The Fifth Series Plays | Page 5

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