MICH. If I dared--if it would come to good.--You know how dear a hope it has been to me all my life through.
MICH. And you'll leave me, leave this place, because I ask it. You will?
MICH. No, I daren't come near to you. You'll go?
(_He opens the door; she passes out; re-enters._)
AUDR. Listen to this. Whatever happens, I shall never belong to anybody but you. You understand? (_MICHAEL bows his head._) I shall never belong to anybody but you, Mike.
(_She goes out again. He closes door, goes up to window. She passes. He watches her off, stays there some moments._)
_Re-enter ANDREW. MICHAEL comes from window; the two men stand looking at each other._
ANDR. You won't begin work this morning, I suppose?
MICH. (_firmly_). Yes. (_Goes to table, motions ANDREW to one chair, seats himself opposite. They take up the manuscripts._) Where is the place?
ANDR. Fifty-first psalm, verse three. (_MICHAEL winces, turns over the manuscript._) Have you found it? What are you looking at?
MICH. (_gets up suddenly_). I can't bear it.
(_MICHAEL stands looking at him with terror._)
ANDR. (_rises, comes to him_). Don't I tell you that all is safe. I shan't blab. Nobody shall ever know.
MICH. But you do, you do! Your presence reminds me.
ANDR. Shall I leave you now and come again by-and-by?
MICH. (_with an effort_). No, stay. (_Points to seat. ANDREW seats himself._) You've sent for Rose to come home?
ANDR. I don't want to have her in this place where everybody knows about her.
MICH. Won't you send for her, Andrew--to please me?
ANDR. She's well enough where she is. (_Pointing to the manuscripts._) Shall we go on?
ANDR. Don't you know what you ought to do?
ANDR. Mete out to yourself the same measure you meted to others.
MICH. Confess--in public. I can't! I can't! I daren't! I'm a coward, a weak miserable coward! Don't judge me harshly, Andrew! Don't be hard on me!
ANDR. (_cold, firm_). Come, sir! shall we get on with our work? (_Reading manuscript._) "For I acknowledge my transgressions, and my sin is ever before me."
(_MICHAEL uncovers his face and sits staring at ANDREW, who sits cold and grim on the other side of the table._)
(_A year passes between Acts III. and IV._)
SCENE.--_The Chancel of the Minster church of Saint Decuman at Cleveheddon, a beautiful building of Decorated Gothic architecture with signs of recent restoration. The altar and reredos, approached by steps, face the audience, who take up the same position towards it as spectators in the nave would do. Behind the altar a long vista of columns, arches, roof, and stained glass windows. An organ is built in left wall of the chancel at a considerable height. On both sides of the chancel are handsome high carved oak stalls. A large open place in front of the altar steps is flanked on each side by the transepts, which run to right and left of spectators and are filled with chair seats so far as can be seen. A small door in the north wall of the left transept leads to the organ loft. The whole church is most lavishly decorated with banners, hangings, scrolls, and large frescoes, and is smothered with flowers as if in readiness for a church festival. Large brass candlesticks on altar with lighted candles. Time, about nine on an autumn night. An organ voluntary is being played as curtain rises. Enter MICHAEL from transept. He has aged much, is very pale and emaciated. The voluntary ceases and the organ boy, a lad about fifteen, comes from small door in wall of left transept._