Scene: It is two hours later in the morning room. At center back are large recess double doors with muslin curtains on lower half and chintz curtains on upper half. When the doors are opened, a portion of the room of the preceding acts can be seen. Directly at back is seen the table, on which stands the book slide containing the army list. The table runs across stage. Behind and to the R. of this and against the back drop is seen the cabinet of the preceding act. Directly behind table is a chair. The fire glow comes from the R. The back drop should be that portion of the L. wall of the preceding set, showing large picture hung as before. At the left of the set proper, reaching from the floor almost to the ceiling, a semicircular conservatory window, curves out into the room. In this are palms and flowers, with a greenery backing. Recessed into L. first flat is a china closet, containing china and bric-a-brac. Balancing this in R.I is a door leading to the hall. Balancing the conseCrvatory is a large recessed window, muslin curtains on the lower sash and chintz curtains on the upper. Damask hangings over window and also over doors C. All of these hangings are looped back. In the window is set a window box containing flowers. In the center of the window is a small sewing table. Below it and facing it, a winged armchair; above it and facing it, another small armchair. On the table are a lamp and some flowers. Against back flat and to left of window is a small serving table, on which are an empty silver serving tray, a small tray and a small decanter of brandy and two liquor glasses on it. To left of double doors is a chair. R. of conservatory, a chintz-covered stool. Below conservatory, a three-winged, chintz-covered screen. Below this and about three feet from L. flat is a desk, running up and down stage; the lower end being slightly more on stage. On this, on the extreme upper end, is a telephone. Also on the desk are inkwell, pens, paper and envelopes. On the elevated portion of the upper end is a lamp. Below desk, a waste paper basket. In the center of the stage and well down is a small, round dinner table, with cloth. On the table are a cigarette box, a cigarette lighter (burning), two ashtrays, plates, doilies and finger-bowls containing water, fruit knives and forks, a nut-cracker, and an almond dish. Directly in the center of the table is a fruit basket, containing apples, grapes and peaches. One peach should be easily accessible, it being used by Colonel Smith. At the upper end of table are two shaded, lighted candles, between these a vase with flowers. At Celia's place to the R. is a claret glass, stained at the bottom to represent a residue of wine. At Smith's place are a clean claret glass and a high-ball glass, containing a small quantity of whiskey and soda. On either side of the table are chairs. On the back flat, to each side of the doors, are candle brackets. Before curtain rises, the clock off stage (same as used in previous act) chimes ten. Curtain rises on the first stroke, after the usual Westminster prelude. Dinner is over. The lamps are lit and doors at back closed. Celia sits to R. of table, dipping her fingers in finger-bowl. She is in the black dress and shawl of the preceding act. Smith is to the left. He is intent upon explaining something to Celia, and she is listening with most apparent interest. At rise of curtain.

Smith. (Continuing his description) It was the usual sort of formation when a small force gets caught in the open--a square with the maxims at the corners. We had only two,--one--here--at the tip of the nut-crackers, and the other here--at the end of the knife-handle. (He has made a square with dessert knives and nut-crackers on the tablecloth. To illustrate the position of the maxims he uses nuts.)

Celia. Only two!

Smith. We should have liked some more, of course. But we'd have gotten along all right if this fellow here--(Touching one of the nuts)--hadn't jammed.

Celia. Oh! What happened then?

Smith. The Somalis at the corner charged. From here, from here, from here, others swept round and flung themselves upon the back of their companions. Imagine a huge wedge and an enormous hammer pounding behind it. They split our ranks in a second. It was a surprise that took you by the throat. You heard the maxim talking to 'em like a father, and, by George, there they were in the hollow of the square, stabbing at our backs.

Celia. (With much admiration) Oh--and where were you?

Smith. (In square) Here.

Celia. There?

Smith. Yes. (He takes a peach.) That's me. (Places it in the square.)

Celia. Ah! There! You were there?

Smith. Oh, I was all right. We faced the rear ranks about and drove 'em out of it. It was messy. You see, we could only use the bayonet inside the square. In a little while we got the maxim going again and made 'em respectful. However, they hung around us and we couldn't move along very fast. That was our trouble. For we had to move along, we were short of water and a day's march from the wells.

Celia. Oh!

Smith. So, you see, it was necessary that as soon as night came, someone should get through and bring relief.

Celia. (With much appreciation) I know what happened. I know!--You volunteered----

Smith. (Looks at her; his eyes accept her homage and thank her. He laughs happily) Yes. Between you and me--it was safer outside the square.

Celia. (Reproachfully) Oh--!

Smith. Well--I wasn't in command. So I could volunteer.

Celia. And got the D. S. O. in consequence.

Smith. And a drink a day before the others. I'll get a step, too, I think.

Celia. Then you'll be general, won't you?

Smith. Brigadier----

Celia. (Smiling at him admiringly) You can't know what it means to a woman who has lived always in a little out-of-the-way place like this, where only the same ordinary things happen day after day, to hear of wonderful deeds like these--from a man who's done them! (Speaks earnestly, without gushing.)

(Smith beams; moves his chair slightly towards her.)

Smith. Oh, yes. We are getting along together capitally, aren't we? And you can't know how all this--(Moves his hand to include the room)--appeals to a man who finds the skirmish and the camp a bit of an old story, and realizes that this--the quiet, well-ordered household--the home--and the home-maker--is after all what is really worth fighting for.

Celia. (Leans forward, listening) But--surely you have a home?

Smith. I have a house---- By Jove! Now I have two houses!

Celia. (Interested) You have just bought another place?

Smith. Inherited it. An old Abbey about the size of Trafalgar Square on a wet day--and not as cheerful.

Celia. But you mustn't let yourself be lonely. You ought to marry.

Smith. (Moves his chair closer to Celia) That's what I begin to think.

(Martin enters R. with tray. On it, two small cups, small sugar bowl and a coffee pot, also one cigarette for Celia.)

Celia. (Seeing Martin) Won't you have a cigarette? (Offering Smith cigarette box.)

Smith. (Takes cigarette and moves back) Thank you.

Martin. (Placing coffee on the table) Coffee, Miss.

Celia. Sugar?

Smith. Thanks, yes.

Martin. (Has taken up Celia's plate and finger-bowl in right hand and now takes Smith's plate and finger-bow.) Old brandy, sir?

Smith. Old brandy! By George, yes! (Lights cigarette.)

(Martin goes up to small serving table R. of door and puts plates and finger-bowls on tray and gets brandy tray which he brings down to table and pours out one glass, leaving brandy on table. He takes the napkins, goes up, puts them on tray with other things and exits with tray R.I.)

Celia. (While Martin is serving) I asked Martin to serve coffee here, because I thought it would be cosier, you know. (Having poured Smith's coffee, she passes cup to him.)

Smith. (Taking cup slowly from her) Much--much cosier; though, for both of us to-night--(Celia fills her cup)--our one idea of cosiness must be the grave.

(Celia drops pot on tray.)

