ne.

MABEL. No, no!

DE LEVIS. Quite right, Mrs Dancy. Black and tan swashbuckling will only
make things worse for him.

DANCY. So you shelter behind a woman, do you, you skulking cur!

DE LEVIS takes a step, with fists clenched and eyes blazing. DANCY,
too, stands ready to spring--the moment is cut short by MABEL going
quickly to her husband.

MABEL. Don't, Ronny. It's undignified! He isn't worth it.

DANCY suddenly tears the paper in two, and flings it into the fire.

DANCY. Get out of here, you swine!

DE LEVIS stands a moment irresolute, then, turning to the door, he
opens it, stands again for a moment with a smile on his face, then
goes. MABEL crosses swiftly to the door, and shuts it as the outer
door closes. Then she stands quite still, looking at her husband
--her face expressing a sort of startled suspense.

DANCY. [Turning and looking at her] Well! Do you agree with him?

MABEL. What do you mean?

DANCY. That I wouldn't be playing this game unless--

MABEL. Don't! You hurt me!

DANCY. Yes. You don't know much of me, Mabel.

MABEL. Ronny!

DANCY. What did you say to that swine?

MABEL. [Her face averted] That he was robbing us. [Turning to him
suddenly] Ronny--you--didn't? I'd rather know.

DANCY. Ha! I thought that was coming.

MABEL. [Covering her face] Oh! How horrible of me--how horrible!

DANCY. Not at all. The thing looks bad.

MABEL. [Dropping her hands] If I can't believe in you, who can?
[Going to him, throwing her arms round him, and looking up into his face]
Ronny! If all the world--I'd believe in you. You know I would.

DANCY. That's all right, Mabs! That's all right! [His face, above her
head, is contorted for a moment, then hardens into a mask] Well, what
shall we do? Let's go to that lawyer--let's go--

MABEL. Oh! at once!

DANCY. All right. Get your hat on.

MABEL passes him, and goes into the bedroom, Left. DANCY, left
alone, stands quite still, staring before him. With a sudden shrug
of his shoulders he moves quickly to his hat and takes it up just as
MABEL returns, ready to go out. He opens the door; and crossing
him, she stops in the doorway, looking up with a clear and trustful
gaze as

The CURTAIN falls.

ACT III

SCENE I

Three months later. Old MR JACOB TWISDEN's Room, at the offices of