O. Henry's story of a rented room in New York, a young man searching for a lost girl, a scent that will not go away — and a landlady who says less than she knows.
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Ten words unlock the story. Work through the four activities — say your answer out loud before you reveal it.
Three words from the story: lodger · landlady · vacant. Say the right word, then reveal.
O. Henry's story, retold and shortened, keeping his voice. Read each part. After it, there's a quick comprehension check (try the questions from memory first), then one thing to discuss.
In the red-brick district of the lower West Side of New York lives a restless, shifting population. Homeless, they have a hundred homes. They move from furnished room to furnished room, transients for ever, carrying their lives in a bag and a hat-box. Their songs are in ragtime; their hearts are restless too.
One evening after dark a young man rang the bell of one of these crumbling red houses. The landlady who came to the door made him think of a worm that has eaten its way into a nut until only the shell is left, and now looks for lodgers to fill the empty space. "I have the third-floor back, vacant since a week back," she said. "Should you wish to look at it?" He followed her up the dark stairs. "It's a nice room," she said, in a voice that seemed to come from deep inside a cupboard. "It ain't often vacant. I had some most elegant people in it last summer. Theatre people, mostly. Yes, sir, theatrical people are often round here."
He paid for a week in advance. Then he asked the question he had asked a thousand times. "A young girl — Miss Vashner — Miss Eloise Vashner. Do you remember such a one among your lodgers? She would be singing on the stage, most likely. A fair girl, of medium height and slender, with reddish, gold hair and a dark mole near her left eyebrow." "No, I don't remember the name," said the landlady. "Them stage people has names they change as often as their rooms. They comes and they goes. No, I don't call that one to mind."
No. Always no. Five months of searching — theatre managers, agents, schools and dance halls, the crowded rooming-houses at night — and always no. He was sure that since she had left home she had come to this huge city. But New York was like a monstrous quicksand, shifting its grains all the time, and what sank there one day was buried deep the next.
1. What kind of people live in the furnished rooms of the West Side?
2. Who is the young man looking for, and what does the landlady tell him?
1. Transients: restless people with no permanent home, who move from room to room — many of them theatre people.
2. Eloise Vashner, a young singer with reddish-gold hair and a mole near her left eyebrow. The landlady says she doesn't remember the name — stage people change their names and come and go.
Alone, he sat down in the room. It was shabby, with a worn carpet and a cheap mirror, and every object in it seemed to speak of the hundreds of lodgers who had passed through. A brass bed. A broken fan. On the wall, pictures of lovers and soldiers that every furnished room seems to have. On the carpet, a worn path to the bed, as if lovely women had marched there in pairs. On the walls, names scratched with pins. A dark stain where someone had thrown a bottle in rage. The room was like a guest list of the homeless — they had come and they had gone, and none had stayed long enough to love it.
And then, as he sat there, the room was suddenly filled with the strong, sweet scent of mignonette. It came as plainly as if a voice had spoken. He jumped up. "What, dear?" he cried, as though someone had called him. It was her perfume, the scent she had always loved and always worn. She had been in this room. He was certain.
He searched every corner. In the drawers he found a small, abandoned handkerchief, a theatre programme, a pawnbroker's card, two lost marshmallows, a book on the interpretation of dreams, a black satin hair-bow, and a single hairpin. A hairpin is a hairpin; it says nothing about the head it belonged to. He crawled over the floor. He searched the walls, the curtains and the old, cracked chest of drawers. Nothing of hers. And yet the scent of mignonette was everywhere in the room, strong and warm, as if she were standing right behind him.
1. Name three objects or marks in the room that show earlier lodgers were there.
2. What convinces the young man that Eloise was in the room — and does he find any proof?
1. Any three: the worn path on the carpet, names scratched on the walls, the stain from a thrown bottle, the broken fan, the pictures; or from the drawers: the handkerchief, the programme, the pawnbroker's card, the marshmallows, the dream book, the hair-bow, the hairpin.
2. The sudden, strong scent of mignonette, her perfume. He searches everywhere but finds nothing that is definitely hers.
He ran downstairs to the landlady. "Who had my room before I came?" "If you please, I can tell you again. It was Sprowls and Mooney, as I said. Miss Brett Sprowls it was in the theatres, but Missis Mooney she was. Their marriage certificate hung, framed, on a nail over—" "What kind of a lady was Miss Sprowls — in looks, I mean?" "Why, black-haired, sir, short, and stout, with a comical face. They left a week ago Tuesday." "And before them?" "Why, a single gentleman. Before him was Mrs Crowder and her two children. Before them was old Mr Doyle. That takes me back six months. I couldn't say further back than that."
