DEDICATED WITH MUCH AFFECTION TO SOPHIA REED SPICKERS AND WILLIAM SPICKERS
SCENES
BITTER FACT
(Where There Is No Duplicity)
Scene 2 — The Land of the Lights.
(Where Candles Burn at Both Ends)
Scene 3 — Robin Hood's Barn.
(Where They Go 'Round)
ACT III. — Gwendolyn's Nursery.
Epilogue Tableau: The Road to Johnnie Blake's.
The high room shows a lavish outlay of money in its decoration, but every evidence of good taste. At the back is a wide arch hung with curtains down which runs an ornate, leaf-like pattern. Through the arch may be seen a part of the vestibule, with a playing fountain. About the fountain, and set in boxes of carved marble, are brilliantly flowered plants. At one side, between the fountain and the arch, stands a suit of armor .
To the left of the wide arch is a great window, the sashes of which open outward. Its curtains are like those which adorn the arch, and its window-seat has a velvet cushion furnished with pillows. This window looks upon the Drive, and through it may be seen the tops of trees, a bit of the River, and, farther still, a rocky precipice crowned by woods .
To the left of the window is an automatic elevator. The grille of its door is hung with silk, and through grille and silk the movements of the car may be followed .
Beside the elevator, a curtained arch-way leads to the dining-room. A glimpse is afforded of the service-corner, with its handsome screen partly concealing both a sideboard and the swinging door of the butler's pantry. In front of the dining-room entrance is a small table and a deep couch .
To the right of the wide arch at the back of the room is the fireplace. At either side of its hearth is set a large, carved chair. The mantel of the fireplace holds candelabra, and a clock. Above these, placed in a finely wrought frame, is a richly emblazoned coat-of-arms bearing a motto .
A broad staircase is on the right of the fireplace. It descends from a landing which is concealed by velvet curtains, and ends in newel posts that are exactly the height of GWENDOLYN.
Beside the staircase is the curtained doorway of the music-room .
The hall is lighted by silk-shaded brackets. It is carpeted by several rugs .
Before the curtain rises, a piano is heard, playing a lively tune; and the counting of the DANCING MASTER, keeps time to the music .
The curtain rises on the open forest glade. Now it is seen that the great gnarled tree is the Face Shop. There are noses on display; eyes, too; also foreheads, cheeks, and chins. The rocky cave is the Bear's Den. And the cascade is a stream of Soda Water, which ends in a pool. Winding up beside the stream, goes a steep path .
GWENDOLYN is dancing, but somewhat wearily, to fairy-like music which the ORGAN-GRINDER plays on his hand-organ. The light in the glade is dim, and weirdly blue .
The curtain rises on what seems to be Robin Hood's Barn. For there, ranged in a semi-circle, are the trees with the fruit-like globes of light. But now the trees are very small. Among them is a single light that is larger than any one of the tiny globes. It is a night-lamp, burning on a bed-side table. Beside the lamp is a clock .
The tree-lights fade and go, leaving only the night-lamp. Then the trees are seen to be the dado on a wall. Next, the outlines of a bed show. The bed has a canopy, and this top of pleated silk very remotely suggests the roof of the Barn. Near the head of the bed is a window; close to its foot is a door. Curtains of cretonne are drawn across both window and door, and the foliage of their pattern is not unlike the long leafy branches that bent down to the Barn from either side. Between the bed and the door is a couch. At one end of the couch stands a globe, while scattered about on it, among some pillows, are several toys: An English soldier in a scarlet coat and a busby; a jointed snake; a uniformed man who stands on his head; and four small yellow ducks. Beside the toys is a dictionary; also, the merry-go-round .
A dressing-table stands near the window. On it are a Doctor's bag, a hypodermic case, and a glass in which is some colorless liquid. Beside the glass is a spoon. Towels are scattered about over the dresser. Three silent figures are waiting in the dim light by the bed. And on the bed is a little figure — very still. Suddenly the curtains of the window are drawn aside by the DOCTOR, who is in evening-dress, but has his coat off and his sleeves rolled up. The light of early morning floods the room, and shines into the anxious faces of FATHER and MOTHER, who are standing at the foot of the bed, leaning to watch GWENDOLYN. Her face is turned away from the window. Her eyes are shut .
A moment, and she moves. With a deep, sobbing breath , MOTHER draws back from the bed. And FATHER puts his arms about her, as if to quiet any outburst. He watches the DOCTOR, who makes a quick movement toward GWENDOLYN, and a warning gesture for silence. Gently , FATHER leads MOTHER farther away. She hides her face against his breast. The DOCTOR listens to GWENDOLYN'S breathing, using a stethoscope. He feels her pulse. Then leaves the bed, watching back as he goes . MOTHER'S face is still hidden . FATHER'S eyes are averted. The DOCTOR comes to them, and touches FATHER'S arm. As FATHER and MOTHER turn to him in agonized inquiry, he smiles his good news .