Jill.  It’s not because they’re new, it’s because—­if your father behaved like a gentleman, he’d be treated like one.

Rolf.  Would he?  I don’t believe it.  My father’s a very able man; he thinks he’s entitled to have influence here.  Well, everybody tries to keep him down.  Oh! yes, they do.  That makes him mad and more determined than ever to get his way.  You ought to be just, Jill.

Jill.  I am just.

Rolf.  No, you’re not.  Besides, what’s it got to do with Charlie and Chloe?  Chloe’s particularly harmless.  It’s pretty sickening for her.  Father didn’t expect people to call until Charlie married, but since——­

Jill.  I think it’s all very petty.

Rolf.  It is—­a dog-in-the-manger business; I did think you were above it.

Jill.  How would you like to have your home spoiled?

Role.  I’m not going to argue.  Only things don’t stand still. 
Homes aren’t any more proof against change than anything else.

Jill.  All right!  You come and try and take ours.

Rolf.  We don’t want to take your home.

Jill.  Like the Jackmans’?

Rolf.  All right.  I see you’re hopelessly prejudiced.

     [He turns to go.]

Jill. [Just as he is vanishing—­softly] Enemy?

Rolf. [Turning] Yes, enemy.

Jill.  Before the battle—­let’s shake hands.

     [They move from the lintels and grasp each other’s hands in the
     centre of the French window.]

Curtain

ACT II

SCENE I

A billiard room in a provincial hotel, where things are bought and sold.  The scene is set well forward, and is not very broad; it represents the auctioneer’s end of the room, having, rather to stage Left, a narrow table with two chairs facing the audience, where the auctioneer will sit and stand.  The table, which is set forward to the footlights, is littered with green-covered particulars of sale.  The audience are in effect public and bidders.  There is a door on the Left, level with the table.  Along the back wall, behind the table, are two raised benches with two steps up to them, such as billiard rooms often have, divided by a door in the middle of a wall, which is panelled in oak.  Late September sunlight is coming from a skylight (not visible) on to these seats.  The stage is empty when the curtain goes up, but DAWKERS, and Mrs. Hillcrist are just entering through the door at the back.

Dawker.  Be out of their way here, ma’am.  See old Hornblower with Chearlie?

     [He points down to the audience.]

Mrs. H. It begins at three, doesn’t it?

Dawker.  They won’t be over-punctual; there’s only the Centry selling.  There’s young Mrs. Hornblower with the other boy—­ [Pointing] over at the entrance.  I’ve got that chap I told you of down from town.