He thanked her and went back up to his room. The scent was gone now; the room was dead and cold. Hope drained out of him. He sat looking at the yellow, singing gaslight for a long time. Then he tore the bed-sheets into strips and pushed them into every crack around the window and the door. When everything was tight and closed, he turned out the light, turned the gas on full again, and lay down gratefully on the bed.
That same night, in the basement below, Mrs Purdy the landlady was drinking beer with her friend Mrs McCool. "I rented out my third-floor back this evening," said Mrs Purdy. "A young man took it." "Did you tell him, then?" asked Mrs McCool, in a whisper. "Rooms," said Mrs Purdy, "are furnished for to rent. I did not tell him, Mrs McCool. There's many people wouldn't take a room if they knew a suicide had been in it." "True for you, ma'am. And a pretty thing she was, to be gassing herself in that very bed. A pretty face she had too, Mrs Purdy, ma'am, except for that mole she had growing by her left eyebrow. Do fill your glass again."
1. What does the young man do after his second conversation with the landlady?
2. What does the final conversation reveal — and why did Mrs Purdy lie?
1. He seals the cracks around the window and door with strips of sheet and turns on the gas: he kills himself.
2. That a pretty girl with a mole by her left eyebrow, clearly Eloise, killed herself with gas in that same room a week earlier. Mrs Purdy hid it because nobody would rent a room where a suicide had happened.
Mrs Purdy never says "No, she wasn't here." She says "I don't remember the name" and "I don't call that one to mind". That is the craft of the evasive answer: avoiding a lie by never quite answering. English has a whole toolkit for it — used by witnesses, politicians, salespeople and, more innocently, by anyone who isn't completely sure.
Complete each evasive answer with one or two words.
1. "Was a young singer here?" — "Not that I know ."
2. "Do you remember a girl with a mole?" — "I can't say I ."
3. "Who had the room in March?" — "I really say. You'd have to check the book."
1. of 2. do (or recall / remember her) 3. couldn't
Choose the best expression: as far as I know · or so · to the best of my knowledge · something like.
1. "How long ago did they leave?" — "A week ."
2. ", the room has always been quiet and respectable." (formal, as in a statement to police)
3. "How many lodgers have you had this year?" — "Oh, thirty, I'd say."
1. or so 2. To the best of my knowledge 3. something like
"As far as I know" also fits sentence 2, but it is less formal.
A week later, a police officer asks Mrs Purdy about the young man. Complete her answers with hedges and vague language. Then read it aloud as Mrs Purdy: polite, smooth and saying nothing at all.
"The young man? He came at eight o'clock, — maybe a bit later. Did he seem unhappy? I say, officer; I only saw him for a minute. Did he ask about anyone? Not that I . A young lady? I can't say I her. As as I know, the room has never had any trouble. My lodgers are theatre people, singers, that of thing. They come and go. You'd to ask Mrs McCool, officer — her memory's better than mine."
or so / -ish / roughly · couldn't · recall / remember · remember / recall · far · sort / kind · have
Seven hedges, no direct lies, and the truth never leaves the basement — exactly Mrs Purdy's technique.
Hold on to these structures — in the Speak tab you'll narrate the story and then try to get the truth out of an evasive witness.
O. Henry was the pen name of William Sydney Porter (1862–1910). He wrote nearly six hundred stories, most of them about the ordinary people of New York: shop girls, clerks, tramps and lodgers. He spent three years in prison for embezzlement, which may be why he wrote about people on the edge with such sympathy. "The Furnished Room" appeared in 1904 and was collected in The Four Million (1906). The title answers a society figure who claimed only "four hundred" people in New York really mattered: O. Henry said all four million did.
This is the heart of the lesson — do all of it out loud. The timer is there to keep you going: fill the time with detail rather than racing through it.
Tell The Furnished Room as if to someone who has never read it, keeping the final secret for the very last sentence, as O. Henry does. Move through the arc: the transient West Side → the landlady and the third-floor back → the question about Eloise → the room and its objects → the scent of mignonette → the search → the second conversation → the gas → the basement, and the truth.
Quote the landlady using at least three hedges, and use at least five key words (transient, shabby, mignonette, lodger, landlady, vacant, relentless, evasive, furnished, pervasive).
Build an argument. One view: Mrs Purdy is morally responsible for the young man's death; her evasions were deliberate, and a straight answer would have saved him, or at least ended his search. Another: she told no direct lie, had no idea who he was searching for, and cannot be blamed for a despair that began long before he rang her bell. Take a side, give three reasons, deal with the strongest objection, and decide how a court today would see it.
Then argue the opposite for one minute — the harder direction is where the language comes from.
Hedging is everywhere: in politics, in business, in daily life. Take the story's theme into the real world.
Stuck for an idea? Pick one of these and run with it: