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Scene--Back room and a section of the bar at Harry Hope's--early morning in summer, Back room and a section of the bar--around A. Harry Hope's is a Raines-Law hotel of the period, a cheap ginmill of the five-cent whiskey, last-resort variety situated on the downtown West Side of New York.

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The building, owned by Hope, is a narrow five-story structure of the tenement type, the edta az anti aging floor a flat occupied by the proprietor. The renting of rooms on the upper floors, under the Raines-Law loopholes, makes the establishment legally a hotel and gives it the privilege of serving liquor in the back room of the bar after closing hours and on Sundays, provided a meal is served with the booze, thus making a back room legally a hotel restaurant.

This food provision was generally circumvented by putting a property sandwich in the middle of each table, an old desiccated ruin of dust-laden bread and mummified ull ungene anti aging or cheese which only the drunkest yokel from the sticks ever regarded as anything but a noisome table decoration.

But at Nagyker Swiss vaud anti aging Hope's, Hope being a former minor Ull ungene anti aging and still possessing ull ungene anti aging, this food technicality is ignored as irrelevant, except during the fleeting alarms of reform agitation. Even Hope's back room is not a separate room, but simply the rear of the barroom divided from the bar by drawing a dirty black curtain across the room.

The right wall of the back room is a dirty black curtain which separates it from the bar. At rear, this curtain is drawn back from the wall so the bartender can get in and out. The back room is crammed with round tables and chairs placed so close together that it is a difficult squeeze to pass between them. In the middle of the rear wall is a door opening on a hallway. In the left corner, built out into the room, is the toilet with a sign "This is it" on the door.

Against the middle of the left wall is a nickel-in-the-slot phonograph. Two windows, so glazed with grime one cannot see through them, are in the left wall, looking out on a backyard. The walls and ceiling once were white, but it was a long time ago, and they are now so splotched, peeled, stained and dusty that their color can best be described as dirty. The floor, with iron spittoons placed here and there, is covered with sawdust.

Lighting comes from single wall brackets, two at left and two at rear. There are three rows of tables, from front to back. Three are in the front line. The one at left-front has four chairs; the one at center-front, four; the one at right-front, five.

At rear of, and half between, front tables one and two is a table of the second row with five chairs. A table, similarly placed at rear of front tables two and three, also has five chairs. The third row of tables, four chairs to one and six to the other, is against the rear wall on either side of the door. At right of this dividing curtain is a section of the barroom, with the end of the bar seen at rear, a door to the hall at left of it.

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At front is a table with four chairs. Light comes from the street windows off right, the gray subdued light of early morning in a narrow street. In the back room, Larry Slade and Hugo Kalmar are at the table at left-front, Hugo in a chair facing right, Larry at rear of table facing front, with an empty chair between them. A fourth chair is at right of table, facing left.

Hugo is a small man in his late fifties.

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He has a head much too big for his body, a high forehead, crinkly long black hair streaked with gray, a square face with a pug nose, a walrus mustache, black eyes which peer nearsightedly from behind thick-lensed spectacles, tiny hands and feet. He is dressed in threadbare black clothes and his white shirt is frayed at collar and cuffs, but everything about him is fastidiously clean.

Even his flowing Windsor tie is neatly tied. There is a foreign atmosphere about him, the stamp of an alien radical, a strong resemblance to the type Anarchist as portrayed, bomb in hand, in newspaper cartoons. He is asleep now, bent forward in szemüveglencse tisztító chair, his arms folded on the table, his head resting sideways on his arms.

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Larry Slade is sixty. He is tall, raw-boned, with coarse straight white hair, worn long and raggedly cut. He has a gaunt Irish face with a big nose, high cheekbones, a lantern jaw with a week's stubble of beard, a mystic's meditative pale-blue eyes with a gleam of sharp sardonic humor in them. As slovenly as Hugo is neat, his clothes are dirty and much slept in.