Celia. (Leans forward, takes cigarette from coffee tray and lights it) The grave! Then, tell me of it, won't you? Where does it lie?

Smith. (Openly perplexed, sees Celia smoking and attempts to use this as a means of extricating himself. Pretending to be shocked) Oh! the grave! oh----

Celia. What's the matter? (Puffs her cigarette.)

Smith. (Shrugging his shoulders) Oh, nothing, nothing.

Celia. Do you object to women smoking?

Smith. I? Not at all. It's companionable, but Smith--(Celia chokes on cigarette)--would Smith have liked to see you smoking a cigarette?

Celia. (Annoyed, pauses) Perhaps not--to-night.

Smith. Not to-night and not any night. (Celia viciously presses cigarette down on ashtray and puts it out. Reprovingly) We both know how strongly he disapproved of the modern latitude of women's manners. (She turns away.) You know I'd fancy the man who could make you care for him would be quite different from Smith. You haven't his little shut-in way of looking at life. You have such a splendid imagination.

Celia. (Nervously) Yes, and I'm beginning to think I need one.

Smith. Did you really love each other?

Celia. (Takes up her coffee cup) I can't answer for Colonel Smith--who was a man you know. But for myself, I can truthfully say that I have thought of him every day for eight months. Thought of him---- Yes! And written to him too.

Smith. (Startled) Written to him! By Jove, then! Where are those letters? You can't let things like that go astray. Letters from you--knocking loose about a camp! (He is upset and disturbed.)

Celia. (Smiling to herself) Why should you imagine--my letters never reached him?

Smith. (Smiling reminiscently) Because I was with him--when he got the first one.

Celia. (Very agitated. Puts her cup sharply on saucer) You--you--you don't mean to say a Colonel Smith ever received---- Oh--no gentleman could have shown my letter.

Smith. (Sincerely) Shown it? Oh, Miss Faraday, you can't know what that letter of yours meant to----

Celia. (Turning on him quickly) I beg your pardon.

Smith. I mean did meant--I mean did mean--to good old Smith. (Leaning forward with a smile. Moves his chair below table a little closer to hers.) I say, I've an idea. Let's forget Smith for five minutes and talk of something else.

Celia. (Forgetting herself) Oh, yes! Do let's.

Smith. What shall we talk about?

Celia. (Very engagingly) You. You have hardly said a word yet about yourself--and--naturally I am interested. (Speaks with a smile. Face on L. hand.)

(Smith edges toward her, delighted R. elbow on table, face on hand.)

Smith. I was born--guess when?

Celia. Thirty years ago.

Smith. (Holding out box) Have a cigarette?

Celia. No, thank you. I'd rather not. Do you think Smith would have liked me to smoke?

Smith. Ah, you see, we can't get away from him. He dominates us. Living or dead, his imperious nature will not be neglected. He sits at the table here between you and me. (Designates a spot between them on table.) To satisfy him, we've got to talk about him.

Celia. What is there to say?

Smith. What is there to say! And you've told me nothing about the Smith you knew.

Celia. (Surprised) The Smith I knew? (Recovering herself) Oh, yes, of course.

Smith. Yes--you see I know him only as the soldier--the man of action--the fighting man--but you----

Celia. But there is nothing to tell.

Smith. (Strongly) You mean there is nothing you wish to tell.

Celia. (Defiantly) Certainly not. What is it you wish to know?

Smith. Let us compare our pictures--mental, of course--of the man. (With solicitude.)

Celia. Oh, no--not at all. Not at all.

Smith. Then you describe Smith as you saw him, and I'll tell you if I agree with you.

Celia. Of course, you know our descriptions won't be alike. No two people's description of anyone ever would be.

Smith. Of course not--except in the definite facts.--His eyes, for instance----

Celia. His eyes--his eyes were not definite.

Smith. Not definite?

Celia. Their color. I mean it varied. Emotion kindled them--apathy dulled them. Sometimes they were light and again they were very, very dark.

Smith. That's funny. I never saw them dark. To me they always were light, like bottle glass.

Celia. Really? Possibly you were not very observing.

Smith. (Acknowledges the point with a touch of impatience) Possibly not. But his hair? Surely we can't differ as to that?

Celia. His hair--you mean did it curl or was it straight?

Smith. Yes--and its color.

Celia. His hair--I hardly know how to describe his hair, because his hair was---- It was like no hair that I ever saw.

Smith. (Laughs) That's a splendid description of a bald man. That always was a great grief to Smith, his baldness; his head was so very bald and bumpy.

Celia. Oh, yes.

Smith. (Puts his hand to his head) What! (Recovering himself) Oh, yes, yes. (Growing more and more determined to trip her and more and more interested in and appreciative of her attractiveness) Now his mouth----

Celia. Well. His mouth was peculiar----

Smith. Peculiar?

Celia. Yes, you see it broadened when he smiled.

Smith. (Laughing) Oh--did he smile for you?

Celia. Oh, often, very often.

Smith. Yes, we all do--don't we? What would you say of his voice?

Celia. It was kind, always kind.

Smith. (Shakes head) Gruff and commanding.

Celia. (Insinuatingly) Naturally--not to me. (Her hand rests on the table.)

Smith. (Slowly covering her hand with his) No, no-how could it be?

Celia. (Looking over their hands to the spot that Smith had indicated earlier) Do you feel he's sitting there still?

Smith. (Leaning toward her) You're surely not afraid of--Wobbles?

Celia. (Pushes chair back, sliding with it as far up stage as possible. Faintly) Did you say--Wobbles?

Smith. (Briskly) You surely knew his nickname?

Celia. (Openly perplexed) But I--I called him--Wobbles. (Stares at Smith.)

Smith. Why! All the Army called him--Wobbles.

Celia. (In dry, queer voice) I didn't know that.

(READY Third Border.)

Smith. He was the most popular fellow--! You won't go to a dance or a garden party for the rest of your life--there won't be a town in the United Kingdom, Miss Faraday, where you won't meet somebody, some old school-fellow, some brother-officer, who knew him:--who will understand your loss and tell you new details of Wobbles. (Rises.)

Celia. (Rises and comes down stage) Not if I know it! (Smith stares at her. Returning, getting her chair and replacing it at table) Colonel Vavasour--I mean it will be quite impossible for me--to indulge myself in any such fashion. Because just as soon as possible, I'm sailing for America.

Smith. (Dropping below table) America? Why, Smith has--four brothers ranching there. And five--I mean three--sisters-in-law. I congratulate you, Miss Faraday. (Offers Celia his hand. Celia takes it limply and he shakes it.) You are going to the very heart of poor Wobbles' family. Shan't I cable them to meet you at the dock? (They are both now in front of table.)

Celia. (Withdrawing her hand) No--no--no--no, please don't do anything like that.

Smith. Why not?

Celia. Well, I don't know, but I--I might get off the ship before it reaches New York. At all events I am going where no one can ever find me.

