ss of any of ye what has happened to a
woman in the past. Ye know that. Good-day!

[He gives them a deadly look, and goes out, left, followed by
DAWKER.]

MRS. H. [With her hand on the Deed] Safe!

[HILLCRIST enters at the French window, followed by JILL.]

[Holding up the Deed] Look! He's just gone! I told you it was
only necessary to use the threat. He caved in and signed this; we
are sworn to say nothing. We've beaten him.

[HILLCRIST studies the Deed.]

JILL. [Awed] We saw Chloe in the car. How did she take it,
mother?

MRS. H. Denied, then broke down when she saw our witnesses. I'm
glad you were not here, Jack.

JILL. [Suddenly] I shall go and see her.

MRS. H. Jill, you will not; you don't know what she's done.

JILL. I shall. She must be in an awful state.

HILLCRIST. My dear, you can do her no good.

JILL. I think I can, Dodo.

MRS. H. You don't understand human nature. We're enemies for life
with those people. You're a little donkey if you think anything
else.

JILL. I'm going, all the same.

MRS. H. Jack, forbid her.

HILLCRIST. [Lifting an eyebrow] Jill, be reasonable.

JILL. Suppose I'd taken a knock like that, Dodo, I'd be glad of
friendliness from someone.

MRS. H. You never could take a knock like that.

JILL. You don't know what you can do till you try, mother.

HILLCRIST. Let her go, Amy. Im sorry for that young woman.

MRS. H. You'd be sorry for a man who picked your pocket, I believe.

HILLCRIST. I certainly should! Deuced little he'd get out of it,
when I've paid for the Centry.

MRS. H. [Bitterly] Much gratitude I get for saving you both our
home!

JILL. [Disarmed] Oh! Mother, we are grateful. Dodo, show your
gratitude.

HILLCRIST. Well, my dear, it's an intense relief. I'm not good at
showing my feelings, as you know. What d'you want me to do? Stand
on one leg and crow?

JILL. Yes, Dodo, yes! Mother, hold him while I [Suddenly she
stops, and all the fun goes out of her] No! I can't--I can't help
thinking of her.

CURTAIN falls for a minute.

SCENE II

When it rises again, the room is empty and dark, same for
moonlight coming in through the French window, which is open.

The figure of CHLOE, in a black cloak, appears outside in the
moonlight; she peers in, moves past, comes bank, hesitatingly
enters. The cloak, fallen back, reveals a white e