initial commit of ebook 20176HEADmain

9 files changed, 11076 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/20176-8.txt b/20176-8.txt
new file mode 100644
index 0000000..4357286
--- /dev/null
+++ b/20176-8.txt
@@ -0,0 +1,3522 @@
+The Project Gutenberg eBook, The Drone, by Rutherford Mayne
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: The Drone
+       A Play in Three Acts
+
+
+Author: Rutherford Mayne
+
+
+
+Release Date: December 23, 2006  [eBook #20176]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THE DRONE***
+
+
+E-text prepared by Audrey Longhurst, Diane Monico, and the Project
+Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net/c/)
+
+
+
+THE DRONE
+
+A Play in Three Acts
+
+by
+
+RUTHERFORD MAYNE
+
+
+
+
+
+
+
+Luce & Co.
+Boston
+Copyright, 1912. Samuel Waddell.
+
+
+
+
+TO
+
+SEVEEN
+
+
+
+
+CHARACTERS
+
+
+JOHN MURRAY, _A farmer._
+DANIEL MURRAY, _His brother._
+MARY MURRAY, _John's daughter._
+ANDREW MCMINN, _A farmer._
+SARAH MCMINN, _His sister._
+DONAL MACKENZIE, _A Scotch engineer._
+SAM BROWN, _A labourer in John Murray's employment._
+KATE, _A servant girl in John Murray's employment._
+ALICK MCCREADY, _A young farmer._
+
+_The action takes place throughout in the kitchen of John Murray in
+the County of Down._
+
+TIME ... _The present day._
+
+
+
+
+The Drone
+
+_A COMEDY IN THREE ACTS_
+
+ACT I.
+
+
+SCENE: _The farm kitchen of John Murray. It is large and spacious,
+with a wide open fire-place to the right. At the back is one door
+leading to the parlour and other rooms in the house, also a large
+window overlooking the yard outside. To the left of this window is the
+door leading into the yard, and near the door an old-fashioned
+grandfather's clock. Opposite to the fire-place on the left side is
+another door leading into Daniel Murray's workshop, and beside this
+door is a large dresser with crockery, &c. At the back beneath the
+window is a table near which_ KATE, _the servant, a slatternly dressed
+girl of some thirty years of age or more, is seated. She is carefully
+examining some cakes of soda bread, and has a bucket beside her into
+which she throws the rejected pieces._
+
+
+KATE. That one's stale. It would break your teeth to eat it. (_She
+throws the cake into the bucket._) And the mice have nibbled that one.
+And there's another as bad. (_She throws both pieces into the
+bucket._)
+
+(BROWN, _the servant man, opens the door from yard and enters. He is
+elderly, and with a pessimistic expression of face, relieved somewhat
+by the sly humour that is in his eyes. He walks slowly to the centre
+of the kitchen, looks at_ KATE, _and then turns his eyes, with a
+disgusted shake of the head, towards the dresser as if searching for
+something._)
+
+BROWN. Well! Well! Pigs get fat and men get lean in this house.
+
+KATE. It's you again, is it? And what are you looking now?
+
+BROWN. I'm looking a spanner for the boss. The feedboard to the
+threshing machine got jammed just when halfway through the first
+stack, and he is in a lamentable temper.
+
+KATE (_uneasily_). Is he? (_She starts hurriedly to clear up the
+table._)
+
+BROWN (_watching her slyly to see what effect his words have_). And
+he's been grumbling all morning about the way things is going on in
+this house. Bread and things wasted and destroyed altogether.
+
+KATE. Well, it's all Miss Mary's fault. I told her about this bread
+yesterday forenoon, and she never took any heed to me.
+
+BROWN. Miss Mary? (_With a deprecatory shake of his head._) What does
+a slip of a girl like that know about housekeeping and her not home a
+half-year yet from the boarding-school in the big town, and with no
+mother nor nobody to train her. (_He stares in a puzzled way at the
+dresser._) I don't see that spanner at all. Did you see it, Kate?
+
+KATE. No. I've more to do than look for spanners.
+
+BROWN (_gazing reproachfully at her and then shaking his head_). It's
+a nice house, right enough. (_Lowering his voice._) And I suppose old
+Mr. Dan is never up yet. I was told by Johnny McAndless, he was
+terribly full last night at McArn's publichouse and talking--ach--the
+greatest blethers about this new invention of his.
+
+KATE. Do you say so?
+
+BROWN. Aye. No wonder he's taking a lie this morning. (_He peeps into
+the door of the workshop._) He's not in his wee workshop?
+
+KATE. No. Miss Mary is just after taking up his breakfast to him.
+
+BROWN. Some people get living easy in this world. (_He gives a last
+look at the dresser._) Well divil a spanner can I see. I'll tell the
+master that. (_He goes out again through the yard door, and as he does
+so,_ MARY MURRAY _comes through the door from the inner rooms,
+carrying a tray with teacups, &c., on it. She is a pretty, vivacious
+girl about eighteen years of age._)
+
+MARY. Who was that?
+
+KATE. It's the servant man looking for a spanner for your father, Miss
+Mary. There's something gone wrong with the threshing machine.
+
+MARY (_taking the tray to the table and starting to get ready to wash
+up the cups_). I do believe sometimes that Uncle Dan's a lazy man.
+
+KATE (_assisting her at the washing and stopping as if astonished at
+the statement_). And is it only now you're after finding that out!
+Sure the whole countryside knowed it this years and years.
+
+MARY (_sharply_). The whole countryside has no business to talk about
+what doesn't concern it.
+
+KATE. Oh, well, people are bound to talk, Miss.
+
+MARY. But then Uncle Dan is awfully clever. He's got the whole brains
+of the Murrays, so father says, and then, besides that, he is a grand
+talker.
+
+KATE. Aye. He can talk plenty. Sure Sarah McMinn, that lives up the
+Cut, says its a shame the way he's going on this twenty years and
+more, never doing a hand's turn from morning to night, and she says
+she wonders your poor father stands him and his nonsense.
+
+MARY. Who said that?
+
+KATE. Sarah McMinn told Johnny McAndless that yesterday.
+
+MARY. Sarah McMinn? Pooh! That hard, mean, old thing. No. I believe in
+Uncle Dan and so does father. He'll make a name for himself yet.
+
+KATE. Well, it's getting near time he done it.
+
+MARY. And that Sarah McMinn they say just keeps her brother in
+starvation, and she just says nasty things like that about Uncle Dan
+because he doesn't like her.
+
+KATE. Aye. He never did like people as seen through him, not but she
+is a mean old skin-a-louse. (_The voice of_ DANIEL MURRAY _is heard
+calling from within._) He's up, Miss.
+
+MARY. Are you up, uncle?
+
+(DAN MURRAY _opens the door from the inner apartments and comes into
+the kitchen. He is carelessly dressed and sleepy-looking as if just
+out of bed, wears a muffler and glasses, and appears to be some fifty
+years of age._)
+
+DANIEL. Yes. Did the _Whig_ come yet?
+
+MARY. Yes. I put it in your workshop.
+
+DANIEL (_glancing at the clock_). Bless my heart, it's half-past one!
+
+MARY (_reproachfully_). It is, indeed, uncle.
+
+DANIEL. Well! Well! Time goes round, Mary. Time goes round. (_Kate
+picks up the bucket and goes out by the yard door._) Where's your
+father? (_He crosses over to the workshop door._)
+
+MARY. He's out working with Sam Brown at the threshing all morning
+since seven o'clock.
+
+DANIEL. Well! Well! A very industrious man is John Murray. Very. But
+lacking in brains, my dear--lacking in brains. Kind, good-hearted,
+easy-going, but--ah! well, one can't help these things. (_He goes
+towards the workshop._) Where did you say the _Whig_ was, Mary?
+
+MARY. It's in your workshop. (_He crosses over to go there._)
+
+MARY. You were very late coming in last night, uncle.
+
+DANIEL. Eh? (_He goes in, gets the paper, comes out again._)
+
+MARY. I heard you coming in, and the clock was just after striking
+two. (_He sits down and opens paper._)
+
+DANIEL. Well--I met a few friends last night. Appreciative friends I
+could talk to, and I was explaining that new idea of mine that I've
+been working at so long--that new idea for a fan-bellows. It's a great
+thing. Oh yes. It should be. I sat up quite a while last night,
+thinking it over, and I believe I've got more ideas about it--better
+ones.
+
+MARY. Do you think you'll make money off it, uncle?
+
+DANIEL. Mary--if it comes off--if I can get someone to take it up, I
+believe 'twill make our fortune, I do.
+
+MARY. Oh, uncle, it would be lovely if you did, and I would just die
+to see that nasty McMinn woman's face when she hears about you making
+such a hit.
+
+DANIEL. McMinn? Has that woman been sneering about me again? That's
+one woman, Mary, I can't stand. I can never do myself justice
+explaining ideas in company when that woman is present.
+
+MARY. Never mind her, uncle. (_Coming close beside him._) Do you mind
+the time last time, uncle, when you went up to Belfast for a week to
+see about that patent for--what's this the patent was, uncle?
+
+DANIEL (_uncomfortably_). Last time? Aye? Why?
+
+MARY. Yes. Don't you remember you said you knew of an awfully nice boy
+that you met, and you were going to bring him down here.
+
+DANIEL. Upon my soul, I had clean forgotten. Yes, yes. I think I did
+say something about a young fellow I met.
+
+MARY. Was he nice, uncle?
+
+DANIEL (_becoming absorbed in the newspaper_). Eh? I think so. Oh. He
+was--very nice chap.
+
+MARY. Well, you said he was coming here to see me, and he never turned
+up yet.
+
+DANIEL. Did I? Very possibly. I suppose he must have forgotten.
+
+MARY (_walking away to the left and then back again pouting_). I'm
+sick of the boys here. There's only Alick McCready that's anyway
+passable. When will you see him again, uncle?
+
+DANIEL. Well--possibly, when I go up to town again. Very soon,
+perhaps. That is if your father, Mary, can spare the money.
+
+MARY (_thoughtfully_). I don't know, uncle. You see that would be five
+times now, and somehow you never seem to get anything done. That's
+what he said, mind you, uncle.
+
+DANIEL (_mournfully_). Well! Well! To think of me toiling and moiling
+away in that workshop of mine, day after day, and week after week, and
+year after year--and there's all the thanks you get for it.
+
+MARY. Uncle?
+
+DANIEL (_somewhat irritably as he gets engrossed reading_). Well?
+
+MARY. Look, if you went up to Belfast again soon, won't you see that
+boy? I wonder what he's like. (_She gets close beside her uncle and
+nestles beside him._) Is he dark or fair?
+
+DANIEL. Yes, yes. I think so.
+
+MARY. Dark?
+
+DANIEL. Yes. I believe he is dark.
+
+MARY. And tall?
+
+DANIEL (_trying vainly to read in spite of the interruptions_). Very
+tall.
+
+MARY. Oh, how nice! And uncle, is he good-looking?
+
+DANIEL. Very. Fine looking fellow.
+
+MARY. That's grand; and uncle, is he well to do?
+
+DANIEL. He has every appearance of it.
+
+MARY. Oh you dear old uncle! (_She nestles closer to him._) But maybe
+he wouldn't look at me when he has a whole lot of town girls to go
+with.
+
+DANIEL. My dear niece, you don't know what a very good-looking young
+lady you are, and besides he saw your photograph.
+
+MARY. Which photograph?
+
+DANIEL (_perplexed_). Which photograph? Your own of course!
+
+MARY. The one I got taken at Lurgan?
+
+DANIEL. Yes. I think so.
+
+MARY. Oh uncle! That horrid thing! Why didn't you show him the one I
+got taken at Newcastle?
+
+DANIEL. My mistake. Very sorry, indeed, Mary, I assure you. But I tell
+you what, I'll take the album with me next time. Will that do?
+
+MARY (_laughing_). There. Now you're only joking. (_Suddenly._) What
+do you do all the time you stay in Belfast, uncle?
+
+DANIEL (_uneasily_). Um--um----Business, my dear girl, business. See
+engineers and all that sort of thing, and talk things over. It takes
+time, you know, Mary, time.
+
+MARY. You've been an awful long time inventing, uncle, haven't you?
+
+DANIEL. Well, you know, Mary dear--time--it takes time. You can't rush
+an inventor.
+
+MARY. Well look, uncle. You know I can just wheedle father round my
+wee finger, can't I?
+
+DANIEL. You can indeed.
+
+MARY. Well, look: if you promise to bring down this boy you are
+talking about, I'll get father to give you enough to have two weeks in
+Belfast. There. It's a bargain.
+
+DANIEL. Um--well--he may not be there you know.
+
+MARY (_disappointed_). O uncle!
+
+DANIEL. You see he travels a lot and he may be away. He may be in
+London. In fact I think--yes. He said he would be going to London.
+
+MARY. Then why not go to London?
+
+DANIEL (_starting up and speaking as if struck with delight at the
+possibility_). Eh? I never thought of that! (_He collapses again._)
+But no. Your father, Mary. He would never give me the money. No.
+
+MARY. But you're more likely to meet people there who'd take it up,
+aren't you, uncle?
+
+DANIEL. It's _the place_ for an inventor to go, Mary. _The place._
+(_Pauses._) But I'm afraid when John hears about it----(_he becomes
+very dubious and shakes his head_).
+
+MARY. Well, look here, uncle. Do you mind the last time when he would
+not give you money to go up to Belfast about your patent.
+
+DANIEL (_sadly_). I do.
+
+MARY. You remember you got a letter a few days after asking you to
+come up at once and you had to go then. Hadn't you?
+
+DANIEL. I had.
+
+MARY. Well, couldn't we do the same this time?
+
+DANIEL (_looking at her uneasily_). Eh?
+
+MARY. Couldn't we get someone to send a letter. (_Pausing and
+thinking, then suddenly_). Oh, the very thing! You know that silly
+Alick McCready that comes running after me. Well, look, I'll get him
+to send a letter.
+
+DANIEL. No good, my dear. I did it before----I mean letters on plain
+notepaper don't carry much weight. No.
+
+MARY. What about----oh, I know! Uncle, a telegram!
+
+DANIEL. Great idea! It is in soul!
+
+MARY. And we'll put something on it like "come to London at once to
+see about the patent," or something like that. And he'd have to let
+you go then.
+
+DANIEL. Mary, you're really a cleverer girl than your father thinks.
+(_Musingly._) Two weeks in London.
+
+MARY. And don't forget the nice boy, uncle, when you go.
+
+DANIEL. I'll do my best to get hold of him.
+
+MARY. No. I want a good definite promise. Promise, uncle.
+
+DANIEL. Well, really you know, my dear, he----
+
+MARY. Uncle, promise.
+
+DANIEL. Um----well, I promise.
+
+MARY. You're a dear old thing. You see, uncle, I don't want to marry
+Alick McCready or Jim McDowell or any of those boys, unless there's
+nobody else.
+
+DANIEL. Quite right, my dear, quite right. Two weeks in London.
+Splendid! But it's time I was going into my workshop. (_He rises and
+takes the paper with him._) I must really try and do something this
+morning. (_Exit by workshop door._)
+
+MARY (_calling after him_). You won't forget, uncle? Will you?
+
+DANIEL. No, certainly not.
+
+MARY. I do hope uncle brings that nice boy. Dark--tall--well set
+up--well to do.
+
+(KATE _comes in again through the yard door, and looks at_ MARY, _who
+is gazing vacantly into space._)
+
+KATE. Well? What notion have you got now?
+
+MARY. Oh! just think, Kate! How would you like a boy who was dark and
+tall, and well set up and well to do?
+
+KATE. I'd just leap at him.
+
+MARY (_laughing_). Agh! I don't think he'll ever come, Kate!
+
+KATE. I think you've plenty on hand to manage. (BROWN _opens the yard
+door and resumes his old-position from which he stares at the
+dresser_). You're back again, are you?
+
+BROWN. Aye.
+
+KATE. What ails you now?
+
+BROWN. I'm looking the spanner.
+
+MARY. The spanner?
+
+BROWN. The spanner, Miss Mary. It's for turning the nuts like.
+
+KATE. Have you never got it yet?
+
+BROWN. Do you think I've got eyes in the back of my head? Underneath
+the seat, beside the salt-box, on the right near the wee crock in the
+left hand corner. (_He makes a movement to open one of the drawers of
+the dresser._)
+
+KATE. Will you get out of that, ignorance. It's not there.
+
+BROWN (_with an appealing look at_ MARY). Maybe its in the parlour?
+
+MARY. Well, I'll take a look round. (_She goes through the door to
+living rooms._)
+
+BROWN (_mysteriously_). Did you hear the news?
+
+KATE. No. (_Very much interested._) What?
+
+BROWN. Ach! You women never know anything.
+
+KATE. What's the news? Somebody killed?
+
+BROWN. No. More serious.
+
+KATE (_alarmed_). God bless me! What is it?
+
+BROWN. Andy McMinn has a sister.
+
+KATE (_disappointed_). Ach!
+
+BROWN. And she's trying to get a man.
+
+KATE. Well. I knowed that this years.
+
+BROWN. And Mr. John Murray is a widow man.
+
+KATE. You mean to be telling me that Mr. John has a notion of that old
+thing? Go long with you!
+
+BROWN. Did you ever hear tell of a widow man that never got married
+again.
+
+KATE. Plenty. Don't come in here talking blethers.
+
+BROWN. Whist. There's more in what I'm telling you than you think. And
+I'll hold you to a shilling that Sarah McMinn will be Mrs. John Murray
+before one month.
+
+KATE. Who told you?
+
+BROWN. Ach. You've no more head than a yellow yorling. Where has Mr.
+John been going to these wheen of nights?
+
+KATE (_thinking_). Andy McMinns!
+
+BROWN. Aye. Do you think it is to see old Andy? And sure he's been
+talking to me all morning about the way the house is being kept. No
+hand to save the waste; bread and things destroyed; hens laying away;
+eggs ate up by the dozen and chickens lost and one thing and another.
+And hinting about what money a good saving woman would bring him. And
+Mr. Daniel----
+
+KATE. Sh----he's in there working.
+
+BROWN. Working? Ah, God save us! Him working! The last man that seen
+Mr. Dan working is in his grave this twenty years. (_He goes over next
+workshop door._) I'll just peep in at him through the keyhole. (_He
+goes over and does so, and then beckons_ KATE _over. She peeps in and
+grins. As they are thus occupied_ ALICK MCCREADY _opens the door and
+stands gazing at them. He is a type of the young well-to-do farmer,
+respectably dressed and good-looking._)
+
+ALICK. Well! Well! Some people earn their money easy!
+
+BROWN. Aye. In soul. Just look in there to see it. (MCCREADY _looks in
+and bursts into a loud hearty laugh._ BROWN _hurriedly goes out by the
+yard door and_ KATE _by door to inner rooms._)
+
+DANIEL (_opening door and standing there, perplexed looking_). What's
+the matter?
+
+ALICK. Ah. I was just laughing at a wee joke, Mr. Murray.
+
+DANIEL. It must have been very funny.
+
+ALICK. Aye. It was. (_Coming close to_ DANIEL, _who walks slowly to
+the middle of the kitchen._) I say. Were you at McArn's publichouse
+last night?
+
+DANIEL (_looking round cautiously to see that no one else can hear
+him_). Well, just a minute or two. Why?
+
+ALICK. There was someone there told Andy McMinn this morning, I
+believe, that you'd been talking of a great invention altogether, and
+he was that much curious to see it that him and his sister Sarah are
+coming over this day to have a look at it.
+
+DANIEL. Who? Sarah McMinn?
+
+ALICK. Aye. She's very anxious to see it, I believe.
+
+DANIEL. Um. Rather awkward this. She's not a woman that, plainly
+speaking, I care very much to talk about my ideas to.
+
+ALICK. But have you got something struck out?
+
+DANIEL. McCready, come here. (ALICK _goes closer to him._) It is
+really a great idea. Splendid. But I've a great deal of trouble over
+it. In fact I've been thinking out details of a particular gear all
+morning.
+
+ALICK. Aye. (_He looks at_ DANIEL _and then endeavours to restrain
+unsuccessfully a burst of laughter._)
+
+DANIEL (_angrily_). You were always an ignorant hound anyway and be
+d----d to you. (_He turns to go towards his workshop._)
+
+ALICK. Ah, Mr. Murray, I beg your pardon. It's another thing
+altogether I'm thinking about. I just wanted a talk with you this
+morning. You have a nice wee girl for a niece, Mr. Murray.
+
+DANIEL (_somewhat mollified_). Well?
+
+ALICK (_bashfully_). And I was wondering if you could put in a good
+word for me now and again with her.
+
+DANIEL. Now, look here, Alick. We can all work nice and comfortably
+together, can't we?
+
+ALICK. Aye.
+
+DANIEL. Well, if you behave yourself like a man with some manners, and
+not like an ignorant clodhopper, I can do a great deal for you.
+
+ALICK. Thank you, sir. You know, Mr. Murray, I have as nice a wee
+farm, and as good stock on it as well, as any man in the county, and
+if I'm lucky enough to get that niece of yours, you'll always be
+welcome to come and pass a day or two and have a chat.
+
+DANIEL. I think you and I will get along all right, Alick. There's one
+or two little things I need badly sometimes in this house. I mean I
+want help often, you know, Alick, to carry my points with John; points
+about going to see people and that sort of thing, and it's really very
+hard to manage John on points like that, unless we resort to certain
+means to convince him they are absolutely necessary.
+
+ALICK (_uneasily_). Yes. I sort of follow you.
+
+DANIEL. You know what I mean. John's a little dense, you know. He
+can't see the point of an argument very well unless you sort of knock
+him down with it. Now, if a thing is fair and reasonable, and a man is
+so dense that he can't see it, you are quite justified--at least, I
+take it so--to manufacture a way--it doesn't matter how--so long as
+you make that dense man accept the thing, whatever it is, as right. Do
+you follow me?
+
+ALICK. I'm just beginning to see a kind of way.
+
+MARY (_appearing at door from inner rooms_). I can't see that thing
+anywhere. (_She suddenly sees_ ALICK.) Oh Alick! You here!
+
+ALICK. Yes. It's a nice morning, and you're looking beautiful!
+
+MARY. Oh, bother. (_She seems to suddenly recollect something._) Oh, I
+say! uncle! You remember? Uncle!
+
+DANIEL (_somewhat perplexed_). Eh?
+
+MARY (_motioning towards_ ALICK). Telegram to come to London.
+
+DANIEL. Ah----Oh, yes, yes.
+
+MARY. Let's go into your workshop and tell Alick what we want. Come
+on.
+
+ALICK. I'll do anything in the world you want.
+
+(_They all go into the workshop. As they disappear,_ JOHN MURRAY,
+_sweating and angry looking, comes through from the yard followed by_
+BROWN. JOHN _is a tall, stout man, with a rather dour countenance and
+somewhat stolid expression. He is a year or so the elder of Dan in
+age. He goes to the dresser, puts his hand on the top shelf, takes
+down a spanner and throws it down angrily on the table._)
+
+JOHN. There. There you are, you stupid-looking, good for nothing,
+dunder-headed, Italian idiot you.
+
+BROWN. You're something terrible cross this morning.
+
+JOHN. (_heatedly_). Is it any wonder? Away out at once now and put her
+to rights and quick about it. (BROWN _meekly goes out._) The like of
+servant men nowadays, I never seen in my mortal days. A concern of
+ignorant bauchles, every one of them.
+
+DANIEL (_opening door of workshop and peeping out. He sees_ JOHN _and
+goes over to him with a genial air_). Good morning John.
+
+JOHN (_snappishly_). Morning.
+
+DANIEL. John, what do you think, I believe I have just come on to a
+great idea about----
+
+JOHN. Ach! You and your great ideas! Here you've been blundering and
+blethering and talking these fifteen years and more, and I've never
+seen anything come of them yet.
+
+DANIEL (_soothingly_). I know, John, I know. But I'm handicapped you
+know. Bad place to work in and all the rest of it: but you've been
+kind to me, John. Keeping a brother and helping him after he has lost
+all his money isn't a common thing with many men, but John a day will
+come sometime, and you'll get it all back. (_Impressively_). Every
+penny. Aye, and twice over.
+
+JOHN (_softening_). Thank you, Daniel.
+
+DANIEL. You will, John, you will. But don't cast up things like that
+about the time I've been. It hurts me. A thing like this takes time to
+mature, you know, John. The great and chief thing for an inventor is
+time. Look at Palissy, the great French potter, who found out how to
+make porcelain glaze. Why he worked for years and years at his
+invention. And there was the man who found out how to make steam drive
+engines. Look at the years those men spent--and no one begrudged them.
+
+JOHN. I suppose that now.
+
+DANIEL. Certainly, John, nothing surer. And look at the fortunes those
+men made. But the great difficulty is trying to get someone to take up
+your patent. You see these men had the eyes of the world fixed on
+them. People knew all about them, and had their hands stretched out
+ready to grab what they invented. (_Pathetically_). I----I'm just a
+poor unknown man struggling in a wee dark corner.
+
+JOHN (_touched_). Never mind, Danny. You'll make the name of the
+Murray's known yet, maybe.
+
+DANIEL. I'll do my best, John. But mind you it would take me to be
+pushing on this thing that I have found out and bringing it before
+people to notice. You see I've got it all ready now except for a few
+small details.
+
+JOHN (_much interested_). Have you now? I would like you sometime to
+explain it to me, Daniel. I didn't quite get on to it the last time
+you were telling me about it.
+
+DANIEL. Some time again. Oh yes. But John--I'll have to go to some of
+the towns soon to see people about it. The bigger the town the better
+the chance, and John (_impressively_)--London's the place.
+
+JOHN (_aghast_). London! In all the name of the world, yon place!
+Would Belfast not do you?
+
+DANIEL. No. I don't like Belfast. They're a mangy, stick-in-the-mud,
+follow-in-the-old-ruts crowd. Never strike out anything new. It's a
+case of London or nothing.
+
+JOHN (_dubiously_). It will be a terrible expense this London
+visiting.
+
+DANIEL. It'll be worth it.
+
+JOHN. Now, Danny, I would like to oblige you, but what do you think it
+would cost me?
+
+DANIEL. Well, I could live cheap you know, John, and do without meals
+an odd day, and go steerage and third class, and that sort of thing. I
+would say about fifteen pounds roughly. That would let me stay more
+than a week.
+
+JOHN. Fifteen pounds! God bless me, Daniel, would you break me? No,
+no, I couldn't afford to give you that much.
+
+DANIEL. Maybe ten would do it. I could sleep out under the arches an
+odd night or two, and----
+
+JOHN. No, no. I'll not have that. A Murray aye had a bed to go to and
+a sup to eat. (_After a contemplative pause._) Here, I'll give you
+three pounds and you can go to Belfast.
+
+DANIEL. I don't care much about Belfast. You know I have been there
+five times now, and I have never got anyone to look into the thing at
+all proper.
+
+JOHN. You're too backward, Daniel, when it comes to the like of that.
+But ten pounds! No, I would like you to get on in the world right
+enough, Daniel, but I couldn't afford it. You know the way this house
+is being kept; it's lamentable. Tea and sugar and flour and things.
+Man, I'm just after paying off ten pounds to the McAfees for one thing
+and another, and it only a running account for two months. If I had a
+good housekeeper now, maybe things would alter for the better.
+
+MARY (_coming out from the workshop followed by_ ALICK). O Uncle Dan!
+He says he'll go at once and get it----(_She stops short in confusion on
+seeing her father._)
+
+ALICK. How are you, Mr. Murray?
+
+JOHN. O! bravely. What's the news with you?
+
+ALICK. I was just looking over some of them ideas of Daniel's, about
+the new fan bellows.
+
+JOHN. Aye. Now what do you think of it?
+
+ALICK (_warned by_ DANIEL _who nudges him_). They're great altogether.
+
+JOHN. Do you think there will be any sale for it at all?
+
+ALICK. I think so. (_He perceives_ DANIEL _motioning assent._) I
+believe there would be indeed.
+
+JOHN. Man, I wish I had the head of some of you young fellows to
+understand the working of them machinery and things. (DANIEL _goes
+back into the workshop._) I've the worst head in the world for
+understanding about them sort of things. There's Daniel, a great head
+on him, Daniel.
+
+ALICK (_slyly_). He has, right enough!
+
+JOHN (_proudly_). One of the best. When he was a wee fellow, dang the
+one could beat him at making boats or drawing pictures, or explaining
+extraordinary things to you. None. Not one. A great head on him,
+Daniel. He'll do something yet.
+
+ALICK. Did you know Andy McMinn's for coming over to see you this day,
+Mr. Murray?
+
+JOHN (_eagerly_). This day? When? Are you sure?
+
+ALICK. Aye, so he said. About two o'clock or so. Someone told him
+about Daniel's great new idea, and he's very curious to hear about it.
+
+MARY. He's always poking his nose into people's business.
+
+JOHN. Whist. Andy McMinn's a very decent man. Tell me (_rather
+bashfully_), was Sarah to come with him?
+
+MARY (_alarmed_). O holy prophets! I hope not.
+
+ALICK. Aye. She's coming too. She wanted to see it as well as Andy.
+
+JOHN. Aye. Certainly, and she's welcome too. Mary, you can get the
+house ready, and the table set, and a nice tea for them when they
+come, and I can go and get tidied up a wee bit. (_He goes off through
+door into inner rooms._)
+
+ALICK (_leaning against the table and looking across at_ MARY, _who is
+sitting at the opposite end._) You're as nice a wee girl as ever I----
+
+MARY. You're an awful fool. Hurry, Alick, like a decent man and get
+that telegram sent.
+
+ALICK. That uncle of yours, Mary, heth he's as canny a keoghboy as
+I've seen. Its the queer tears he'll be taking to himself in London if
+I know anything.
+
+MARY. Hold your tongue. You've no business to talk about Uncle Dan
+that way. He could give you tons as far as brains go anyway.
+
+ALICK. I believe that. (_He goes to yard door, then turns back._) I
+say, Mary. What name will I put on that telegram? "Come to London at
+once about patent. Intend purchasing." Hadn't we better have a name?
+
+MARY. Yes. I'll just ask uncle. (_She knocks at door of workshop._)
+Uncle!
+
+DANIEL (_without_). Yes.
+
+MARY. What name will we put to that telegram?
+
+DANIEL (_without_). Oh, it's not particular. Wilson or Smith, or
+Brown, or Gregg.
+
+ALICK. I'll put Gregg on it.
+
+DANIEL. Do well.
+
+ALICK. Did you see the fluster that your father got into, Mary, when
+he heard that Sarah McMinn was coming over?
+
+MARY (_alarmed_). What?
+
+ALICK.. Did you not see how he rushed off to tidy himself up when he
+heard Sarah McMinn was coming over?
+
+MARY (_seating herself on chair to right of table_). Nonsense. Father
+wouldn't think of that woman.
+
+ALICK. All right. But I think I know something more than you.
+
+MARY (_anxiously_). What? Tell me.
+
+ALICK. Come on and leave me down the loaning a pace, and I'll tell
+you.
+
+MARY (_glancing at him, and then coquettishly turning her back to him
+as he leans against the table_). Oh, I can't. Those people are coming
+over, and that McMinn woman will be looking at everything and telling
+you how to do things in front of father, and all the rest of it.
+
+ALICK (_entreatingly_). Leave me down the loaning a pace till I tell
+you the news.
+
+MARY (_teasingly_). No.
+
+ALICK. Come on.
+
+MARY. No. (ALICK _moves sadly towards the door._ MARY _looks round,
+and then laughingly skips past him out through the yard door, and he
+follows her._)
+
+JOHN (_coming through door from inner rooms partly dressed, with a
+towel in his hands, evidently making much preparation to clean
+himself_). Daniel! (_Loudly and crossly._) Daniel!
+
+DANIEL (_peeping out from workshop door_). Well!
+
+JOHN. Tidy yourself up a wee bit, man, Andy McMinn and Sarah's coming
+over to see you.
+
+DANIEL (_somewhat taken back_). Me?
+
+JOHN. Aye. They want to see about the new invention. You can have the
+collar I wore last Sunday, and put on your new coat that you got in
+Belfast. (DANIEL _goes back into the workshop._) I wonder what tie
+would be the better one? Yon green or the red one that Mary gave me
+last Christmas. Aye. (_Seeing no sign of_ DANIEL.) D----n! Is he
+making no shapes to dress himself. Daniel!
+
+DANIEL (_without_). Aye.
+
+JOHN (_loudly_). Daniel!
+
+DANIEL (_again appearing at door_). Well!
+
+JOHN (_impatiently_). Come on and get on you.
+
+DANIEL. Ach. This is always the way. Just when a man has got the whole
+thing worked out and the plans of the apparatus just on the point of
+completion he has to stop.
+
+JOHN. Never mind, Danny. You can do it again the night or the morrow
+morning. I want you to look decent. Come on and get on you.
+
+DANIEL (_beginning to regard his brother with a sudden interest and
+suspicion_). Who did you say was coming?
+
+JOHN (_at door to rooms_). Andy and Sarah McMinn. (He goes out.)
+
+DANIEL (_suddenly realising the import of the preparations going on._)
+McMinn. Mc----. (_He stops short, and then in a horrified voice._)
+Surely to God he hasn't a notion of that woman? (_Calling
+tremulously._) John! John!
+
+JOHN (_at door_). Hurry up, man.
+
+DANIEL (_appealingly_). John. Tell me, John. You haven't----you're not
+going to----you haven't a notion of that woman?
+
+JOHN (_hesitatingly_). Well, Daniel, you see the house needs some one
+to look after it proper, and I thought----well--maybe--that Sarah
+would be just as nice and saving a woman as I could get, but I thought
+I would keep it a bit secret, don't you know, because I don't know yet
+if she'd have me or not. And she could talk to you better nor I could
+about machinery and things that would interest you, for she has an
+agency for sewing machines, and knows something about that sort of
+thing, and you'd get on great with each other. Now, hurry and get on
+you. (_He goes out by door into rooms._)
+
+DANIEL (_looking after him in a helpless manner, and sinking into a
+chair_). If--if she'd have him! O great God! If that woman comes to
+this house, I--I'm a ruined man.
+
+(CURTAIN.)
+
+
+
+
+ACT II.
+
+
+_The same scene some hours later. The curtain rises to discover_ KATE
+_seated near table at back enjoying a cup of tea which she has made,
+and is drinking with relish._
+
+
+KATE. I suppose they'll be wanting jam and sugar for the tea--aye--and
+some of them scones Miss Mary cooked yesterday, not but you couldn't
+eat them, and a pat or two of butter. (_She finishes off the remains
+of the tea._) Now, that's a nice girl for you! Here's company coming
+till the house and tea and things a wanting, and she goes and leaves
+all to go strolling down the loaning with that fool of a McCready.
+
+(BROWN _opens the yard door and comes in. He replaces the spanner on
+the top shelf and then turns and looks at_ KATE.)
+
+KATE. Well?
+
+BROWN. Well, yourself?
+
+KATE. Do you see any sign of them McMinns yet?
+
+BROWN. Aye. I see the trap coming over the Cattle Hill. There was
+three in it, as far as I could make out.
+
+KATE. Who be to be the third party I wonder? Is it their servant man?
+
+BROWN. Do you think old Andy McMinn's servant man gets leave to drive
+them about of an afternoon like the clergy's? Talk sense, woman.
+
+KATE. Maybe it's yon Scotch body I heard was stopping with them.
+
+BROWN. Aye. Yon Mackenzie. Ach, man, but yon creature would scunder
+you.
+
+KATE. Aye.
+
+BROWN. Ach! Cracking jokes and laughing that hearty at them, and I'm
+danged if a bat with one eye shut could make out what he was laughing
+at. (_Listening._) Here they are. I hear the wheels coming up the
+loaning. I'll have to go and put up the horse for them I suppose. (_He
+goes out by yard door._)
+
+KATE. I wonder if the master seen them coming. (_She rapidly clears
+the table and then goes over to door into room._) I better tell him.
+(_She knocks at the door._)
+
+JOHN (_without_). Aye. (_He comes and opens the door, dressed in his
+best suit of clothes._) What's the matter?
+
+KATE. They're just come, sir.
+
+JOHN (_excitedly_). Are they? (_Comes into kitchen._) Is my tie right,
+Kate? And my clothes--is there any dirt on the back of them?
+
+KATE (_inspecting him critically_). You'll do grand. I never seen you
+looking better.
+
+JOHN. Where's Mary? Why isn't she here?
+
+KATE. She went out about something. She'll be back in a minute.
+
+JOHN. Right enough, it would do her all the good in the world to have
+a sensible woman looking after her. She just gets her own way a deal
+too much in this house. (_He goes to window and looks out._) Aye. Here
+they are! Tell Daniel to hurry. (KATE _goes off by door to rooms._)
+Sarah's looking bravely. Man, that woman could save me thirty, aye
+forty, pounds a year if she was here. (_Suddenly._) Ach! Is Daniel
+never ready yet? (_Calls._) Daniel! (_Louder._) Daniel!
+
+DANIEL (_without_). Aye.
+
+JOHN. Hurry, man. They've come. (JOHN _goes to yard door and goes
+out._)
+
+DANIEL (_in an exasperated voice_). Ach!
