SMITH. Eight!

CELIA. And your train goes at ten.

SMITH. Yes. We shall have two long hours to talk of Smith. (_Offers_ CELIA _his arm_. CELIA _takes it and they go slowly up to morning room_.)

QUICK CURTAIN

ACT III

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 conservatory 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 gla.s.ses 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 gla.s.s, stained at the bottom to represent a residue of wine. At_ SMITH'S _place are a clean claret gla.s.s and a high-ball gla.s.s, containing a small quant.i.ty 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 ill.u.s.trate 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.