His gray flannel shirt, open at the neck, has the appearance of having never been washed. From the way he methodically scratches himself with his long-fingered, hairy hands, he is lousy and reconciled ull ungene anti aging being so. He is the only occupant of the room who is not asleep.

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He stares in front of him, an expression of tired tolerance giving his face the quality of a pitying but weary old priest's. All four chairs at the middle table, front, are occupied. Joe Mott sits at left front of the table, facing front.

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Behind him, facing right-front, is Piet Wetjoen "The General". At center of the table, rear, James Cameron "Jimmy Tomorrow" sits facing front.

Joe Mott is a Negro, about fifty years old, brown-skinned, stocky, wearing a light suit that had once been flashily sporty but is now about to fall apart. His pointed tan buttoned shoes, faded pink shirt and bright tie belong to the same vintage. Still, he manages to preserve an atmosphere of nattiness and there is nothing dirty about his appearance.

His face is only mildly negroid in type. The nose is thin and his lips are not noticeably thick. His hair is crinkly and he is beginning to get bald. A scar from a knife slash runs from his left cheekbone to jaw.

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His face would be hard and tough if it were not for its good nature and lazy humor. He is asleep, his nodding head supported by his left hand. Piet Wetjoen, the Boer, is in his fifties, a huge man with a bald head and a long grizzled beard. He is slovenly dressed in a dirty shapeless patched suit, spotted by food. A Dutch farmer type, his once great muscular strength has been debauched into flaccid tallow.

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Ull ungene anti aging despite his blubbery mouth and sodden bloodshot blue eyes, there is still a suggestion of old authority lurking in him like a memory of the drowned. He is hunched forward, both elbows on the table, his hands on each side of his head for support. James Cameron "Jimmy Tomorrow" is about the same size and age as Hugo, a small man.

Like Hugo, he wears threadbare black, and everything about him is clean. But the resemblance ceases there. Jimmy has a face like an old well-bred, gentle bloodhound's, with folds of flesh hanging from each side of his mouth, and big brown friendly guileless eyes, more bloodshot than any bloodhound's ever were.

He has mouse-colored thinning hair, a little bulbous nose, buck teeth in a small rabbit mouth. But his forehead is fine, his eyes are intelligent and there once was a competent ability in him. His speech is educated, with the ghost of a Ull ungene anti aging rhythm in it. His manners are those of a gentleman.

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There is a quality about him of a prim, Victorian old maid, and at the same time of a likable, affectionate boy who has never grown up. He sleeps, ull ungene anti aging on chest, hands folded in his lap.

Cecil Lewis "The Captain" ull ungene anti aging as obviously English as Yorkshire pudding and just as obviously the former army officer. He is going on sixty. His hair and military mustache are white, his eyes bright blue, his complexion that of a turkey. His lean figure is still erect and square-shouldered.

He is stripped to the waist, his coat, shirt, undershirt, collar and tie crushed up into a pillow on the table in front of him, his head sideways on this pillow, facing front, his arms dangling toward the floor. On his lower left shoulder is the big ragged scar of an old wound. At the table at right, front, Harry Hope, the proprietor, sits in ull ungene anti aging middle, facing front, with Pat McGloin on his right and Ed Mosher on his left, the other two chairs being unoccupied.

Both McGloin and Mosher are big paunchy men. McGloin has his old occupation of policeman stamped all over him. He is in his fifties, sandy-haired, bullet-headed, jowly, with protruding ears and little round eyes. His face must once have been brutal and greedy, but time and whiskey have melted it down into a good-humored, parasite's characterlessness. He wears old clothes and is slovenly.

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He is slumped ull ungene anti aging on his chair, his head drooping jerkily toward one shoulder. Ed Mosher is going on sixty. He has a round kewpie's face--a kewpie who is an unshaven habitual drunkard. He looks like an enlarged, elderly, bald edition of the village fat boy--a sly fat boy, congenitally indolent, a practical joker, a born grafter and con merchant.

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But amusing and essentially harmless, even in his most enterprising days, because always too lazy to carry crookedness beyond petty swindling. The influence of his old circus career is apparent in his get-up.