He recognized with satisfaction a familiar change of mood and he now indulged himself with a sort of treat. He brought out a little piece of secret knowledge he had stored away. Among this company of enemies there was one over whom he exercised almost complete power. Over one, at least, he had, overwhelmingly, the whip-hand and the knowledge of his sovereignty warmed him almost as comfortably as the brandy. He began to think about his part. Ideas, brand new and as clever as paint, crowded each other in his imagination. He anticipated his coming mastery.

His left hand slid towards the flask. ‘One more,’ he said, ‘and I’ll be fine.’

In her room across the passage, Gay Gainsford faced her own reflection and watched Jacko’s hands pass across it. He dabbed with his fingertips under the cheekbones and made a droning sound behind his closed lips. He was a very good make-up; it was one of his many talents. At the dress-rehearsals the touch of his fingers had soothed rather than exacerbated her nerves but tonight, evidently, she found it almost intolerable.

‘Haven’t you finished?’ she asked.

‘Patience, patience. We do not catch a train. Have you never observed the triangular shadows under Adam’s cheekbones? They are yet to be created.’

‘Poor Jacko!’ Gay said breathlessly, ‘this must be such a bore for you. Considering everything.’

‘Quiet, now. How can I work?’

‘No, but I mean it must be so exasperating to think that two doors away there’s somebody who wouldn’t need your help. Just a straight make-up, wouldn’t it be? No trouble.’

‘I adore making-up. It is my most brilliant gift.’

‘But she’s your find in a way, isn’t she? You’d like her to have the part, wouldn’t you?’

He rested his hands on her shoulders. ‘Ne vous dérangez pas’ he said. ‘Shut up, in fact. Tranquillize yourself, idiot girl.’

‘But I want you to tell me.’

‘Then I tell you. Yes, I would like to see this little freak play your part because she is in fact a little freak. She has dropped into this theatre like an accident in somebody else’s dream and the effect is fantastic. But she is well content to remain off-stage and it is you who play and we have faith in you and wish you well with all our hearts.’

‘That’s very nice of you,’ Gay said.

‘What a sour voice! It is true. And now reflect. Reflect upon the minuteness of Edmund Kean, upon Sarah’s one leg and upon Irving’s two, upon ugly actresses who convince their audiences they are beautiful and old actors who persuade them they are young. It is all in the mind, the spirit and the preparation. What does Adam say? Think in, and then play out. Do so.’