+
+(JOHN _comes in followed by_ ANDREW MCMINN, _an elderly non-descript
+sort of man, followed by_ SARAH, _a sour faced spinster of uncertain
+age. In the rear is_ DONAL MACKENZIE. _He is wearing a tourist costume
+of Norfolk jacket and knickers, and is a keen faced, hard, angular
+looking personage._)
+
+JOHN. Yous are all welcome. Every one of you. You Andy and Sarah, and
+Mr. Mackenzie. The Scotch is aye welcome, Mr. Mackenzie.
+
+MACKENZIE. Aye. That's what I said the last time I was in Ballyannis,
+and was verra thirsty, and went into a beer-shop to get a dram--Black
+and White it was. Verra guid. (_He laughs loudly at his own joke._)
+
+SARAH. We brought Mr. Mackenzie along with us to see your brother,
+John. You see he's an engineer and knows a good deal about machinery
+and plans and things.
+
+MACKENZIE. Aye. There's not much about machinery that I dinna ken, Mr.
+Murray, from a forty thousand horse power quadruple expansion doon to
+a freewheel bicycle. (_Proudly._) I hae done spells work at all of
+them, you ken.
+
+ANDY. I suppose Daniel's at home. Is he?
+
+JOHN. Daniel? Oh aye, Daniel's at home. He's just tidying himself up a
+wee bit.
+
+MACKENZIE. A wee bit paint and powder gangs a lang gait to make up
+defects, as you ken yourself, Miss McMinn. (_He laughs loudly._)
+That's a guid one.
+
+ANDY (_looking slyly at Sarah_). He's up out of bed then?
+
+JOHN (_innocently_). Oh aye. He sits up late of nights working out
+things. (_He points to the door of workshop._) That's his workshop.
+
+MACKENZIE. He works then?
+
+JOHN. Aye. He works in there. (_Andy goes over and goes into
+workshop._)
+
+MACKENZIE. Because it doesna follow always, as I have discovered in my
+experience, that because a man has a workshop, he works. (_He laughs,
+evidently much pleased at his own humour._)
+
+ANDY (_looking out again through door_). There's nothing much to see
+in this place except a lot of dirty papers.
+
+JOHN. That's the plans of the bellows he's working at.
+
+MACKENZIE (_going over to workshop_). Come out, Mr. McMinn, till I
+examine. (_Andy comes out and he passes in._) Eh. This is the plan of
+the great bellows. (_He laughs loudly._)
+
+ANDY. Is he making much headway with it, John?
+
+JOHN. Indeed, now, I think he's doing bravely at it. He's keeping very
+close at it this day or two.
+
+ANDY. There's a terrible amount of newspapers lying in there. Has he
+no other plans and drawings except what's there?
+
+JOHN. Oh aye. He has plenty of plans and drawings somewhere, for I
+seen them once or twice.
+
+MACKENZIE (_coming out_). I can't say much about that contrivance.
+(_He laughs._) And, I say. Look here. He does more than draw bellows.
+He draws corks as well. (_He produces a bottle of whiskey almost
+empty._)
+
+JOHN. Ah, well. He's not a great transgressor either in the matter of
+a bottle. No, no.
+
+ANDY. And the smell of smoke in the place!
+
+SARAH. John, I think Daniel smokes far too much.
+
+ANDY. He should be dressed by now.
+
+JOHN. Aye. Oh, aye. He should right enough. He's a wee bit backward
+before women, you know, Sarah. (_Calls._) Daniel! (_He goes over and
+opens door into rooms._) Daniel!
+
+DANIEL (_without_). Yes. (_He appears at the door struggling vainly
+with his collar._)
+
+JOHN. Why didn't you come long ago. What kept you?
+
+DANIEL. Your collar. (_He looks across at_ ANDY _and_ SARAH, _who have
+seated themselves at the back._) How do you do, Andy and Sarah? You're
+very welcome. (_He looks at_ MACKENZIE, _who stares curiously at
+him._)
+
+ANDY. This is a friend of ours, Daniel, that happened to be stopping
+with us last summer at Newcastle in the same house, and he came over
+for his holidays to us this time. We brought him over to see you. They
+calls him Mackenzie.
+
+DANIEL (_crossing over to the left and taking a seat near the door of
+the workshop._) How do you do?
+
+MACKENZIE (_patronisingly_). I'm glad to see you at last, Mr. Murray,
+for I've heard a good deal about you.
+
+SARAH. You see, Daniel, Mr. Mackenzie is an engineer in one of the
+great Scotch engineering yards. (DANIEL'S _face expresses his dismay,
+which he hurriedly tries to hide._) What place was it you were in, Mr.
+Mackenzie?
+
+MACKENZIE. I served six years in the engine and fitting shops with
+Messrs. Ferguson, Hartie & Macpherson, and was two years shop foreman
+afterwards to Dennison, McLachlan & Co., and now I'm senior partner
+with the firm of Stephenson & Mackenzie. If ever you're up in Greenock
+direction, and want to see how we do it, just ask for Donal Mackenzie,
+and they'll show you the place. (_Proudly._) We're the sole makers of
+the Mackenzie piston, if ever you heard of it.
+
+DANIEL (_uneasily_). I'm sorry to say I haven't.
+
+MACKENZIE. And you call yourself an engineer and you don't know about
+Donal Mackenzie's patent reciprocating piston.
+
+JOHN (_apologetically_). You see we be a bit out of the world here,
+Mr. Mackenzie.
+
+DANIEL. Yes. Now that's one point. One great point that always tells
+against me. (_Getting courageous._) It really needs a man to be
+continually visiting the great engineering centres--Greenock, London--
+
+MACKENZIE (_scornfully_). London's not an engineering centre--Glasgow,
+Hartlepool, Newcastle----
+
+DANIEL. Well, all those places. He could keep himself posted up in all
+the newest ideas then, and inventions.
+
+MACKENZIE. But a man can keep himself to the fore if he reads the
+technical journals and follows their articles. What technical papers
+do you get? Do you ever get the Scottish Engineers' Monthly Handbook,
+price sixpence monthly? I'm the writer on the inventors' column. My
+articles are signed Fergus McLachlan. Perhaps you've read them?
+
+DANIEL. I think--um--I'm not quite sure that I have.
+
+MACKENZIE. You remember one I wrote on the new compressed air drills
+last July?
+
+DANIEL (_looking across at_ JOHN, _who is standing with his back to
+the fireplace_). I don't think I do.
+
+JOHN. No. We don't get them sort of papers. I did buy one or two like
+them for Daniel, but he told me he would just as soon have the _Whig_,
+for there was just as much information in it.
+
+MACKENZIE (_laughing_). O spirit of Burns! Just as much
+information--well, so much for that. Now, about this new patent, this
+new fan bellows that I hear you're working at, Mr. Murray.
+
+DANIEL. What about it?
+
+ANDY. We both seen the drawings in there, Daniel, but I don't think
+either of us made much of it. Could you not explain it to him, Daniel.
+Give him an idea what you mean to do with it.
+
+JOHN. Aye. Now's your chance, Daniel. You were talking of some
+difficulty or other. Maybe this gentleman could help you with it.
+
+DANIEL (_shifting uneasily, and looking appealingly at_ JOHN). Well.
+There's no great hurry. A little later on in the evening. (_He looks
+at_ SARAH.) I'm thinking about Miss McMinn. I don't think this
+conversation would be very interesting to her.
+
+SARAH. Oh, indeed now, Mr. Murray, I just love to know about it. A
+good fan bellows would be the great thing for yon fireplace of ours,
+Andy.
+
+ANDY. Aye. Soul, it would that.
+
+DANIEL (_uncomfortably_). No. Not just yet, John. A bit later on. I'm
+shy, John, you know. A bit backward before company.
+
+JOHN. You're a man to talk about going to see people in London.
+
+SARAH. What? Was he going to London?
+
+JOHN. Aye. He was talking about going to London, and I was half-minded
+to let him go.
+
+ANDY (_who exchanges meaning glances with_ SARAH). Boys, that would
+cost a wheen of pounds!
+
+MACKENZIE. Who wull you go to see in London?
+
+DANIEL (_evasively_). Oh--engineers and patent agents and people that
+would take an interest in that sort of thing.
+
+MACKENZIE. Have you anyone to go to in particular?
+
+DANIEL. Oh, yes.
+
+SARAH. It will cost a great deal of money, Daniel. Seven or eight
+pounds anyway. Won't it, Mr. Mackenzie?
+
+MACKENZIE. It would, and more.
+
+JOHN (_looking at_ SARAH _with evident admiration_). Man, that's a
+saving woman. She can count the pounds. (_Suddenly_). Daniel, away out
+and show Andy and Mr. Mackenzie the thresher, and get used to the
+company, and then you can come in and explain the thing to them. I
+want Sarah to stay here and help me to make the tea. That fool of a
+Mary is away again somewhere.
+
+ANDY (_after a sly glance at_ SARAH). Aye. Come on, Daniel, and
+explain it to us. I hear there's a new kind of feedboard on her.
+
+MACKENZIE. How is she driven, Mr. Murray?
+
+DANIEL (_uncomfortably_). How is she what?
+
+MACKENZIE. How is she worked--steam, horse, or water power, which?
+
+JOHN (_motioning_ DANIEL _to go, which the latter does very
+unwillingly_). Go on out and you can show them, Daniel. (DANIEL, ANDY,
+_and_ MACKENZIE _go out through yard door._) He's backward, you know,
+Sarah, oh, aye--backward; but a great head. A great head on him,
+Daniel.
+
+SARAH. I suppose he is clever in his way.
+
+JOHN (_seating himself close beside her and talking with innocent
+enthusiasm_). Ah, boys, Sarah, I mind when he went to serve his time
+with McArthurs, of Ballygrainey, he was as clever a boy as come out of
+the ten townlands. And then he set up for himself, you know, and lost
+all, and then he come here. He's doing his best, poor creature, till
+pay me for what kindness I showed him, by trying to invent things that
+he says would maybe pay off, some time or other, all he owes to me.
+
+SARAH (_cynically_). Poor Daniel! And he lost all his money?
+
+JOHN. Aye. Every ha'penny; and he took a hundred pounds off me as
+well. And now, poor soul, he hasn't a shilling, barring an odd pound
+or two I give him once or twice a month.
+
+SARAH. Well! Well! And he's been a long time this way?
+
+JOHN. Aye. (_Reflectively._) I suppose it's coming on now to twenty
+years.
+
+SARAH. It's a wonder he wouldn't make some shapes to try and get a
+situation somewhere.
+
+JOHN. Ach, well, you know, when Annie, the wife, died and left Mary a
+wee bit of a wain, I was lonesome, and Daniel was always a right
+heartsome fellow, and I never asked him about going when he came here.
+
+SARAH. He must be rather an expense to you. Pocket money for tobacco,
+and whenever he goes out a night to McArn's, its a treat all round to
+who is in at the time. And his clothes and boots, and let alone that,
+his going to see people about patents and things up to Belfast three
+or four times in the year. If he was in a situation and doing for
+himself, you could save a bit of money.
+
+JOHN (_pensively_). Aye. Heth and I never thought much of that, Sarah.
+I could right enough. I'll think over that now. (_He looks at her, and
+then begins in a bashful manner._) You weren't at Ballyannis School
+fête, Sarah?
+
+SARAH. No. But I heard you were there. Why?
+
+JOHN (_coming still closer_). I was expecting to see you.
+
+SARAH (_contemptuously_). I don't believe in young girls going to them
+things.
+
+JOHN (_gazing at her in astonishment_). But God bless me, they
+wouldn't call you young! (SARAH _turns up her nose disgustedly._) I
+missed you. Man, I was looking for you all roads.
+
+SARAH. I'm not a fool sort of young girl that you can just pass an
+idle hour or two with, John Murray, mind that.
+
+JOHN. I never thought that of you, Sarah.
+
+SARAH. Some people think that.
+
+JOHN (_astonished_). No.
+
+SARAH. They do. There's Andy just after warning me this morning about
+making a fool of myself.
+
+JOHN (_puzzled_). But you never done that, Sarah.
+
+SARAH. Well, he was just after giving me advice about going round
+flirting with Tom, Dick and Harry.
+
+JOHN. Ah no. You never done that. Sure I knowed you this years and
+years, and you never had a boy to my knowing.
+
+SARAH (_offended_). Well I had, plenty. Only I just wouldn't take
+them. I refused more than three offers in my time.
+
+JOHN (_incredulously_). Well! Well! And you wouldn't have them!
+
+SARAH. No.
+
+JOHN. Why now?
+
+SARAH (_looking at him meaningly_). Well--I liked somebody else
+better.
+
+JOHN (_piqued_). Did he--the somebody--did he never ask you?
+
+SARAH. He might yet, maybe.
+
+JOHN (_hopelessly to himself_). I wonder would it be any use then me
+asking her.
+
+SARAH. And I'm beginning to think he is a long time thinking about it.
+(_Knocking at the door._)
+
+JOHN (_angrily_). Ach! Who's that?
+
+BROWN (_opening yard door and looking in_). Me, sir. Mr. Dan wants to
+know could you not come out a minute, and show the gentlemen what way
+you can stop the feedboard working.
+
+JOHN. Don't you know yourself, you stupid headed lump you. Away back
+at once. (BROWN _hurriedly closes the door after an inquiring glance
+at the pair._) That's them servant men for you. He knowed rightly what
+way it worked, only he was just curious. (_Savagely._) He's a stupid
+creature, anyway.
+
+SARAH. I think all men is stupid. They never see things at all.
+
+JOHN. Now, Sarah, sure women are just as bad. There's Mary. She's
+bright enough someways, but others--ach----
+
+SARAH. Mary needs someone--a woman--to look after her. Somebody that
+knows how to manage a house and save money. She's lost running about
+here. Now, I had a young girl with me once was a wild useless thing
+when she came, and when she left me six months after, there wasn't a
+better trained, nor as meek a child in the whole country.
+
+JOHN. And you can manage a house, Sarah, and well, too. Can't you?
+
+SARAH. I ran the house for Andy there twenty years and more, and I
+never once had to ask him for a pound. And what's more, I put some
+into the bank every quarter.
+
+JOHN. Did you now? (_He looks at her in wondering admiration._)
+
+SARAH. Yes. And I cleared five pounds on butter last half year.
+
+JOHN (_with growing wonder_). Did you?
+
+SARAH. And made a profit of ten pounds on eggs alone this year
+already.
+
+JOHN (_unable to contain himself any longer_). Sarah, will you marry
+me?
+
+SARAH (_coyly_). Oh, John, this is very sudden. (_Knocking at yard
+door._) I will. I will. Will you tell them when they come in?
+
+JOHN (_now that the ordeal has been passed, feeling somewhat
+uncomfortable_). Well, I would rather you waited a few days, and then
+we could let them know, canny, don't you know, Sarah. Break the news
+soft, so to speak. Eh?
+
+SARAH (_disappointedly_). Well, if you want it particular that way
+I--(_knocking_).
+
+JOHN (_going to door_). Aye, I'd rather you did. (_He goes to the door
+and opens it and_ MARY _comes in._)
+
+MARY. I peeped through the window and I thought, perhaps, it would be
+better to knock first. It's a nice evening Miss McMinn. (_She takes
+off her hat and flings it carelessly on a chair._) Where's Uncle Dan?
+I want to see him.
+
+JOHN. He'll be in soon enough. He's out showing Andy and Mackenzie the
+thresher.
+
+MARY (_laughing_). Uncle Dan! What does he know about----(_she stops
+short, remembering that_ SARAH _is present._) Mr. Mackenzie?
+
+SARAH. Yes. He's a gentleman, a friend of ours, engaged in the
+engineering business, who has a large place of his own in Scotland,
+and we brought him over here to see your Uncle Dan about the invention
+he's working at.
+
+JOHN. You stop here, Mary, with Sarah, and get the tea ready. You
+should have been in the house when company was coming. Where were you?
+
+MARY. Oh, just down the loaning.
+
+JOHN. Who with?
+
+MARY. Alick McCready.
+
+JOHN (_sternly_). Aye. You're gay fond of tralloping about with the
+boys.
+
+SARAH. He's not just the sort of young man I would like to see in your
+company, Mary.
+
+MARY (_impertinently_). It's none of your business whose company I was
+in.
+
+JOHN (_disapprovingly_). Now, Mary, remember your manners in front of
+your elders, and mind you must always show Miss McMinn particular
+respect. (_Impressively_). Particular respect. (_Going towards yard
+door._) And you can show Sarah what you have in the house, and do what
+she bids you. Them's my orders. (_He goes out._)
+
+SARAH (_looking disapprovingly at_ MARY). I wonder a girl like you has
+no more sense than to go gallivanting about at this time of day with
+boys, making talk for the whole country side.
+
+MARY (_sharply_). I don't have to run after them to other people's
+houses anyway.
+
+SARAH. And that is no way to be leaving down your hat. (_She picks it
+up and looks at it._) Is that your Sunday one?
+
+MARY (_snatching it out of her hand_). Just find out for yourself.
+
+SARAH. Now, you should take and put it away carefully. There's no need
+to waste money that way, wearing things out.
+
+MARY (_with rising temper_). Do you know it's _my_ hat? Not yours. And
+I can do what I like with it. (_She throws it down and stamps on it._)
+I can tramp on it if I want to.
+
+SARAH (_smiling grimly_). Oh, well, tramp away. It's no wonder your
+father complained of waste and this sort of conduct going on.
+
+(KATE _comes in through door from rooms._)
+
+MARY. Have you got the tea things ready, Kate?
+
+KATE. Yes, Miss.
+
+MARY. I suppose we better wet the tea.
+
+SARAH (_looking at the fire_). Have you the kettle on?
+
+MARY. Can't you see for yourself it's not on.
+
+SARAH. Here, girl (_to_ KATE), fill the kettle and put it on. (KATE
+_looks at_ MARY, _and with a shrug of her shoulders, obeys the
+orders._) Where's the tea till I show you how to measure?
+
+MARY (_in a mocking voice_). Kate, get Miss McMinn the tea cannister
+till she shows you how to measure. (KATE _goes to the dresser and
+brings the teapot and cannister over to_ SARAH _at the table._)
+
+SARAH. But it's _you_ I want to show. (MARY _pays no attention, but
+sits down idly drumming her fingers on the table._) There now--pay
+particular attention to this. (_She takes the cannister from_ KATE,
+_opens it and ladles out the tea with a spoon into the teapot._) One
+spoonful for your father and uncle, one for my brother and Mr.
+Mackenzie, one for yourself and me, and half-a-one for Kate.
+
+MARY. Do you see that, Kate?
+
+KATE. Yes, Miss.
+
+MARY (_mockingly_). Now the next thing, I suppose, is to weigh out the
+sugar.
+
+SARAH. No. You always ask the company first do they take sugar before
+you pour out the tea.
+
+MARY. No; not in good society. You put it on the saucers.
