MRS. H. Jill, if you can't keep your impertinence to yourself----

HILLCRIST. Jill, come with me.

[He turns towards door, Back.]

JILL. I'm sorry, mother. Only it is a skin game, isn't it?

MRS. H. You pride yourself on plain speech, Jill. I pride myself on plain thought. You will thank me afterwards that I can see realities. I know we are better people than these Hornblowers.

Here we are going to stay, and they--are not.

JILL. [Looking at her with a sort of unwilling admiration] Mother, you're wonderful!

HILLCRIST. Jill!

JILL. Coming, Dodo.

[She turns and runs to the door. They go out.]

[MRS. HILLCRIST, with a long sigh, draws herself up, fine and proud.]

MRS. H. Dawker! [He comes to her.]

[I shall send him a note to-night, and word it so that he will be bound to come and see us to-marrow morning. Will you be in the study just before eleven o'clock, with this gentleman?]

DAWKER. [Nodding] We're going to wire for his partner. I'll bring him too. Can't make too sure.

[She goes firmly up the steps and out.]

DAWKER. [To the STRANGER, with a wink] The Squire's squeamish--too much of a gentleman. But he don't count. The grey mare's all right. You wire to Henry. I'm off to our solicitors. We'll make that old rhinoceros sell us back the Centry at a decent price.

These Hornblowers--[Laying his finger on his nose] We've got 'em!

CURTAIN

SCENE II

CHLOE's boudoir at half-past seven the same evening. A pretty room. No pictures on the walls, but two mirrors. A screen and a luxurious couch an the fireplace side, stage Left. A door rather Right of Centre Back; opening inwards. A French window, Right forward: A writing table, Right Back. Electric light burning.

CHLOE, in a tea-gown, is standing by the forward end of the sofa, very still, and very pale. Her lips are parted, and her large eyes stare straight before them as if seeing ghosts: The door is opened noiselessly and a WOMAN'S face is seen. It peers at CHLOE, vanishes, and the door is closed. CHLOE raises her hands, covers her eyes with them, drops them with a quick gesture, and looks round her. A knock. With a swift movement she slides on to the sofa, and lies prostrate, with eyes closed.

CHLOE. [Feebly] Come in!

[Her Maid enters; a trim, contained figure of uncertain years, in a black dress, with the face which was peering in.]

Yes, Anna?

ANNA. Aren't you going in to dinner, ma'am?

CHLOE. [With closed eyes] No.

ANNA. Will you take anything here, ma'am?

CHLOE. I'd like a biscuit and a gla.s.s of champagne.

[The MAID, who is standing between sofa and door, smiles.

CHLOE, with a swift look, catches the smile.]

Why do you smile?

ANNA. Was I, ma'am?

CHLOE. You know you were. [Fiercely] Are you paid to smile at me?

ANNA. [Immovable] No, ma'am, Would you like some eau de Cologne on your forehead?

CHLOE. Yes.--No.--What's the good? [Clasping her forehead] My headache won't go.

ANNA. To keep lying down's the best thing for it.

CHLOE. I have been--hours.

ANNA. [With the smile] Yes, ma'am.

CHLOE. [Gathering herself up on the sofa] Anna! Why do you do it?

ANNA. Do what, ma'am?

CHLOE. Spy on me.

ANNA. I--never! I----!

CHLOE. To spy! You're a fool, too. What is there to spy on?

ANNA. Nothing, ma'am. Of course, if you're not satisfied with me, I must give notice. Only--if I were spying, I should expect to have notice given me. I've been accustomed to ladies who wouldn't stand such a thing for a minute.

CHLOE: [Intently] Well, you'll take a month's wages and go tomorrow. And that's all, now.

[ANNA inclines her head and goes out.]

[CHLOE, with a sort of moan, turns over and buries her face in the cushion.]

CHLOE. [Sitting up] If I could see that man--if only--or Dawker---

[She springs up and goes to the door, but hesitates, and comes back to the head of the sofa, as ROLF comes in. During this scene the door is again opened stealthily, an inch or too.]