A Family Man | Page 5

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. Thank you, ma'am.
She turns and hurries out into the kitchen, Left. BUILDER gazes after her, and MRS BUILDER gazes at BUILDER with her faint smile.
BUILDER. [After the girl is gone] Quaint and Dutch--pretty little figure! [Staring round] H'm! Extraordinary girls are! Fancy Athene preferring this to home. What?
MRS BUILDER. I didn't say anything.
BUILDER. [Placing a chair for his wife, and sitting down himself] Well, we must wait, I suppose. Confound that Nixon legacy! If Athene hadn't had that potty little legacy left her, she couldn't have done this. Well, I daresay it's all spent by now. I made a mistake to lose my temper with her.
MRS BUILDER. Isn't it always a mistake to lose one's temper?
BUILDER. That's very nice and placid; sort of thing you women who live sheltered lives can say. I often wonder if you women realise the strain on a business man.
MRS BUILDER. [In her softly ironical voice] It seems a shame to add the strain of family life.
BUILDER. You've always been so passive. When I want a thing, I've got to have it.
MRS BUILDER. I've noticed that.
BUILDER. [With a short laugh] Odd if you hadn't, in twenty-three