Smith. (Quickly, but quite seriously) Then--by Jove--I'm going there too. (Takes her left hand tenderly and leans forward. They look straight into each other's eyes for a moment.)

Celia. (Draws herself up) Aren't you forgetting yourself, Colonel Vavasour? (With an irresistible impulse of mischief) Or are you only forgetting Wobbles? (Crosses C. to table. Looking back at spot on table.)

(THIRD Border Full Up.)

(A gay chatter is heard off L. of party returning from concert.)

Smith. (Not hearing it) Oh, damn Wobbles. (Crosses L.) I'm going because---- (The center doors open quickly. Grice, Steele, Faraday, Tarver and Phyllis, Evelyn, Raleigh and Aunt Ida are in the doorway, having come from the left. Conscious of the presence of returning party, Smith reverts to his tone of solemnity and Celia bows her head with grief. Faraday, in doorway, hearing Smith, turns and raises his hands to quiet the party. Grice and Aunt Ida have drifted down L. ahead of the others. Aunt Ida sinks wearily into chair by desk.) Hour by hour, he lay on his sick bed, looking out across the--thatched roofs of Berbera to the Arab---- (Grice sneezes loudly. Turning) Good Lord, what's that! (The others come down in the following order: Steele, Raleigh and Evelyn come down R.; Phyllis and Tarver up C.; Faraday to R. of Celia; Madge by Aunt Ida's chair. Grice has gone down L.C. Some of the party are carrying programs. The doors are left open.) In the midst of our sad communings, how strangely out of place are these revelers.

Omnes. Revelers?

Smith. They come flushed with new wine.

Grice. New wine? They dined with me, sir.

Celia. (Turning to Faraday) Was the concert a success?

Faraday. Of course it was. We were there. (Goes up stage.)

Grice. (Plaintively) We missed you, Celia.

Smith. Miss Faraday couldn't go without hearing Colonel Smith's last message.

(Aunt Ida laughs hysterically.)

Faraday. (Crossing to Aunt Ida. Sternly) Not again, Ida, not again.

(Aunt Ida relapses into a state of semi-oblivion.)

Smith. It's not nearly ended yet.

Steele. Well, she has had over two hours to hear it in.

Smith. (Scornfully) Two hours? It was a long message. He lay for weeks on his sickbed gazing across the thatched roofs of Berbera to--watching----

Raleigh. Oh, yes, watching the Arab cows feeding at their anchors.

Smith. Dhows, man, dhows!

Raleigh. Well, dhows or cows, I don't care. And as for Smith, I tell you, I am fed with the fellow.

(Celia explodes into laughter, covers her face with handkerchief, and sits R. of table.)

Steele. (Thinking Celia is crying) You brute! You--you blundering idiot!

Tarver. (Coming down R. of Celia) Even now he's dead, he's kept you from the concert to-night. My agent told me that we just shouldn't do it. He expects I will lose by a hundred votes.

Faraday. How's that?

Celia. (Looking up quickly) Oh, no, Bobby, it's not too late. We'll help you. (Rises and crosses to Smith, who is R.)

Smith. I am at your service, Miss Faraday.

Tarver. (To Smith, eagerly) And you're some good--aren't you? (Goes up to Phyllis, back C.)

Faraday. We may call on you later, Vavasour.

Smith. Do. Do.

Faraday. (Taking Admiral by the arm and going) Come along, Admiral. Come and have a cigar and we'll talk it over. (Spoken off stage R.) Smith or no Smith, we must win this seat.

Tarver. (Taking Phyllis' arm) Madge--Evelyn. Let's go and count the names of the hundred beasts who won't vote for me.

(Phyllis and Tarver and Madge move to door C. and exit R.)

Evelyn. (Who has moved up to door, turns in door. Coquettishly to Steele and Raleigh) I'm afraid I can't count--without some big, strong man to help me.

Raleigh. (Looking round) Ask Steele. He took all the 'rithmetic prizes at his kindergarten.

Steele. (Looking round) I'll come in one minute, Lady Trenchard. There's something on my program I must show to Miss Faraday. (Indicating program.)

Evelyn. (At door) Well--! When Celia has quite done with all of you---- (Exit rapidly.)

(Clock chimes half hour. A moment after Evelyn has gone off, she presumably switches off lights in room off C.--then third border is put out and no light except glow from fire remains. The doors remain wide open.)

Raleigh. Half past ten! I thought Colonel Vavasour's train left at ten, Miss Faraday.

Celia. (Confused) Oh, did it?

Smith. (Coolly) Well, didn't it? And in any case, Mr. Faraday's clock is wrong.

Steele. (Taking out his watch) Wrong? Not a bit of it.

Raleigh. (Also takes out his watch) I make it ten thirty-two. (Ironically) Perhaps your watch will correct me, Colonel Vavasour.

Smith. (Crosses R.C. Absent-mindedly feels for his watch and starts as he realizes his mistake. Celia sees this and the true situation flashes on her. She swings up stage for a moment to cover her shock and embarrassment and then returns and faces Smith, as she leans against the chair L. of table. Raleigh and Steele have turned to each other and are discussing the situation, for the moment ignoring Celia and Smith. As Celia faces Smith, he flounders through his explanation) Well, you see, I--I--I--I--I left my watch in town to be cleaned. It ran too fast.

Celia. (Sarcastically) Like the inventive genius of its owner, perhaps, and your scarf pin; no doubt, you've taken advantage of this period of mourning to have all your jewelry attended to. (Turns away R.)

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"Green Stockings" Page 85

Smith. Miss Faraday, please----

Celia. (Turning back) Colonel Vavasour, I think you said your name was. You will allow me, won't you, to lend you the watch you so kindly brought from poor Colonel Smith. Otherwise, you know, you might be a very long time without your own, and since your grief must now be lessened, by having shared it with me, perhaps you might be induced to mitigate your mourning and wear his pin. Do let me send them to you. And I'll include a little nursery fable which perhaps you know, called, "The Tortoise and the Hare," because I think--I've caught up. Now, I'll say good-night to you, Colonel Vavasour, and good-bye.

Smith. (Seriously) Good-bye?

Celia. (Moving to C. and speaking to Raleigh) There is a midnight train to town?

Raleigh. Oh, yes.

Celia. (To Smith) I'm quite sure that Mr. Steele and Mr. Raleigh will be happy to drop you at the station on their way home.

Steele. Delighted!

Celia. (To Raleigh, shaking hands) So sorry to hurry you away.

Raleigh. Oh, I shall see you to-morrow, Miss Faraday.

Celia. Yes, do. (Nods good-night to Steele.)

Aunt Ida. (Who is still at desk, her head resting wearily on her hands. Sleepily) Everybody going?

Celia. (Crosses L.) Yes, dear, Colonel Vavasour is. (Crosses to Aunt Ida.)

Smith. Is there nothing left unsaid? Is there nothing left for me to say but good-bye?

Celia. (Over her shoulder) Nothing.

