Sophy, you must not! you sha'n't!

SOPHY.

Why, isn't it for the best? If I was mistaken over what I heard just now, I sha'n't see or hear anything wicked to-night; and that will satisfy both of us--!

LADY OWBRIDGE.

[_Calling._] Muriel--

[MURIEL _joins the group;_ SOPHY _slips away and disappears._

LADY OWBRIDGE.

[_To the_ d.u.c.h.eSS.] Shall we go in?

[LADY OWBRIDGE _and the_ d.u.c.h.eSS, _and_ MRS. EDEN _and_ MURIEL, _ascend the steps and go towards the house. Instead, of following the ladies,_ QUEX _turns sharply and comes forward with an angry, sullen look upon his face._

FRAYNE.

[_Looking round for_ QUEX.] Hallo, Harry! [_Coming to_ QUEX.] Aren't you--?

QUEX.

Hang dinner! I don't want to eat.

FRAYNE.

Anything wrong, old man? anything I--?

QUEX.

[_Shaking himself up._] No, no; nothing--the hot weather. Come along; we mustn't be late for grace. [_Boisterously._] At any rate, a gla.s.s of champagne--[_slapping_ FRAYNE _on the back_] a gla.s.s or two of Felix Poubelle, hey? Felix Poubelle, Carte d'Or! ha, ha, ha!

[_As they turn to go, they see_ SOPHY _on the other side of the low hedge, looking at them steadily._

QUEX.

[_To_ FRAYNE, _quietly._] Wait!

[_They stand still, while_ SOPHY _very demurely walks to the steps, ascends them, and disappears._

QUEX.

[_In an altered tone._] Chick--you see that hussy?

FRAYNE.

Miss Fullgarney?

QUEX.

I can't make her out. I believe she wants to play some trick on me.

FRAYNE.

Trick?

QUEX.

'Pon my soul, I believe she's prying--spying on me.

FRAYNE.

That nice gal!

QUEX.

Oh, I daresay I'm wrong. But if I found it so, I--I'd wring her neck.

FRAYNE.

[_Wistfully._] It's an alluring neck.

QUEX.

Possibly. But I'd wring it--!

[_They go up the steps together._

END OF THE SECOND ACT.

THE THIRD ACT

_The scene represents two rooms--a bedroom and a boudoir--separated by an arched opening across which a portiere is hung. The portiere is, however, drawn aside, and the bedroom, in which is a bed with an elaborate canopy, is partly revealed. The boudoir is nearest to the spectator. Above the fireplace, with bare hearth, on the right, is a broad window running obliquely towards the centre, concealed by heavy curtains. On the left of the window, facing the audience, is a door admitting to a long, narrow pa.s.sage in which a hanging lamp is burning; and on the left of this door is the arched opening dividing the bedroom from the boudoir. Another door opens into the boudoir on the opposite side from a corridor or landing. Beyond this door, against the wall, is a cabinet, on the top of which is a clock. A chair stands at each end of this cabinet. On the left of the arched opening--placed obliquely, the mirror turned from the audience--is a cheval-gla.s.s; and on the right is a sculptured figure or ornamental pillar supporting a lighted lamp.

Before the window stands a large dressing-table. On the table are a pair of candelabra with lighted candles, a looking-gla.s.s, toilet-bottles, and a hand-mirror. A chair faces the dressing-table. Nearer to the spectator are a writing-table, with a heap of French novels on it, and an arm-chair. Opposite stand a circular table, an arm-chair, and a settee. A silver box containing cigarettes, an ash-tray, a match-stand, and a lighted spirit-lamp are on this table._

_The rooms are richly furnished and decorated, but in an old-fashioned and formal manner. Everything is subdued and faded in tone. There are no pillows upon the chairs, nor on the settee, nor any other signs of ease and comfort. Keys are in the locks of both the doors._

[_The_ d.u.c.h.eSS _and_ MRS. EDEN _are seated--the_ d.u.c.h.eSS _in the arm-chair,_ MRS. EDEN _upon the settee--smoking cigarettes._ MRS. EDEN _is wearing a smart dressing-jacket; the_ d.u.c.h.eSS _is still fully dressed._ SOPHY, _who has a.s.sumed an ap.r.o.n, is engaged in bringing hair-brushes and some toilet bottles from the bedroom and in arranging them upon the dressing-table. Her eyes are constantly upon the_ d.u.c.h.eSS.

MRS. EDEN.

These are awfully pleasant cigarettes. I didn't know you--