Summary

Portrait of I. A. R. Wylie I. A. R. Wylie The Romances of Sandy McGrab — The Critic's Wife (1914)

He was going to kill Sandy McGrab—but in a modern way, equally effective and more painful.
He drove then to Mary Eliot's flat. It so chanced that he met her returning from the theater, and, yielding to his urgency, she led him into her softly lighted study. She motioned him to be seated, but he stood up, facing her in a kind of rage and cruel satisfaction.
“I'll come straight to the point, Miss Eliot,” he said. “I understand that you are to marry Mr. McGrab.”
Source: Wikisource

Portrait of I. A. R. Wylie I. A. R. Wylie The Romances of Sandy McGrab — The Critic's Wife (1914)

It's no secret. Things have been going wrong with me for a long time, and this—this play is my last chance.” He pulled himself together with an effort. “Mr. McGrab, I know you are a great actor, and I believe you are an honest man. You've seen hard times yourself—you'll deal fairly with an unlucky devil. Tell me the honest truth—hasn't my play a chance?”
Sandy McGrab looked him squarely in the face.
“Why shouldn't I be honest with you?”
“I don't know. You must forgive me. I have so many enemies. Every man who has had a measure of success must be dogged down by the envy of others.
Source: Wikisource

Portrait of I. A. R. Wylie I. A. R. Wylie The Romances of Sandy McGrab — The Critic's Wife (1914)

Sandy McGrab entered his flat as an elegant gentleman of fashion. He had tipped his taxi driver with an Anglo-Saxon liberality, and bidden him good night with scarcely the suggestion of a Highland accent. Half an hour later he was seated before his fire in the shabbiest of shabby kilts, talking broad Scotch to a bewildered, but sympathetic English retainer.
“Ye ken, it's guid to be a reel mon again,” said McGrab, rubbing his bare knees with genial contentment. “It's just wonderful what the kilts can do for one.
Source: Wikisource

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