Smith. (Bows. Speaks in a brisk, matter-of-fact way, as he crosses C.D.) Well, since you two fellows are kind enough to offer me a lift. (Exits, followed by Raleigh and Steele, who go off, chatting ad lib. and closing door.)

(WARN Electrician for lights out.)

Celia. (Tearing off her black shawl, waving it in the air, and throwing herself in the chair L. of table, her back to the audience, disclosing her gay and decollete bodice) Oh--h-h-h-h! Oh--h-h-h-h! Oh--h-h-h-h! Oh--h-h-h-h!

Aunt Ida. (Going to Celia) Celia, what have you been up to now?

Celia. Oh, when I think of it, Aunt Ida! "The Arab dhows riding at their anchors," and how I told him---- Oh, Heavens--how I told him he ought to marry. Oh--h-h-h-h! Oh--h-h-h-h!

Aunt Ida. Celia Faraday! (Goes up to her and catches her by both shoulders) Are you mad? I vow I've a great mind to shake you.

Celia. I wish you would, Aunt Ida. I wish you would. (Looking toward door R.) I don't believe it. I don't believe it. I don't believe what I do believe. For Heaven's sake, dear, go and fetch me the army list, so that I may make sure of what an awful fool I've been, and if what I believe is true, let me sit like this in the dark. (Goes up and presses switch and sits in chair L. of door. Lights out.) --All the rest of my life and blush and blush and blush until my cheeks drop off from blushing.

(Aunt Ida comes L. of Celia's chair. There is only the moonlight now in the morning room, with a shaft of moonlight shining through window R. on Celia. The library, seen through the wide open doors, is lit up by the glow from the fire.)

Aunt Ida. Are you mad? (Starts to exit to get army list. Sees Smith and draws away R.) Hush--sh-sh-sh!

(Smith in an ulster is seen to cross cautiously at back to table. He lights two or three matches at once and looks through book-slide for army list. Finding this, he takes it and smiles in a satisfied manner, and holding the match to the list, moves off stage R. Celia and Aunt Ida peer after him. A flicker is seen on the walls and furniture of the room off stage, as of the book burning. After a pause, Celia rises and stands C. in doorway, facing audience.)

Celia. The army list!

Aunt Ida. Now he's thrown the army list into the fire. (Ready motor horn.) Celia--has Colonel Vavasour gone mad too?

Celia. So! He thinks he can prevent my finding out, does he? That I can't be absolutely sure until to-morrow? Well (Rushes off R.)

Aunt Ida. Perhaps we are all mad--mad as hatters. (Goes R. and presses light switch.)

(LIGHTS Up.)

Celia. (Off stage) Army lists don't burn as suddenly as that, I know. (At door) I have burned too many of them. (Reappears, carrying the partly burned army list in tongs. She comes in blowing at the burning book) Blow, Aunt Ida, blow! (Aunt Ida joins her. They both blow to put out the sparks.) Only the A's are burnt, Aunt Ida, only the A's. (Goes down L. of table, drops book on table, and hands the tongs to Aunt Ida.)

Aunt Ida. (Waving the tongs) Only the A's! Ha! Ha! Only the A's!

(Motor horn is heard off R.3.)

Celia. What's that, Aunt Ida, what's that?

Aunt Ida. It's Mr. Raleigh's motor.

Celia. (With an outburst of relief) Well, then, he's gone, isn't he, he's gone.

Aunt Ida. Yes, he's gone, he's gone!

Celia. (Picks up book and runs through it) V-V-V-V-V-- Vallance--Valpey--Vanderfeldt--Varley--not a Vavasour.

Aunt Ida. Celia!

Celia. (Throwing down book) Not one in the whole army list. No? Not the tiniest little bit of a one.

Aunt Ida. (Flourishing tongs more wildly) Then who is he? What did he come here for?

Celia. I don't know, but he's gone now, isn't he? He's gone!

Aunt Ida. I know he's gone, but what did he come here for? (Celia looks at her. A light breaks over her.) Celia Faraday! That man--had your letter--in his pocket. He told Phyllis he had your letter! I thought it strange! Then Colonel Vavasour isn't Colonel Vavasour. (Sits R. of C. table.)

Celia. No!

Aunt Ida. He's Colonel Smith.

Celia. Yes.

Aunt Ida. He's----

Celia. (In the smallest possible voice) --Mr. Wobbles! (Enter Faraday R.IE.) Father, dear, has Colonel Vavasour gone?

Faraday. No, my dear.

Celia. What!!!!

Faraday. I was fortunate enough to catch him at the door.

(Aunt Ida drops tongs on floor beside her R.)

Celia. But, Father, what ever possessed you to ask him to stay? (Crosses L. Sits.)

Faraday. You know he offered to help us. Things are looking pretty black for Tarver. We need all the help we can get at this mass meeting in the morning. So I have persuaded Colonel Vavasour to stop over and take the noon train.

(Faraday turns toward door R.I and proudly ushers in Smith. Celia and Aunt Ida turn their heads away, much discomfited.)

Faraday. (Taking Smith by the arm and passing him across him) A room must be prepared at once. Has Mrs. Brown gone to bed yet?

Celia. (Still seated L. of table. Haughtily) I don't know, Father. She frequently goes to bed.

Faraday. Eh?

Celia. (Confused) I mean, early.

Faraday. (As Smith goes C.) Good-for-nothing old person, that housekeeper. Come with me. I'll look out for you myself. (They walk toward door C.) We'll be back presently, Celia, to say goodnight to you and your aunt. (They exit C. door to L. Off stage) Tell Martin to bring in whiskey and soda.

Celia. (After a pause) Did you hear that, Aunt Ida?

Aunt Ida. (Wearily) Uh-huh.

Celia. "Stay here for the night and then take the noon train." That's our train, Aunt Ida--the noon train. Isn't this an awful situation? Now, what are we going to do?

Aunt Ida. (Still more wearily) I don't know.

Celia. I can't face that man again, after--I can't. I have got to get out of this house myself, to-night, some way, somehow. (Rushes up to C. doors, closing and locking them.) How can I manage it? Think, Aunt Ida. Think--think--think--think--think.

Aunt Ida. (Disgustedly) Think--think--think--think--think. I can't think. My poor old head won't stand much more of this.

Celia. (Coming down back of Aunt Ida and putting her arms about her) I've got it. Since he's going to take our train, there's nothing left for us to do but take his.

Aunt Ida. (Startled) What?

Celia. Yes, that midnight train. I don't care where it goes or if it ever gets there. We'll manage to reach Southampton somehow before to-morrow night. The thing is to get away from here as quickly as possible. We must hurry terribly. It's nearly eleven now. We can have a compartment to ourselves. I'll see if Wilson is still at the station. (Crossing to telephone on desk) He'll tell us all about it.

Aunt Ida. (Protesting) I'm only half packed.

Celia. That doesn't matter. I'm not packed at all. Kent's a jewel. She will stay up all night, packing everything, and follow us in the morning. (Rings telephone and lifts off receiver) Hello! Are you there?

