MAUD. [Very suddenly] Father!
BUILDER. [Grimly humorous] Well! Get it off your chest. What's that letter about?
MAUD. [Failing again and crumpling the letter behind her back]
Oh! nothing.
BUILDER. Everything's nothing this morning. Do you know what sort of people Athene associates with now—I suppose you see her?
MAUD. Sometimes.
BUILDER. Well?
MAUD. Nobody much. There isn't anybody here to associate with. It's all hopelessly behind the times.
BUILDER. Oh! you think so! That's the inflammatory fiction you pick up. I tell you what, young woman—the sooner you and your sister get rid of your silly notions about not living at home, and making your own way, the sooner you'll both get married and make it. Men don't like the new spirit in women—they may say they do, but they don't.
MAUD. You don't, father, I know.
BUILDER. Well, I'm very ordinary. If you keep your eyes open, you'll soon see that.
MAUD. Men don't like freedom for anybody but themselves.
BUILDER. That's not the way to put it. [Tapping out his pipe] Women in your class have never had to face realities.
MAUD. No, but we want to.
BUILDER. [Good-humouredly] Well, I'll bet you what you like, Athene's dose of reality will have cured her.
MAUD. And I'll bet you—No, I won't!
BUILDER. You'd better not. Athene will come home, and only too glad to do it. Ring for Topping and order the car at twelve.
As he opens the door to pass out, MAUD starts forward, but checks
herself.
MAUD. [Looking at her watch] Half-past eleven! Good heavens!
She goes to the bell and rings. Then goes back to the table, and writes an address on a bit of paper.
TOPPING enters Right.
TOPPING. Did you ring, Miss?
MAUD. [With the paper] Yes. Look here, Topping! Can you manage—on your bicycle—now at once? I want to send a message to Miss Athene—awfully important. It's just this: "Look out! Father is coming." [Holding out the paper] Here's her address. You must get there and away again by twelve. Father and mother want the car then to go there. Order it before you go. It won't take you twenty minutes on your bicycle. It's down by the river near the ferry. But you mustn't be seen by them either going or coming.
TOPPING. If I should fall into their hands, Miss, shall I eat the despatch?
MAUD. Rather! You're a brick, Topping. Hurry up!
TOPPING. Nothing more precise, Miss?
MAUD. M—m—No.
TOPPING. Very good, Miss Maud. [Conning the address] "Briary Studio,
River Road. Look out! Father is coming!" I'll go out the back way.
Any answer?
MAUD. No.
TOPPING nods his head and goes out.
MAUD. [To herself] Well, it's all I can do.
She stands, considering, as the CURTAIN falls.
SCENE II
The Studio, to which are attached living rooms, might be rented at eighty pounds a year—some painting and gear indeed, but an air of life rather than of work. Things strewn about. Bare walls, a sloping skylight, no windows; no fireplace visible; a bedroom door, stage Right; a kitchen door, stage Left. A door, Centre back, into the street. The door knocker is going.
From the kitchen door, Left, comes the very young person, ANNIE, in blotting-paper blue linen, with a white Dutch cap. She is pretty, her cheeks rosy, and her forehead puckered. She opens the street door. Standing outside is TOPPING. He steps in a pace or two.
TOPPING. Miss Builder live here?
ANNIE. Oh! no, sir; Mrs. Herringhame.
TOPPING. Mrs. Herringhame? Oh! young lady with dark hair and large expressive eyes?
ANNIE. Oh! yes, sir.
TOPPING. With an "A. B." on her linen? [Moves to table].
ANNIE. Yes, sir.
TOPPING. And "Athene Builder" on her drawings?
ANNIE. [Looking at one] Yes, sir.
TOPPING. Let's see. [He examines the drawing] Mrs. Herringhame, you said?
ANNIE. Oh! yes, Sir.
TOPPING. Wot oh!
ANNIE. Did you want anything, sir?
TOPPING. Drop the "sir," my dear; I'm the Builders' man.
Mr. Herringhame in?
ANNIE. Oh! no, Sir.
TOPPING. Take a message. I can't wait. From Miss Maud Builder. "Look out! Father is coming." Now, whichever of 'em comes in first—that's the message, and don't you forget it.
ANNIE. Oh! no, Sir.
TOPPING. So they're married?
ANNIE. Oh! I don't know, sir.
TOPPING. I see. Well, it ain't known to Builder, J.P., either. That's why there's a message. See?
ANNIE. Oh! yes, Sir.
TOPPING. Keep your head. I must hop it. From Miss Maud Builder.
"Look out! Father is coming."
He nods, turns and goes, pulling the door to behind him. ANNIE
stands "baff" for a moment.
ANNIE. Ah!
She goes across to the bedroom on the Right, and soon returns with a suit of pyjamas, a toothbrush, a pair of slippers and a case of razors, which she puts on the table, and disappears into the kitchen. She reappears with a bread pan, which she deposits in the centre of the room; then crosses again to the bedroom, and once more reappears with a clothes brush, two hair brushes, and a Norfolk jacket. As she stuffs all these into the bread pan and bears it back into the kitchen, there is the sound of a car driving up and stopping. ANNIE reappears at the kitchen door just as the knocker sounds.
ANNIE. Vexin' and provokin'! [Knocker again. She opens the door] Oh!
MR and MRS BUILDER enter.
BUILDER. Mr. and Mrs. Builder. My daughter in?
ANNIE. [Confounded] Oh! Sir, no, sir.
BUILDER. My good girl, not "Oh! Sir, no, sir." Simply: No, Sir. See?
ANNIE. Oh! Sir, yes, Sir.
BUILDER. Where is she?
ANNIE. Oh! Sir, I don't know, Sir.
BUILDER. [Fixing her as though he suspected her of banter] Will she be back soon?
ANNIE. No, Sir.
BUILDER. How do you know?
ANNIE. I d—don't, sir.
BUILDER. They why do you say so? [About to mutter "She's an idiot!" he looks at her blushing face and panting figure, pats her on the shoulder and says] Never mind; don't be nervous.
ANNIE. Oh! yes, sir. Is that all, please, sir?
MRS BUILDER. [With a side look at her husband and a faint smile] Yes; you can go.
ANNIE.