ay 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, L