Aunt Ida. (Still protesting) My tailor suit has gone to the cleaner's and won't be home till morning. I've nothing to wear.

Celia. There is no time to wear anything. We must go without any clothes.

Aunt Ida. What!!

Celia. Except motor coats, I mean. We've got to go as we are. (Into telephone) Hello! Yes, put me through to the station, quick, please. I want to speak to Wilson. (To Aunt Ida) Now, don't worry, Aunt Ida, I will bundle you up warmly.

Aunt Ida. I'll have to have something to eat. I have had nothing since morning. I couldn't eat a bite at the dinner and I feel so gone and faint.

Celia. Well, if you're feeling faint, dear, take a drink of that brandy. That'll do you good.

Aunt Ida. Oh, no. I'm not addicted to the use of those things.

Celia. But, if you're faint, you need it. (Into the telephone) Hello! Hello! Is that you, Wilson?

Aunt Ida. But I do feel very faint.

Celia. Just a minute, Wilson. (Puts down receiver and runs across to brandy bottle, picks up bottle and pours it into whiskey and soda glass, while she talks excitedly. She pours the glass half full.) Now, please, dear. Don't be ridiculous at a time like this. You might have one of your dreadful fainting spells in the motor, and I shouldn't know what to do for you. Now, come, come, dear, drink this. (Rushes to the back of Aunt Ida's chair and holds the glass while she drinks. Aunt Ida drains the glass, making a wry face and shuddering. Celia hurriedly puts down glass and flies back to telephone.)

Aunt Ida. If only it doesn't go to my head!

Celia. Oh, it won't, it won't. (Into telephone) Hello, Wilson, are you there? Well, listen, this is Miss Faraday. Yes, yes, Miss Celia. I've got to get away to-night on the midnight train. It's most important and will you look up at once what connections that train makes for Southampton--yes, Southampton. Also please wire Bletchley, and have a compartment reserved for me. What? It will take you ten minutes? Please hurry. There is so little time to spare. (Replaces receiver.) Now we must get the motor. (Springs up from chair and goes up to bell-push L. of C. door, rings bell, runs down to R. of Aunt Ida and picks up the tongs from floor.) How do you feel now, Aunt Ida? How do you feel now?

Aunt Ida. Oh, I feel all right.

(Enter Martin R.I. He stands.)

Martin. Yes, Miss.

Celia. (Holding tongs) Oh, Martin, I want you to jump upstairs----

Martin. (In open amazement) Jump, Miss?

Celia. I said, "Jump" and tell Kent to give you two motor coats and any other kind of a wrap she can find, two motor bonnets, some veils and furs and some pins and my motor bag and--two toothbrushes. We are going for a drive.

Martin. A drive, Miss?

Celia. (Irritated) I said a drive. Will you hurry, please?

(READY Telephone.)

Martin. Very good, Miss. (Exit R.I.)

Aunt Ida. We can't have the motor. We couldn't have it to go to the Admiral's. It's broken.

Celia. (Putting tongs in the winged armchair) It wouldn't be a motor if it wasn't. Now what will we do? Oh, I'll get Jimmie Raleigh and he'll come back and take us down in his. (Goes to phone.) Hello! Hello! I wonder what the--(Aunt Ida squeals)--telephone number is. Oh, Aunt Ida, please do be quiet. You know you will make me nervous in a minute.

Aunt Ida. I'm not saying a word.

Celia. Hello! Hello! Give me Sir William Raleigh's house, please. Yes, I know the family is away, but I want to speak to Mr. James Raleigh. (Stuffs handkerchief in telephone receiver and turns to Aunt Ida.) Aunt Ida, tell me, do you know, are there any Smiths ranching in Chicago?

Aunt Ida. (Slightly tipsily) Smiths? Smiths? I don't know.

Celia. (Into telephone) What? He's not in? (Martin enters with wraps and bags. Crosses back of table to chair L. of table.) Well, have him ring me up directly he comes in--Miss Faraday. Yes, please. (Puts up telephone. Jumps up, goes to Martin, helps him place wraps on chair, takes bag and puts it on floor, beside and to the L. of chair R.)

(Note: The wraps must be placed across Martin's arms in the following manner: Celia's wrap on bottom, then her veil and bonnet. Next comes muff and fur for Aunt Ida. Then the ulster for Aunt Ida and on top her bonnet. The bag is in Martin's hand.)

Martin. (Going C. above table) Shan't I clear the table, Miss?

Celia. No, leave it till morning. Don't bother about anything. Go to bed, Martin, go to bed. Good-night.

Martin. Thank you, Miss. Good-night. (Goes L. and exits.)

Aunt Ida. You have forgotten the whiskey and soda.

Celia. (Seizes Aunt Ida's bonnet from pile of wraps and crosses to her above table) Of course I have. You don't suppose I'm going to have those two men back here until we're out of the way. (Placing bonnet on Aunt Ida's head from back) I don't want to hurry you, dear, but we must be ready the minute Mr. Raleigh gets here. (Celia is so excited that she gets Aunt Ida's bonnet on quite to one side, ties a rampant bow under her right ear, then flies up stage and peeps through curtain on door to see if the men are returning. Aunt Ida during this is showing serious signs of the effect of the brandy by grotesque gestures and movements of her head. Celia returns R. of Aunt Ida.) How do you feel now, Aunt Ida, how do you feel now?

Aunt Ida. (Quite tipsily) I never felt like this before in all my life. I think I've got a chill.

Celia. A chill? Do you want a little more brandy? (Goes for decanter.)

Aunt Ida. No--no--no--no.

Celia. (Seizing ulster and going back to her) Then get into this. It will keep you warm while you are waiting. (She helps Aunt Ida, who is still seated, into the ulster, her right arm first. She then rushes back to chair for fur and muff.)

Aunt Ida. (Flopping on table) Oh, Celia! Why do we have to go on this dreadful journey?

Celia. (Handing her muff over her shoulder, which Aunt Ida clutches and hugs like a child) To get to Chicago, dear, to get to Chicago! (Placing stole around her neck) And we'll be there almost before you realize it. (Telephone bell rings. Celia throws stole quickly around Aunt Ida's face, almost smothering her, and rushes to telephone.) Hello!--Hello!--What?--Yes, Mr. Raleigh. I did--Mr. Raleigh, Aunt Ida has just had a cable from Chicago with some very bad news.

Aunt Ida. Oh! Oh!

Celia. (To Aunt Ida) Hush! (Into telephone) And she has got to get away to-night on the midnight train. I want to go a little way with her. Won't you come and drive us to the station in your motor?--What? You will? Oh, that's very kind of you, but don't drive up to the door. (Aunt Ida rises, supporting herself on table.) No, stay down by the gate and we'll walk down. (Aunt Ida has moved cautiously around and walks over to the conservatory window.) Just blow your horn gently when you get here, so we'll know that you've arrived. We'll go down as quickly as we can. Yes.--Thanks.--Yes, yes. (Hangs up receiver and goes for her bonnet. Crosses below table to door R.) How do you feel now, Aunt Ida? How do you feel now?

