Lots and lots of dialogue this chapter. Maugham wrote Liza before he started his career as a playwright, I think—looks like yes, per Wikipedia, over five years before the first produced play. So all the dialogue makes sense. Maugham doesn’t move the story in the dialogue though. It’s removed. There’s the action, then there’s the dialogue. Even in this chapter, which features Liza changing her mind about going out with her friends—mostly because the married dude is going (with his wife) and he wants her to go along. I don’t see this relationship going well. I see her poor, boring, but young and single male admirer being very sad by the end of the novel. There’s not much distinct about the writing—more of the dialect—but there’s a nice paragraph at the end, with Maugham sparsely listing Liza’s actions. Of course I like that approach, as I do it myself to no end.