A very large, rather dirty room, with whitewashed walls. To the left, in a niche, is a window, the only outside window in the room, opening on a court-yard. The light from it is so dim that even by day the electricity has to be turned on.
At the very top of the centre-back wall is a row of small dusty windows. They open on the circus hall. At night, when the performance is going on, a bright light shines through. By day they are dark. In the same wall is a large white door, reached by two stone steps, and nailed fast.
On the right, almost in the corner, is a high, wide, arched doorway which leads to the stables and the ring. By day it opens into pale darkness, at night into pale light.
The room is used for many purposes. It is the office of Papa Briquet, manager of the circus; here he keeps his little desk. It is the cloak-room of some of the actors. It is also the room where the cast gathers between calls, during rehearsals or performances. Again, it is a check-room for used circus property, such as gilt armchairs, scenery for pantomimes, and other wares of the circus household. The walls are covered with circus announcements and glaring posters.
The time is morning. In the circus hall a rehearsal is going on, and preparations are being made for the evening performance. As the curtain goes up, the cracking whip and the shouts of the riding-master are heard from the ring. The stage is empty for a few seconds, then enter Tilly and Polly, the musical clowns, practising a new march. Playing on tiny pipes, they step from the dark doorway to the window. Their music is agreeable to the ear, but small, mincing, artificially clown-like, like their mincing steps; they wear jackets and resemble each other; same smooth-shaven face, same height; Tilly, the younger, has a scarf around his neck; both have their derbies on the backs of their heads. Tilly glances through the window, then they turn about, still marching.
Polly
[Interrupting the march]: Stop, you're out again! Now, listen—[He stands close to Tilly and plays into his face. Tilly absent-mindedly listens, scratching his nose.] There! Come on now! [They resume their music and marching. As they reach the door they meet the manager and Mancini; the latter walks behind the manager, and is gnawing at the knob of his goldmounted cane. Count Mancini is tall and slight. The seams of his clothes are worn and he keeps his coat buttoned tight. He assumes extremely graceful manners, takes affected poses, and has a special fondness for toying with his cane, with aristocratic stylishness. When he laughs, which happens often, his thin sharp face takes on a marked resemblance to a satyr. The manager, "Papa" Briquet, is a stout quiet man of average height. His bearing is hesitant. The clowns make room for the gentlemen. The manager looks questioningly at the older man.]
Polly
[With an affected accent]: Our moosic for the pantomime! The March of the Ants!
Briquet