Aunt Ida. I'm afraid it's a fever, or else I'm dreadfully over-heated. (Sits on stool.)

Celia. (Going to her) You'll be all right, once you're in the fresh air. But I've got to leave you for a few moments while I run upstairs and get my box of love letters. I can't go away and leave those things behind me. There are about two hundred and fifty of them by this time. (Going R.) I've been writing to that man every day for eight months.

Aunt Ida. Celia! (Celia stops. Beckons to her tipsily. Celia goes to her.) Do you know something, Celia. I believe you're half in love with Smith.

Celia. (Going back R.) You dear old goose, you don't know what you're talking about. I half in love with that man? Half in love with a man who has treated me as that man has done? Well--(Going further R.)--I hope I'm not quite such a fool as that, Aunt Ida.

Aunt Ida. Oh, oh, oh, oh!

Celia. (With her back to Aunt Ida) Well, and if I were? Isn't it all the more reason for me to get out of this house before I make a bigger fool of myself? (Goes to door R., which she barely opens when Aunt Ida stops her again.)

Aunt Ida. Celia!!! (Celia turns.) I believe--I ought to lie down.

Celia. (Lets the door slam to and rushes straight across the stage to Aunt Ida) No, Aunt Ida, dear, you can't do anything like that. You can sleep in the motor and in the train, but you must stay here while I'm gone and listen for Wilson's telephone message and write it down.

Aunt Ida. It's no use. Just five minutes. I must lie down.

Celia. I won't be a minute.

Aunt Ida. Now I'm getting cold. Put something around me.

Celia. Well, here. (Puts screen in front of her) This will keep off the draught and you can have the fresh air at the same time, and have a little nap while you're waiting. (Speaking over, her shoulder, she goes R. to door) No one will disturb you, dear. I've locked that door and will take the key of this one with me, and I'll hurry back as fast as I can, Aunt Ida, just as fast as---- (Exits quickly, locking door behind her.)

(There is a pause. The faint toot of a motor horn is heard off L. Aunt Ida's hands are seen to grasp the top of the outer wings of the screen, one by one. Her head appears for a moment. She looks about tipsily and then drops suddenly out of sight again. After a pause, a second toot is heard. Aunt Ida rises slowly and carefully and comes out R. of screen. She is extremely puzzled.)

Aunt Ida. Now what was that? (Her eye lights on telephone and a smile breaks over her face) The telephone. Wilson's message. Must write it down. (Goes carefully and slowly to desk and sits heavily in chair. Takes off receiver and places transmitter to her ear. There is a pause as she listens. A look of terror and surprise creeps over her face.) Now! something's the matter with my ears. I can't hear a word they say. I believe I'm paralyzed. Oh, dear. (Looks helplessly about her.) Why doesn't Celia come back? (She has taken a pen in her right hand to write down the message. She holds the receiver in her left hand. She looks from one to the other and cannot make up her mind which goes where. She finally decides and elaborately puts the pen in the telephone hooks with a satisfied smile. She then carefully places the receiver on the desk where the pen ought to be.) It's not us. This has been a dreadful day. (Slowly and carefully rising and looking tipsily about) If I'm to be good for anything to-night, I will have to lie down somewhere. (Goes up to doors) If only for five minutes. (Unlocks and opens doors) I'll have to lie down--I'll--have--to---- (She exits at back to R., whimpering to herself. When she is off, the telephone bell begins to ring. After it has rung for a moment, Faraday is heard off stage, calling)

Faraday. (Off stage L.) Celia! Celia! Where are you, Celia? (He appears from the L. and stands in C. doorway, looking off right. His jaw drops.) What--is--the--matter--with--your--Aunt? (The telephone bell continues to ring. He hurries down.) Here! Stop it! Stop it! Stop it! (Smith enters and comes down L. of table above chair where Celia's coat and bag are. Faraday sees pen in telephone hooks, jerks it out and throws it on desk and picks up receiver. Bell stops ringing.) Hello! Hello! Faraday Hall. Mr. Faraday speaking.--Tell Miss Faraday what? You've made the reservation on the midnight train, change cars at Cobden?

Smith. (Sees Celia's wraps and bag and starts slightly) Miss Faraday going? (Moves R. above table, thinking.)

Faraday. (Into telephone) Nonsense, man, you mean Mrs. Faraday. At twelve noon, she's leaving, not twelve midnight.--What's that you say? It was Miss Celia that telephoned and said she was going herself? Nonsense, man! Don't argue with me. I'm afraid you've been drinking, my man. (Smells telephone) The telephone reeks of brandy! Try to be sober by morning. Remember, we need you in this election. (As he hangs up telephone) I've only known him to be drunk once before--decent chap and devoted to Celia.

Smith. (R. of table) Every one is, sir. She's peculiarly attractive.

Faraday. Yes, but it's taken people a long time to find it out. Now, where has Martin put that whiskey? (He goes fussing about the room) But the men who want to step into Smith's shoes now are legion. (Still looking about and fussing. Picks up brandy decanter. Smells it and puts it down.)

Smith. It's a legion, sir, I'd like to enlist in at once. Have I your permission?

Faraday. Of course you have, my dear fellow, of course you have! (Crossing R.) If I can only find that damn whiskey and soda, I will drink good luck to you. (Rattles door down R. Finds it locked) What do you suppose that scoundrel Martin has been up to? Has everybody been drinking to-night? Come, we'll have to go around through the library. (Goes up to C. door and exits R. Smith follows him. As Smith gets to door, the motor horn toots twice. He pauses and looks back, knowingly, then exits off R. After his exit, horn toots twice.)

(Enter Celia with box supposed to contain love letters and small box supposed to contain watch and pin. She closes the door and deliberately disregards open doors at back.)

Celia. (Keeping her eyes fixed on her box of letters, crosses C. below table) I'm back, Aunty dear. I wasn't very long, was I? I've got my box of love letters. (Holds out box and looks at it ruefully) Well, they will go into the furnace with my own hands. (Places box right of her on table.) And his watch and his pin, infamous things, he'll have those back and a letter with them, that I hope will burn without going into the furnace. (Celia goes to desk and takes up a piece of paper as if to write) Tell me, dear. Did Wilson telephone?

Smith. (Who has appeared at back from R.) Yes, Miss Faraday, he did. (Celia drops the paper from her hand, turns slowly around, sees open doors, walks deliberately to screen and looks over it, her back to the audience. She turns around, her face expressing chagrin and annoyance at Aunt Ida's failing her.) Mayn't I come into the room and speak to you?

Celia. Certainly not. (Goes and viciously seizes her coat from chair and begins to put it on.)

Smith. (Coming into the room just the same and coming down above her on the R.) You told me, I know, there was nothing more to say but good-bye and I'll say that too, if I must. But first, there is something else to say and I'd much rather say it than write it.

