituted, Armorel, that I cannot see the least use in going out of my way to help anybody. If you succeed in helping people to climb up, they only trample on you as soon as they get the chance. If you fail, they are a burden upon you for life. These two Wilmot people, for instance: what are you going to do with them when you have read their play and stuff? You can't get a manager to play it any the more for having it read. The two are no further advanced.'
'Yes; I shall have made the young man known. He will be introduced. Mr. Stephenson promised to bring some critics with him, and you have asked Mr. Feilding to do the same. An introduction—perhaps the creation of some personal interest—may be to Archie of the greatest advantage.'
'Then he will rise by your help, and he will proceed to trample upon you. That is, if the brother is like the sister. If ever I saw "trampler" written plain on any woman's face, it is written on the great square block of bone that Effie Wilmot calls a forehead.'
'They may trample on me if they please,' Armorel replied, smiling.