+
+SARAH. Put some in the bowl, Kate, and never heed her.
+
+MARY (_almost tearfully_). You've no business to say that, Kate! Who's
+your mistress here?
+
+KATE (_very promptly_). You, Miss.
+
+MARY. Then do what I tell you. Put on the tablecloth, and lay the cups
+and saucers, and make everything ready, and take no orders except from
+me.
+
+SARAH. Very well. I'll learn her manners when I come to this house.
+(_To_ MARY) I want to see the china.
+
+MARY. Well, go into the next room and look for it.
+
+SARAH (_going towards door to rooms_). You better mind what your
+father told you. (_She goes in._)
+
+MARY (_making a face after her_). You nasty old thing. (DANIEL
+_appears at the door from yard. He is nervous and worried looking. He
+goes and sits down near the fireplace, wearily._) Uncle Dan. (_She
+goes over close beside him._) Wasn't it good of Alick? He went away to
+Ballyannis Post Office to get that telegram sent.
+
+DANIEL. A very decent fellow, Alick. (_Gratefully._) Very obliging.
+
+MARY (_confidingly_). Do you know, uncle, when he went off to send
+that telegram I was nearly calling him back. I don't care so very much
+now whether I see that boy you were telling me about or not. Is he--do
+you think, uncle--is he much nicer than Alick?
+
+DANIEL. Nicer? (_He looks at his niece, and then begins to divine the
+way her feelings lie._) Well, of course we have all our opinions on
+these things you know, Mary, but Alick--well, after all there's many a
+worse fellow than Alick, isn't there? (MARY _does not answer, but puts
+her head close to her uncle._) Ah, yes.
+
+MARY (_suddenly_). Uncle! Do you know what has happened? I heard
+father proposing to Miss McMinn!
+
+DANIEL (_groaning_). Oh my! I knew it would happen! I knew it would
+happen! When? Where?
+
+MARY. In here. I wanted to slip in quietly after leaving Alick down
+the loaning when I overheard the voices. It was father and Miss
+McMinn. She was telling him how she had saved five pounds on butter
+last half year, and ten pounds on eggs this year, and then father
+asked her to marry him. I knocked at the door out of divilment, and
+she just pitched herself at him. I--I'm not going to stay in the house
+with that woman. I'd sooner marry Alick McCready.
+
+DANIEL (_despairingly_). I would myself. I daren't--I couldn't face
+the look of that woman in the mornings.
+
+MARY. It's all right for you to talk, uncle. You'll be working away at
+your inventions, and that sort of thing, and will have nothing much to
+do with her, but I'd be under her thumb all the time. And I hate her,
+and I know she hates me. (_Tearfully._) And then the way father talks
+about her being such a fine housekeeper, and about the waste that goes
+on in this house, it nearly makes me cry, just because I have been a
+bit careless maybe. But I could manage a house every bit as well as
+she could, and I'd show father that if I only got another chance.
+Couldn't I uncle?
+
+DANIEL (_soothingly_). And far better, Mary. Far better.
+
+MARY. And you could do far more at your invention if you only got a
+chance. Couldn't you, uncle?
+
+DANIEL. No doubt about it, Mary. None. I never got much of a chance
+here.
+
+MARY. I wonder could we both try to get another chance. (_Suddenly,
+with animation._) Uncle!
+
+DANIEL. Well?
+
+MARY. Aren't you going to explain that fan bellows thing you've been
+working at to them when they come in? (DANIEL _nods sadly._) Well,
+look. That Scotchman--he understands things like that, and that's just
+the reason why that nasty woman brought him over. Just to trip you and
+show you up, and she thinks she'll make father see through you. But
+just you rise to the occasion and astonish them. Eh, uncle?
+
+DANIEL (_uneasily_). Um--well, I don't know. That Scotchman's rather a
+dense sort of fellow. Very hard to get on with somehow.
+
+MARY. Now, Uncle Dan, it's our last chance. Let us beat that woman
+somehow or other.
+
+DANIEL. It's all very well, Mary, to talk that way. (_Suddenly._) I
+wonder is there a book on machinery in the house?
+
+MARY. Machinery? Let me think. Yes, I do believe KATE was reading some
+book yesterday about things, and there was something about machinery
+in it.
+
+DANIEL. For Heaven's sake, Mary, get it.
+
+MARY (_calling_). Kate! Are you there, Kate? (KATE _comes in from
+inner rooms._) Where's that book you were reading last night, Kate?
+
+KATE (_surprised_). For dear's sake, Miss! Yon dirty old thing? The
+one with the big talk between the old fellow and the son about
+everything in the world you could think of?
+
+MARY. Yes, yes. Uncle Dan wants it. (KATE _fetches a tattered volume
+from the dresser and hands it to_ DANIEL. DANIEL _opens it, and reads
+while the two girls peer over his shoulder._)
+
+DANIEL (_reading slowly_). "The Child's Educator. A series of
+conversations between Charles and his father regarding the natural
+philosophy, as revealed to us, by the Very Reverend Ezekiel
+Johnston."
+
+KATE. (_much interested_). Aye. Just go on till you see Mr. Dan. Its
+the queerest conversation between an old lad and his son ever you
+heard tell of.
+
+DANIEL (_reading_). Ah! "The simple forms of machines. The lever, the
+wedge, the inclined plane--Father--and here we come to further consider
+the application of this principle, my dear Charles, to what is known
+as the differential wheel and axle. Um Charles--Father--Charles.
+Father." (_He looks up despairingly at_ MARY.) No good, my dear. Out
+of date. (_He, however, resumes reading the book carefully._)
+
+KATE (_nudging_ MARY, _and pointing to door into rooms_). She's going
+into all the cupboards and drawers, and looking at everything. (_She
+turns to go back and opens the door to pass through._) I never seen
+such a woman.
+
+MARY (_raising her voice so as to let_ SARAH _hear her_). Just keep an
+eye on her, Kate, and see she doesn't take anything.
+
+DANIEL. I might get something out of this. Atmosphere. Pressure.
+
+MARY. Uncle Dan. (_He pays no attention, but is absorbed in the
+book_). Uncle Dan, I'm going down the loaning a pace. Alick said he
+might be back, and I think--(_she sees he is not listening, and slips
+back to look over his shoulder._)
+
+DANIEL (_reading_). Charles. And now my dear father, after discussing
+in such clear and lucid terms the use of the barometer, and how it is
+constructed, could you tell me or explain the meaning of the word
+"pneumatic."
+
+MARY (_going towards yard door_). Good luck, Uncle Danny. I'm away.
+(_She goes out._)
+
+DANIEL. There's not much here about bellows. (_Hopelessly._) I wish I
+had made up this subject a little better. (KATE _comes in evidently
+much perturbed and angry._)
+
+KATE. The divil take her and them remarks of hers. Who gave her the
+right to go searching that way, I wonder? Where's the silver kept, and
+was it locked, and how many spoons was there, and why weren't they
+better polished; and part of the china broke.
+
+SARAH (_coming to door and speaking. As soon as_ DANIEL _hears her
+voice he hurriedly retreats across to the workshop._) Where do you
+keep the knives and forks?
+
+KATE. You don't want forks for the tea.
+
+SARAH. I want to count them.
+
+Kate (_in amazement_). Oh, God save us! You'd think there was a pross
+on the house! (_She follows_ SARAH _in through door_ MACKENZIE _comes
+in, followed by_ JOHN, _then_ ANDY.)
+
+MACKENZIE. And it was a great idea, you know. The steam passed through
+the condenser, and the exhaust was never open to the atmosphere.
+
+JOHN (_evidently much impressed, and repeating the word in a wondering
+manner_) Aye. The exhaust!
+
+MACKENZIE. Aye. The exhaust. But now I'm verra anxious to hear your
+brother explaining what he's made out about the bellows. Its the small
+things like that you ken that a man makes a fortune of, not the big
+ones.
+
+JOHN (_impressed_). Do you think that now?
+
+MACKENZIE. You know I take a particular interest in bellows myself. I
+tried my hand a good while working out a new kind of bellows, and I
+flatter myself that I know something about the subject.
+
+JOHN. Aye. (_Looking round._) Where's Daniel? Daniel! Are you there,
+Daniel? (DANIEL _comes out and stands near the door._) You could maybe
+bring them plans out you're working at and explain it to them now,
+Daniel. Eh? And wait, Sarah wants to hear it too. (_Calling._) Are you
+there, Sarah?
+
+DANIEL (_seating himself sadly_). Aye. She's in there somewhere taking
+stock.
+
+JOHN (_going next door to rooms_). Are you there, dear? (SARAH _comes
+out._) Daniel's going to explain the thing to us, and you wanted to
+hear about it. Didn't you?
+
+SARAH. I'm just dying to know all about it. (_She seats herself to the
+right at back._ ANDY _sits on one side of the table and_ MACKENZIE
+_at the other, expectantly, while_ JOHN _goes over to the fireplace
+almost opposite his brother._) You know, Mr. Daniel, that's one thing
+we want very bad in our house--a good fan bellows.
+
+DANIEL. They are very useful, very.
+
+JOHN. Aye. They are that. (_To_ SARAH). He has a good head on him,
+Daniel. Eh? (_To_ DANIEL.) Now go on and make it very plain so that
+every one can follow you. Bring out the plans and show us.
+
+DANIEL (_uneasily._) I can explain it better without them. (_After a
+pause._) Well, I suppose this subject of bellows would come under the
+heading of pneumatics in natural philosophy.
+
+JOHN. Oh, now, don't be going off that way. Could you not make it
+plainer nor that?