Celia. Mo, whatever you do, don't write--don't write me anything. I dislike letters intensely and just at present they seem to be a drug on the market. (Picks up her bag and veil.)

Smith. But there is something I must say to you before you go.

Celia. How do you know I'm going anywhere?

Smith. (Looks down at her bag and smiles) Well? (Celia swings bag to other side of her.) Besides, I overheard Wilson's message.

Celia. Oh, you did. Well, then perhaps you will be good enough to realize that I'm in something of a hurry. You will find your jewelry there on the desk.

Smith. Won't you sit down for five minutes?

(READY Horn.)

Celia. Certainly not.

Smith. Just five!

Celia. No.

Smith. If you don't, upon my word, I shall begin to believe that you are afraid of me.

Celia. (Sits quickly with her back to the audience L. of table) Indeed! That wouldn't be your first mistake, you know.

Smith. I know it was a foolish trick. I had no right to come here as I did.

Celia. It was a cruel joke.

Smith. (Simply and feelingly) Yes, but a joke that is more on me now than it ever was on you. (Motor horn toots three times. Celia turns her head in the direction of the conservatory.) I want you to know that my name really is Vavasour.

Celia. You astonish me. Isn't it anything else too?

Smith. Yes, it's really J. N. Smith, too.

Celia. Oh! Is that all?

Smith. No, more. Now that I have come in to my Uncle Vavasour's old Abbey, I have to take his name legally, Smith-Vavasour, don't you see?

Celia. I see. What a delightful combination of class and mass! This may be all very interesting to anyone interested, but really I haven't time now to split hairs over a middle name. Your intention was to deceive me, and you almost succeeded. Failure alone, I take it, accounts for your present humility. Now, if you will be good enough to get your watch on the desk, you will see that the five minutes you asked for are up and, since you insist on saying good-bye to me, will you say it as quickly as possible, please, and let me go? (Makes no attempt to move.)

Smith. No. Not until we've decided what's to be done about your other letters. (Hand unconsciously rests on the box of letters without his knowing it.)

Celia. (Glances at this and tries to appear unconcerned) What other letters?

Smith. I have that first one here. (Pressing his hand over his heart.) But--all the others. Good God! (Moving well down R.) When I think of love letters of yours wandering loose about Somaliland---- (Celia places her bag quickly on table, steals her arm across, seizes the box of letters while Smith is not looking, and on the word Somaliland, swings away from him, hiding the box awkwardly under her cloak.) There's one thing I can do to show you what I feel about it. Give me some clue to the mistaken addresses you must have put upon them and I'll start back to-morrow and fetch them. (Comes L.C., quite close to Celia.)

Celia. From Somaliland?

Smith. From Hell, if necessary.

Celia. Fortunately, such a journey would be superfluous.

Smith. What do you mean?

Celia. I mean that all of those hundreds and hundreds of letters that I was fool enough to write to an imaginary hero are all here in this box. And now they're going into the furnace with my own hands. (Starts for door, swinging the box in her right hand.)

Smith. (Following her and playfully taking the box from her) Won't you give them to me instead?

Celia. (Turns back and they both hold on to box) Certainly not. It's an additional insult that you should even suggest such a thing. Do you suppose I ever want to see you or hear your name again--a man who has dared to hold me up to ridicule as you have done--to wickedly and cruelly amuse himself at my expense---- (Smith gives a low laugh.) Oh, don't you suppose I know how funny I must have seemed to you? Ha! Ha! (Imitates Smith's laugh.) Silly idiot of a girl, tired of having no notice taken of her, tired of being kept on the shelf, just dying to show people how attractive she could be--only give her the chance. And to think because of that I made such an everlasting fool of myself before a man, a man who is capable of----

Smith. Capable of telling you a lie, Miss Faraday? (Puts box of letters on table.)

(READY Motor Horn.)

Celia. Well, you did. You know you did. You did everything you could think of to deceive me.

Smith. I can't deny it.

Celia. And do you believe that a man or a woman could ever bring himself or herself to respect or have anything to do with a man or a woman who--who deceived?

Smith. I do believe it. And judging by my own case, I may say I know it.

Celia. I don't think it is very generous of you to allude to me in that manner.

Smith. Me. We are discussing me, Miss Faraday. What can I say to induce you to forgive me?

Celia. Nothing. (Smith turns away. She glances at him. In an indifferent tone) But, of course, you may say it if you wish.

Smith. (Turns and comes to her. Tenderly) I did lie to you elaborately, and I'm going to be jolly glad that I had the chance of lying to you, and I want all the rest of my life the chance of telling you the truth. These few hours with you have made me want so very much for more like them, made me want a chance to seem less odious in your eyes, at least to be on a fair footing, so that I may take my chances with the rest.

Celia. (Looking straight into his eyes) But they haven't any chance at all.

(Smith laughs a little and Celia, realizing her "break" turns her head away in confusion.)

Smith. Well, that's good news. Then give me a chance alone, won't you? You've only known me for four hours, but am I wrong in believing that you've been thinking of me for eight months? Can't I hope to take the place of the man to whom you gave my name?

(Celia smiles and looks down a little wistfully, as if about to consent. Motor horn toots three times.)

Celia. (Throwing off her yielding mood, turns and goes to the winged armchair, back to audience, shaking out her veil and pointing L.) Oh, no, it's all too impossible. Besides, Mr. Raleigh is waiting for me in the motor.

Smith. (Comes to her and gently takes her right hand) You've been dreaming for eight months of an ideal that you never thought to see. I've been dreaming all my life in exactly the same way and at last I've seen mine.

Celia. (After a pause, during which she lets her hand rest in his, her head averted) Yes, but it's too late now, because I'm leaving here immediately. Mr. Raleigh is waiting to take me to the station. (Smith pulls her gently across and down stage a few steps. She goes quite willingly.) Will you please let me go?

Smith. (Still holding her hands) You shall go. I shall let you go. The instant you tell me to whom you are speaking--Celia.

Celia. Really, this is an outrage. Will you kindly let me go, Colonel Smith?

Smith. He can't. You remember you killed him of wounds at Berbera.

Celia. Well, Colonel Vavasour, will you please let me go?

Smith. He can't. The lawyers haven't finished making him.

Celia. (After a pause, while she slowly breaks into a laugh) Oh, very well, then--Wobbles.

(Smith releases her hand and she hurries to door R. and opens it.)

Smith. Please don't go. Come into the next room and talk things over.

(Auto horn toots impatiently off R.)

Celia. No, no, I can't. There's Mr. Raleigh. He's come up to the door. Good-bye.

Smith. (After a pause) Good-bye?

Celia. Yes, good-bye. (Goes to door and looks off down stairs) Why, here he is coming up the steps. Martin's letting him in. (Smith turns and goes slowly up stage to C. Putting on her veil) No wonder he's impatient. He's been waiting for me for twenty minutes.

