(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.

ACT II

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--"d.a.m.n 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,"