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