TARLETON. Yes. And mind! she comes first always. I reserve her dignity even when I sacrifice my own. Youll respect that point of honor, wont you?
LINA. Only a point of honor?
TARLETON. [impulsively] No, by God! a point of affection as well.
LINA. [smiling, pleased with him] Shake hands, old pal [she rises and offers him her hand frankly].
TARLETON. [giving his hand rather dolefully] Thanks. That means no, doesnt it?
LINA. It means something that will last longer than yes. I like you.
I admit you to my friendship. What a pity you were not trained when you were young! Youd be young still.
TARLETON. I suppose, to an athlete like you, I'm pretty awful, eh?
LINA. Shocking.
TARLETON. Too much crumb. Wrinkles. Yellow patches that wont come off. Short wind. I know. I'm ashamed of myself. I could do nothing on the high rope.
LINA. Oh yes: I could put you in a wheelbarrow and run you along, two hundred feet up.
TARLETON. [shuddering] Ugh! Well, I'd do even that for you. Read The Master Builder.
LINA. Have you learnt everything from books?
TARLETON. Well, have you learnt everything from the flying trapeze?
LINA. On the flying trapeze there is often another woman; and her life is in your hands every night and your life in hers.
TARLETON. Lina: I'm going to make a fool of myself. I'm going to cry [he crumples into the nearest chair].
LINA. Pray instead: dont cry. Why should you cry? Youre not the first I've said no to.
TARLETON. If you had said yes, should I have been the first then?
LINA. What right have you to ask? Have I asked am I the first?
TARLETON. Youre right: a vulgar question. To a man like me, everybody is the first. Life renews itself.
LINA. The youngest child is the sweetest.
TARLETON. Dont probe too deep, Lina. It hurts.
LINA. You must get out of the habit of thinking that these things matter so much. It's linendraperish.
TARLETON. Youre quite right. Ive often said so. All the same, it does matter; for I want to cry. [He buries his face in his arms on the work-table and sobs].
LINA. [going to him] 0 la la! [She slaps him vigorously, but not unkindly, on the shoulder]. Courage, old pal, courage! Have you a gymnasium here?
TARLETON. Theres a trapeze and bars and things in the billiard room.
LINA. Come. You need a few exercises. I'll teach you how to stop crying. [She takes his arm and leads him off into the vestibule].
A young man, cheaply dressed and strange in manner, appears in the garden; steals to the pavilion door; and looks in. Seeing that there is nobody, he enters cautiously until he has come far enough to see into the hatstand corner. He draws a revolver, and examines it, apparently to make sure that it is loaded. Then his attention is caught by the Turkish bath. He looks down the lunette, and opens the panels.
HYPATIA. [calling in the garden] Mr Percival! Mr Percival! Where are you?
The young man makes for the door, but sees Percival coming. He turns and bolts into the Turkish bath, which he closes upon himself just in time to escape being caught by Percival, who runs in through the pavilion, bareheaded. He also, it appears, is in search of a hiding-place; for he stops and turns between the two tables to take a survey of the room; then runs into the corner between the end of the sideboard and the wall. Hypatia, excited, mischievous, her eyes glowing, runs in, precisely on his trail; turns at the same spot; and discovers him just as he makes a dash for the pavilion door. She flies back and intercepts him.
HYPATIA. Aha! arnt you glad Ive caught you?
PERCIVAL. [illhumoredly turning away from her and coming towards the writing table] No I'm not. Confound it, what sort of girl are you?
What sort of house is this? Must I throw all good manners to the winds?
HYPATIA. [following him] Do, do, do, do, do. This is the house of a respectable shopkeeper, enormously rich. This is the respectable shopkeeper's daughter, tired of good manners. [Slipping her left hand into his right] Come, handsome young man, and play with the respectable shopkeeper's daughter.
PERCIVAL. [withdrawing quickly from her touch] No, no: dont you know you mustnt go on like this with a perfect stranger?
HYPATIA. Dropped down from the sky. Dont you know that you must always go on like this when you get the chance? You must come to the top of the hill and chase me through the bracken. You may kiss me if you catch me.
PERCIVAL. I shall do nothing of the sort.
HYPATIA. Yes you will: you cant help yourself. Come along. [She seizes his sleeve]. Fool, fool: come along. Dont you want to?
PERCIVAL. No: certainly not. I should never be forgiven if I did it.
HYPATIA. Youll never forgive yourself if you dont.
PERCIVAL. Nonsense. Youre engaged to Ben. Ben's my friend. What do you take me for?
HYPATIA. Ben's old. Ben was born old. Theyre all old here, except you and me and the man-woman or woman-man or whatever you call her that came with you. They never do anything: they only discuss whether what other people do is right. Come and give them something to discuss.
PERCIVAL. I will do nothing incorrect.
HYPATIA. Oh, dont be afraid, little boy: youll get nothing but a kiss; and I'll fight like the devil to keep you from getting that.
But we must play on the hill and race through the heather.
PERCIVAL. Why?
HYPATIA. Because we want to, handsome young man.
PERCIVAL. But if everybody went on in this way--HYPATIA. How happy! oh how happy the world would be!
PERCIVAL. But the consequences may be serious.
HYPATIA. Nothing is worth doing unless the consequences may be serious. My father says so; and I'm my father's daughter.
PERCIVAL. I'm the son of three fathers. I mistrust these wild impulses.
HYPATIA. Take care. Youre letting the moment slip. I feel the first chill of the wave of prudence. Save me.
PERCIVAL. Really, Miss Tarleton [she strikes him across the face]
--Damn you! [Recovering himself, horrified at his lapse] I beg your pardon; but since weve both forgotten ourselves, youll please allow me to leave the house. [He turns towards the inner door, having left his cap in the bedroom].
