The Fourth Man

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Excerpt from The Fourth Man: An Original Comedy in One Act The curtain rises on a private sitting-room in the Cosmopolitan Hotel. There is a sideboard in the centre of the back wall. On either side of the sideboard are windows. There is a fireplace in wall R. There is a door in wall L. Midway down stage is a dining-table, which has been cleared. On it remain glasses, finger bowls, dessert, and a decanter of port. At the table are four chairs. The chair facing the audience is occupied by Canon Lamb, who is sleek, comfortable, self-satisfied, and well-groomed. The chair to the left of the table is filled by Finlay, who is pleasant portly, and despite his profession, human to the core. The chair to the right of the table is occupied by Cunningham. Not less prosperous than the other two, he is leaner in body, less self-satisfied than Canon Lamb, he is infinitely more 'superior', and, like the clergyman, he has none of the strong sentiment in which the solicitor's warm-heartedness and humanity find vent. The chair with its back to the audience is without an occupant. But it has before it finger bowl, dessert, plate and glass. As the curtain rises, Lamb is peeling a peach. Lamb. A fitting conclusion to an excellent dinner! Finlay. Just as much an epicure as ever. I remember how at school you always turned up your nose at jam roll. Nauseous, sticky stuff, you called it. But you generally cleared it up! About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.