Christian name, she has no discovered surname, and is known
throughout the doctors' quarter between Cavendish Square and the
Marylebone Road simply as Emmy.

The consulting-room has two windows looking on Queen Anne Street.
Between the two is a marble-topped console, with haunched gilt
legs ending in sphinx claws. The huge pier-glass which surmounts
it is mostly disabled from reflection by elaborate painting on
its surface of palms, ferns, lilies, tulips, and sunflowers. The
adjoining wall contains the fireplace, with two arm-chairs before
it. As we happen to face the corner we see nothing of the other
two walls. On the right of the fireplace, or rather on the right
of any person facing the fireplace, is the door. On its left is
the writing-table at which Redpenny sits. It is an untidy table
with a microscope, several test tubes, and a spirit lamp standing
up through its litter of papers. There is a couch in the middle
of the room, at right angles to the console, and parallel to the
fireplace. A chair stands between the couch and the windowed
wall. The windows have green Venetian blinds and rep curtains;
and there is a gasalier; but it is a convert to electric
lighting. The wall paper and carpets are mostly green, coeval
with the gasalier and the Venetian blinds. The house, in fact,
was so well furnished in the middle of the XIXth century that it
stands unaltered to this day and is still quite presentable.

EMMY [entering and immediately beginning to dust the couch]
Theres a lady bothering me to see the doctor.

REDPENNY [distracted by the interruption] Well, she cant see the
doctor. Look here: whats the use of telling you that the doctor