[Rights of adaptation and stage representation reserved.]
ACT I.
The scene represents a room for business or study. It is mounted in elegant yet severe taste, with something of a worldly style, indicated by some artistic object which betrays predilections of that kind. On the left of the spectator is a very light and charming tea-table to accommodate three or four persons; upon the table is a candle or night-light with a bright-coloured shade; and surrounding it are three small arm-chairs or cushioned seats and smoking chairs. On the right is a desk—not very large, though massive and sober in style: behind, a chair or writing stool. At the side of the desk a high stool or better still an arm-chair. Upon the desk a lighted lamp with a dark shade. Also on the desk, in a framed easel, the photograph of Carmen. On the left first wing a balcony, to the right a fireplace with a very bright fire: at one side a large portative screen. Over the doors and the balcony thick, sober-hued curtains. A door in the background, and a door at either side. If it be possible, there should also be in the background a small bookcase, dark and rich: at the left forming a pendant, a cabinet, dark like the bookcase, and full of objects of art. If this be impossible, two equivalent pieces of furniture. In short, a room which gives evidence of rich though not opulent possessors, and which above all denotes the contrast of two tastes:—the one austere, the other gay and worldly. It is night.
Scene.
Don Juan, and Don Timoteo, Don Nemesio discovered seated round the tea-table, drinking strong liqueurs and smoking. The three are old, but give token of different types: the three bear the stamp of life-long self-indulgence. It is recognised, however, that Don Juan has been a man of gaiety and fashion.
Juan. Timoteo!
Tim. What?
Juan. I have a suspicion.