Smith. (In doorway) Yes, but remember I've been waiting for you for twenty years. (Exits, off L.C.)

(WARN Curtain.)

(Celia pauses a moment and then crosses up as if to call him back, looking over her shoulder to see that Raleigh is not coming. She goes off stage C. and looks after Smith and then with a sigh, comes back into room, goes to L. of table, tying her veil as she comes down. Raleigh enters. He's very cold. His nose is red, his coat collar turned up and he is chattering. Comes to R.C. a little up stage.)

Raleigh. Miss Faraday, I had to come in. I'm nearly frozen--you'll miss your train. I've been waiting for you for twenty minutes. (He offers her his arm. Celia picks up her bag, crosses to him, takes his arm and they walk quickly to the door. He is above her. He smiles contentedly as they start to exit. As they get to the door, she swings him right out and turns back, going up and off C. again, looking after Smith. Raleigh returns and stands by door) Aren't you coming?

Celia. (Comes down to him and, as she reaches winged chair, she suddenly drops her bag in the seat of it and throws back her head with a joyous laugh) No, I've changed my mind. I'm going to stay, because he's been waiting for me for twenty years. (Runs gaily up and off after Smith, waving her hand to Raleigh as she goes. Raleigh drops his hat in amazement, with a smothered, "Well, I'll be----")

QUICK CURTAIN

LIGHT PLOT

ACT I

At rise, footlights and first border white and amber full up. Four table lamps on stage alight. In card room U.L. chandelier; and amber bunch off. In morning room U.R. lamp on table; and amber bunch off. At exit of Phyllis and Evelyn on cue "I think they do," from Phyllis, Phyllis switches off lights U.R. and Evelyn puts out lamp in morning room. All lamps go out, leaving only chandelier in card room alight. First border to one quarter. White foots out and amber foots to one quarter. When Evelyn puts out lamp in morning room, put out bunch in same. When Celia turns up switch on cue, "Oh, it's you, Aunt Ida," all lights on stage full up as before except bunch and lamp in morning room. Electric switch U.R. on set to R. morning room door. Bell push U.L.C; to R. card room door. Amber No. 32 in fireplace on knife switch to be flickered when Celia throws letters and army list into fire. Red bunch in fireplace.

Amber bunch in room R. Light amber on backing card room. Red glow from fireplace. On cue, "other fish in the sea," from Grice, amber on backing, changing to dark amber very slowly and then out. On cue, "Ready, Celia, ready," from Faraday, comes up slowly to moonlight blue. When amber change is made on backing foots and borders down about five points. When Phyllis lights lamp on table R.C. on cue, "Oh, there's a message," foots and borders full up as before.

ACT III

Foots and first border full up amber and white. Blue bunch in conservatory left. Blue bunch and moonlight spots in window R. Spot to be directed on chair left of upper doors. Red glow up and off R. to suggest fire as in Act I. Also amber No. 32 as before to be flickered when Smith "burns" army list. Two candles on table C. lighted. On cue--"Damn Wobbles, I am going because"--from Col. Smith, white third border full up, a moment after Evelyn exits, put third border out. One cue, "Then let me sit like this in the dark" from Celia,--Celia switches off light U.L. All lights on stage out, except red glow and lights on backing and blue spot on Celia. On cue, "Army lists don't burn so suddenly as that," from Celia, Aunt Ida turns up switch, lights full up as before. Bell push U.L.C.L, of center doors light switch to L. of this.

PROPERTY PLOT

Set Properties--Act I

A medium-sized table L., on it a book slide containing books and army list, lamp, sewing bag, silver purse containing coin money. To right of table, armchair with cushion. At head of table, a single chair. Left of table, a single chair. Cabinet above door L. against wall, on it a vase of flowers, photograph frames. A small grand piano at back with drapery, on it lamp, bowl of flowers, some photograph frames. Long narrow table right, an armchair with small cushion to L. of it. Waste-paper basket under it. Stool below it. On it a table cover, English periodicals at each end, railway guide at upper end; a lamp, silver cigarette box, a paper knife, letters, vase of tulips, calendar, match-holder, ashtray. R. table a large sofa with cushions. Against fireplace, large mantel, on it three vases. Against mantel, a club fender. Below mantel, armchair. A small writing table U.R., on it small lamp, a small vase of flowers, blotting pad containing pens, ink, paper and envelopes. In card room U.L., card table and four chairs. On table, two packs of cards, pencils, bridge-markers, ashtray. In morning room, small table, two chairs. On table, lamp, ashtray, match-holder, vase of flowers.

ACT II

Same as Act I, and table L.C., and chair moved to C.R., nearer center. On it, teatray laid for five people, plum cake on plate. Armchair moved to L. of table and plain chair moved to R. of table. Muffin-stand placed lower end of cabinet. On it muffins, cakes, etc. Throat spray behind vase on the table R.C. for Phyllis. Remove waste-paper basket. Embroidery on table R.C., for Phyllis. Election address on cabinet L., for Tarver. Close table in card room--rearrange chairs and draw curtains. Replace all flowers with autumn flowers.

ACT III

A small round dinner table center, two chairs R. and L. of it. On table, lace cloth. Candles and flowers at back. In center, basket of fruit, almond dish with burnt almonds, large silver cigarette box, silver cigarette lighter, two ashtrays, plates and finger-bowls, fruit knives and forks, napkins, nut crackers. A small sewing-table U.R. To R. of it, a high-backed winged armchair. L. of it, a square armchair. On table, a lamp. R. of center doors a small table; on it, silver serving tray, small tray with brandy decanter, two liquor glasses, desk and chair L. On desk, pens, ink, paper and envelopes. Couch with cushions L. desk. China closets in first L. flat containing bric-a-brac. In conservatory palms and flowers. L. of center doors--chair. In room U.C. off stage cabinet of Act I--table and armchair. On table book-rack with army list as seen in Act II.

HAND PROPERTIES OFF STAGE

ACT I

Off R.3, cigars for Faraday and Admiral. Coins for Raleigh. Off L.I, oilskin coat, and hat, and traveling bag (all wet) for Celia.

ACT II

Off R.3, tonic bottle for Tarver. Clothes-brush for Tarver. Off L.I, English Times and periodical with mailing wrapper on it--on salver for Martin. Two boxes wrapped in tissue paper for Celia. Card on salver for Martin. Pin and large heavy-faced open watch and chain and cigarette case for Col. Smith. Army list on salver for Martin. Off R.3, atlas for Tarver. (Set of chimes and doorbell off L.)

ACT III

Off R.I, tray with coffee-pot, two demi-tasse, and sugar bowl and one cigarette, for Martin. Smart motor wrap, muff, bonnet, and traveling bag belonging to Celia. Large heavy ulster, furs, and bonnet (for Aunt Ida) (for Martin). Large covered box tied with pink ribbon and small box supposed to contain watch and pin for Celia. Army list partly burnt, in tongs, off R.3, for Celia.