The doorkeeper who was taking the air with a member of stage-staff, moved forward, peering at the stranger.

“Was you wanting something?”

“I’m taking this case in for Mr. Gill.”

“He’s in front. You can leave it with me.”

“I’m so sorry,” said the voice behind the beard, “but I promised I’d leave it backstage myself.”

“So you will be leaving it. Sorry, sir, but no one’s admitted be’ind without a card.”

“A card? Very well. Here is a card.”

He held it out in his black-gloved hand. The stage-doorkeeper, unwillingly removing his gaze from the beard, took the card and examined it under the light. “Coo!” he said, “what’s up, governor?”

“No matter. Say nothing of this.”

The figure waved its hand and passed through the door. “ ’Ere!” said the doorkeeper excitedly to the stage-hand, “take a slant at this. That’s a plainclothes flattie, that was.”

“Plain clothes!” said the stage-hand. “Them!”

“ ’E’s disguised,” said the doorkeeper. “That’s what it is. ’E’s disguised ’isself.”

“ ’E’s bloody well lorst ’isself be’ind them whiskers if you arst me.”

Out on the stage someone was saying in a pitched and beautifully articulate voice: “I’ve always loathed the view from these windows. However if that’s the sort of thing you admire. Turn off the lights, damn you. Look at it.”

“Watch it, now, watch it,” whispered a voice so close to Mike that he jumped. “O.K.,” said a second voice somewhere above his head. The lights on the set turned blue. “Kill that working light.”

“Working light gone.”

Curtains in the set were wrenched aside and a window flung open. An actor appeared, leaning out quite close to Mike, seeming to look into his face and saying very distinctly: “God: it’s frightful!” Mike backed away towards a passage, lit only from an open door. A great volume of sound broke out beyond the stage. “House lights,” said the sharp voice. Mike turned into the passage. As he did so, someone came through the door. He found himself face to face with Coralie Bourne, beautifully dressed and heavily painted.

For a moment she stood quite still; then she made a curious gesture with her right hand, gave a small breathy sound and fell forward at his feet.

Anthony was tearing his program into long strips and dropping them on the floor of the O.P. box. On his right hand, above and below, was the audience; sometimes laughing, sometimes still, sometimes as one corporate being, raising its hands and striking them together. As now; when down on the stage, Canning Cumberland, using a strange voice, and inspired by some inward devil, flung back the window and said: “God: it’s frightful!”

“Wrong! Wrong!” Anthony cried inwardly, hating Cumberland, hating Barry George because he let one speech of three words over-ride him, hating the audience because they liked it. The curtain descended with a long sigh on the second act and a sound like heavy rain filled the theatre, swelled prodigiously and continued after the house lights welled up.

“They seem,” said a voice behind him, “to be liking your play.”

It was Gosset, who owned the Jupiter and had backed the show. Anthony turned on him stammering: “He’s destroying it. It should be the other man’s scene. He’s stealing.”

“My boy,” said Gosset, “he’s an actor.”

“He’s drunk. It’s intolerable.”

He felt Gosset’s hand on his shoulder.

“People are watching us. You’re on show. This is a big thing for you; a first play, and going enormously. Come and have a drink, old boy. I want to introduce you—”

Anthony got up and Gosset, with his arm across his shoulders, flashing smiles, patting him, led him to the back of the box.

“I’m sorry,” Anthony said. “I can’t. Please let me off. I’m going backstage.”

“Much better not, old son.” The hand tightened on his shoulder. “Listen, old son—” But Anthony had freed himself and slipped through the pass-door from the box to the stage.

At the foot of the breakneck stairs Dendra Gay stood waiting. “I thought you’d come,” she said.

Anthony said: “He’s drunk. He’s murdering the play.”

“It’s only one scene, Tony. He finishes early in the next act. It’s going colossally.”

“But don’t you understand—”

“I do. You know I do. But you’re a success, Tony darling! You can hear it and smell it and feel it in your bones.”

“Dendra—” he said uncertainly.

Someone came up and shook his hand and went on shaking it. Flats were being laced together with a slap of rope on canvas. A chandelier ascended into darkness. “Lights,” said the stage-manager, and the set was flooded with them. A distant voice began chanting. “Last act, please. Last act.”

“Miss Bourne all right?” the stage-manager suddenly demanded.

“She’ll be all right. She’s not on for ten minutes,” said a woman’s voice.

“What’s the matter with Miss Bourne?” Anthony asked.

“Tony, I must go and so must you. Tony, it’s going to be grand. Please think so. Please.”

“Dendra—” Tony began, but she had gone.

Beyond the curtain, horns and flutes announced the last act.

“Clear please.”

The stage hands came off.

“House lights.”

“House lights gone.”

“Stand by.”

And while Anthony still hesitated in the O.P. corner, the curtain rose. Canning Cumberland and H. J. Bannington opened the last act.

As Mike knelt by Coralie Bourne he heard someone enter the passage behind him. He turned and saw, silhouetted against the lighted stage, the actor who had looked at him through a window in the set. The silhouette seemed to repeat the gesture Coralie Bourne had used, and to flatten itself against the wall.

A woman in an apron came out of the open door.

“I say—here!” Mike said.

Three things happened almost simultaneously. The woman cried out and knelt beside him. The man disappeared through a door on the right.

The woman, holding Coralie Bourne in her arms, said violently: “Why have you come back?” Then the passage lights came on. Mike said: “Look here, I’m most frightfully sorry,” and took off the broad black hat. The dresser gaped at him, Coralie Bourne made a crescendo sound in her throat and opened her eyes. “Katie?” she said.

“It’s all right, my lamb. It’s not him, dear. You’re all right.” The dresser jerked her head at Mike: “Get out of it,” she said.

“Yes, of course, I’m most frightfully—” He backed out of the passage, colliding with a youth who said: “Five minutes, please.” The dresser called out: “Tell them she’s not well. Tell them to hold the curtain.”

“No,” said Coralie Bourne strongly. “I’m all right, Katie. Don’t say anything. Katie, what was it?”

They disappeared into the room on the left.

Mike stood in the shadow of a stack of scenic flats by the entry into the passage. There was great activity on the stage. He caught a glimpse of Anthony Gill on the far side talking to a girl. The call-boy was speaking to the stage-manager who now shouted into space: “Miss Bourne all right?” The dresser came into the passage and called: “She’ll be all right. She’s not on for ten minutes.” The youth began chanting: “Last act, please.” The stage-manager gave a series of orders. A man with an eyeglass and a florid beard came from further down the passage and stood outside the set, bracing his figure and giving little tweaks to his clothes. There was a sound of horns and flutes. Canning Cumberland emerged from the room on the right and on his way to the stage, passed close to Mike, leaving a strong smell of alcohol behind him. The curtain rose.

Behind his shelter, Mike stealthily removed his beard and stuffed it into the pocket of his overcoat.

A group of stage-hands stood nearby. One of them said in a hoarse whisper: “ ’E’s squiffy.”