The scene is a large, whitewashed, disordered room, whose outer door opens on to a corridor and stairway. Doors on either side lead to other rooms. On the walls are unframed reproductions of fine pictures, secured with tintacks. An old wine-coloured armchair of low and comfortable appearance, near the centre of the room, is surrounded by a litter of manuscripts, books, ink, pens and newspapers, as though some one had already been up to his neck in labour, though by a grandfather's clock it is only eleven. On a smallish table close by, are sheets of paper, cigarette ends, and two claret bottles. There are many books on shelves, and on the floor, an overflowing pile, whereon rests a soft hat, and a black knobby stick. MALISE sits in his armchair, garbed in trousers, dressing-gown, and slippers, unshaved and uncollared, writing. He pauses, smiles, lights a cigarette, and tries the rhythm of the last sentence, holding up a sheet of quarto MS. MALISE. "Not a word, not a whisper of Liberty from all those excellent frock-coated gentlemen--not a sign, not a grimace. Only the monumental silence of their profound deference before triumphant Tyranny."
While he speaks, a substantial woman, a little over middle-age, in old dark clothes and a black straw hat, enters from the corridor. She goes to a cupboard, brings out from it an apron and a Bissell broom. Her movements are slow and imperturbable, as if she had much time before her. Her face is broad and dark, with Chinese eyebrows.
MALISE. Wait, Mrs. Miller!
MRS. MILER. I'm gettin' be'ind'and, sir.
She comes and stands before him. MALISE writes.
MRS. MILER. There's a man 'angin' about below.
MALISE looks up; seeing that she has roused his attention, she stops. But as soon as he is about to write again, goes on.
MRS. MILER. I see him first yesterday afternoon. I'd just been out to get meself a pennyworth o' soda, an' as I come in I passed 'im on the second floor, lookin' at me with an air of suspicion. I thought to meself at the time, I thought: You're a'andy sort of 'ang-dog man.
MALISE. Well?
MRS. MILER. Well-peekin' down through the balusters, I see 'im lookin' at a photograft. That's a funny place, I thinks, to look at pictures--it's so dark there, ye 'ave to use yer eyesight. So I giv' a scrape with me 'eel [She illustrates] an' he pops it in his pocket, and puts up 'is 'and to knock at number three. I goes down an' I says: "You know there's no one lives there, don't yer?" "Ah!" 'e says with an air of innercence, "I wants the name of Smithers."
"Oh!" I says, "try round the corner, number ten." "Ah!" 'e says tactful, "much obliged." "Yes," I says, "you'll find 'im in at this time o' day. Good evenin'!" And I thinks to meself [She closes one eye] Rats! There's a good many corners hereabouts.
MALISE. [With detached appreciation] Very good, Mrs. Miler.
MRS. MILER. So this mornin', there e' was again on the first floor with 'is 'and raised, pretendin' to knock at number two. "Oh! you're still lookin' for 'im?" I says, lettin' him see I was 'is grandmother. "Ah!" 'e says, affable, "you misdirected me; it's here I've got my business." "That's lucky," I says, "cos nobody lives there neither. Good mornin'!" And I come straight up. If you want to see 'im at work you've only to go downstairs, 'e'll be on the ground floor by now, pretendin' to knock at number one. Wonderful resource!
MALISE. What's he like, this gentleman?
MRS. MILER. Just like the men you see on the front page o' the daily papers. Nasty, smooth-lookin' feller, with one o' them billycock hats you can't abide.
MALISE. Isn't he a dun?
MRS. MILER. They don't be'ave like that; you ought to know, sir.
He's after no good. [Then, after a little pause] Ain't he to be put a stop to? If I took me time I could get 'im, innercent-like, with a jug o' water.
[MALISE, smiling, shakes his head.
MALISE. You can get on now; I'm going to shave.
He looks at the clock, and passes out into the inner room. MRS.
MILER, gazes round her, pins up her skirt, sits down in the armchair, takes off her hat and puts it on the table, and slowly rolls up her sleeves; then with her hands on her knees she rests. There is a soft knock on the door. She gets up leisurely and moves flat-footed towards it. The door being opened CLARE is revealed.
CLARE. Is Mr. Malise in?
MRS. MILER. Yes. But 'e's dressin'.
CLARE. Oh.
MRS. MILER. Won't take 'im long. What name?
CLARE. Would you say--a lady.
MRS. MILER. It's against the rules. But if you'll sit down a moment I'll see what I can do. [She brings forward a chair and rubs it with her apron. Then goes to the door of the inner room and speaks through it] A lady to see you. [Returning she removes some cigarette ends] This is my hour. I shan't make much dust. [Noting CLARE's eyebrows raised at the debris round the armchair] I'm particular about not disturbin' things.
CLARE. I'm sure you are.
MRS. MILER. He likes 'is 'abits regular.
Making a perfunctory pass with the Bissell broom, she runs it to the cupboard, comes back to the table, takes up a bottle and holds it to the light; finding it empty, she turns it upside down and drops it into the wastepaper basket; then, holding up the other bottle, arid finding it not empty, she corks it and drops it into the fold of her skirt.
MRS. MILER. He takes his claret fresh-opened--not like these 'ere bawgwars.
CLARE. [Rising] I think I'll come back later.
MRS. MILER. Mr. Malise is not in my confidence. We keep each other to ourselves. Perhaps you'd like to read the paper; he has it fresh every mornin'--the Westminister.
She plucks that journal from out of the armchair and hands it to CLARE, who sits doom again unhappily to brood. MRS. MILER makes a pass or two with a very dirty duster, then stands still. No longer hearing sounds, CLARE looks up.
MRS. MILER. I wouldn't interrupt yer with my workin,' but 'e likes things clean. [At a sound from the inner room] That's 'im; 'e's cut 'isself! I'll just take 'im the tobaccer!