+
+DANIEL (_appealingly_). Well. Could I be much plainer, Mr. Mackenzie?
+
+MACKENZIE (_cynically_). I'm here to discuss fan bellows, not
+pneumatics.
+
+DANIEL (_sotto voce_). D----n him. (_He pulls himself together._)
+Well. Then I suppose the first thing is--well--to know what is a
+bellows.
+
+ANDY. Aye. Man, Daniel, you start off just the same as the clergy.
+That's the way they always goes on expounding things to you.
+
+SARAH (_severely_). Don't be interrupting, Andy.
+
+MACKENZIE (_sneeringly_). Well, I think everyone here knows what a
+bellows is.
+
+DANIEL. Everyone here? Do you, John?
+
+JOHN. Aye. I would like, Daniel, to hear right what a bellows is. I
+mean I can see the thing blowing up a fire when you use it, any man
+could see that--but its the workings of it. What's the arrangements
+and internal works of the bellows now, Daniel?
+
+DANIEL. Well, you push the handles together in an ordinary bellows
+and--and the air--blows out. (_Seeing that this statement is received
+coldly._) Now, why does it blow out?
+
+JOHN (_disappointedly_). Because it's pushed out of course. There's no
+sense in asking that sort of a question.
+
+DANIEL. Well, there's a flap on the bellows--a thing that moves up and
+down. Well, that flap has all to do with pushing the air.
+
+JOHN. Maybe this scientifican business is uninteresting to you, Sarah,
+is it?
+
+DANIEL (_brightening up at the suggestion_). I'm sure it is. Perhaps
+we better stop.
+
+SARAH (_smiling grimly_). Oh, not at all. I want to hear more.
+
+MACKENZIE. You're wasting a lot of my time, Mr. Murray. I came here to
+hear about a fan bellows.
+
+DANIEL (_confusedly_). Oh, yes. Yes. Certainly. Fan bellows. There's a
+difference between a fan bellows and an ordinary bellows.
+
+MARY (_opening door from yard and coming in_). Oh, Uncle Dan, are you
+explaining it to them. Did I miss much of it?
+
+MACKENZIE. I don't think it matters much what time you come in during
+this.
+
+JOHN (_impatiently_). Go on, Daniel.
+
+DANIEL. It's very hard for me to go on with these constant
+interruptions. Well, I was just saying there was a difference between
+a fan bellows and an ordinary bellows.
+
+MACKENZIE. Now, what is a fan bellows yourself, Mr. Murray?
+
+DANIEL (_hopelessly_). A fan bellows? Ah. Why now is it called a fan
+bellows?
+
+MACKENZIE (_roughly_). Don't be asking me my own questions.
+
+DANIEL (_with a despairing effort_). Well, now we will take it for
+granted it is because there must be something of the nature of a fan
+about a fan bellows. It is because there are fans inside the casing.
+And the handle being turned causes these--eh--fans to turn round too.
+And then the air comes out with a rush.
+
+JOHN. Aye. It must be the fans that pushes it out.
+
+DANIEL. Exactly. Well, now, the difficulty we find here is--(_he
+pauses_).
+
+ANDY. Aye.
+
+JOHN. Go on, Daniel.
+
+DANIEL. You want a constant draught blowing. That's number one.
+Then--well--the other. You see, if we took some of these fans.
+
+MACKENZIE. Yes.
+
+DANIEL (_in a floundering way_). And put them in a tight-fitting case,
+and put more of them inside, and understood exactly what their size
+was, we could arrange for the way that--
+
+JOHN (_in a puzzled way to_ SARAH). I can only follow Daniel a short
+way too. (_Repeating slowly._) Put them in a tight-fitting case--
+
+BROWN (_appearing at yard door with a telegram in his hand, and
+speaking with suppressed excitement_). A telegram for Mr. Daniel.
+
+DANIEL (_with a gasp of relief_). Ah! (_He tears it open and proudly
+reads it out aloud._) "Come to London at once to explain patent. Want
+to purchase. Gregg."
+
+(BROWN _goes out again._)
+
+MACKENZIE. Who? Gregg?
+
+DANIEL. I suppose I better go, John?
+
+JOHN. Let's see the telegram. (_He goes over to_ DANIEL, _who hands it
+to him._)
+
+MACKENZIE. If you go to London, it'll take you to explain yourself a
+bit better, Mr. Murray.
+
+JOHN (_who has resumed his place at the fire, and is looking carefully
+at the telegram_). That will mean how many pounds, Daniel, did you
+say?
+
+DANIEL (_promptly_). Fifteen, John. (MARY _goes out by door to
+rooms._)
+
+MACKENZIE. Who is Gregg?
+
+DANIEL. Gregg? Ah. He's a man lives in London. Engineer.
+
+JOHN (_dubiously_). Well, I suppose you--(_he pauses, then hands the
+telegram to_ SARAH, _who stretches out her hand for it._)
+
+MARY (_at door_). Tea's ready. (_She stands aside to let the company
+past._)
+
+SARAH. We didn't hear all about the bellows.
+
+ANDY (_contemptuously_). No, nor you never will. (_He rises and goes
+through the door._)
+
+MACKENZIE (_rising and stretching himself wearily_). Any more, Mr.
+Murray?
+
+DANIEL. I refuse to discuss the matter any further in public. (_He
+goes off across to tea._)
+
+MACKENZIE (_going over to John and looking at him knowingly_). Do you
+know what it is, Mr. Murray? Your brother's nothing short of an
+impostor.
+
+JOHN (_much offended_). Don't dare to say that of a Murray.
+
+MACKENZIE (_shrugging his shoulders_). Well, I'm going for some tea.
+(_Exit._)
+
+SARAH. John, I've something to say to you again about Daniel, but the
+company's waiting. (_She goes out to the tea room._)
+
+JOHN (_sitting down moodily_). Aye.
+
+MARY. Are you not coming, father?
+
+JOHN. Aye.
+
+MARY. Father! Surely you aren't going to marry that woman?
+
+JOHN. Don't talk of Sarah that ways. I am!
+
+MARY. Well, if you are, I'm going to say yes to Alick McCready. I
+don't want to yet awhile, but I'm not going to stay on here if that
+nasty woman comes. (_She kneels close beside her father and puts her
+arms round his neck._) Oh, father, if you only give me another chance,
+I could show you I could keep house every bit as well as that woman.
+(DANIEL _appears at the door. He slips across to the workshop
+unobserved._) Give me another chance, father. Don't marry her at all.
+Let me stay with you--won't you?
+
+JOHN. You're too late. She's trothed to me now.
+
+MARY. Pooh. I'd think nothing of that. (DANIEL _comes out of the
+workshop with a bag._) Uncle Dan! What's the matter?
+
+DANIEL. Mary, I can't eat and sit beside that Scotchman. (_He notices_
+JOHN _is absorbed in deep thought, and motions_ MARY _to slip out. She
+does so, and he looks observingly at_ JOHN, _and then goes to the
+table, and makes a noise with the bag on the table._ JOHN _watches him
+a moment or two in amazed silence._)
+
+JOHN. What are you doing, Daniel?
+
+DANIEL. Just making a few preparations.
+
+JOHN. Ah, but look here. I haven't settled about London yet, Daniel.
+
+DANIEL. Oh, London, John. (_Deprecatingly._) Let that pass. I won't
+worry you about that. (_Broken heartedly._) I'm leaving your house,
+John.
+
+JOHN (_astonished_). What?
+
+DANIEL. You've been kind, John. Very kind. We always pulled well
+together, and never had much cross words with one another, but--well,
+circumstances are altered now.
+
+JOHN. You mean because I'm going to marry Sarah.
+
+DANIEL. Exactly. That puts an end to our long and pleasant sojourn
+here together. I'll have to go.
+
+JOHN (_affected_). Oh easy, Daniel. Ah, now, Sarah always liked you.
+She thinks a deal of you, and I'm sure she'd miss you out of the house
+as much as myself.
+
+DANIEL. John, I know better. She wants me out of this, and I would
+only be a source of unhappiness. I wouldn't like to cause you sorrow.
+She doesn't believe in me. She brought that Scotchman over to try and
+show me up. You all think he did. You think I mugged the thing. You
+don't believe in me now yourself. (_He puts a few articles of
+clothing, &c., into the bag._)
+
+JOHN (_awkwardly_). Aye. Well--to tell you the truth, Daniel, you did
+not make much of a hand at explaining, you----
+
+DANIEL (_pathetically_). I thought so. Look here. One word. (_He
+draws_ JOHN _aside._) Do you think Mackenzie invented that patent
+reciprocating piston that he's so proud of?
+
+JOHN (_looking at him in amazement_). What?
+
+DANIEL (_impressively_). Well. I know something about that. He stole
+it off another man, and took all the profits. I knew that. Do you
+think I'm going to give away the product of my brains explaining it to
+a man like that! No fear, John. (_He turns again to the bag._) I'm
+taking details of my bellows, and my coat, and a few socks, and the
+pound you gave me yesterday, and I'm going to face the world alone.
+
+JOHN (_moved_). No, no. You'll not leave me, Daniel. Ah, no. I never
+meant that.
+
+DANIEL. If she's coming here I'll have to go, and may as well now.
+
+SARAH (_without_). John Murray!
+
+DANIEL (_retreating slowly to the workshop_). I'm going to get that
+other coat you gave me. It's better than this one for seeing people
+in. (_He goes into workshop as_ SARAH _comes out into the kitchen. She
+is evidently displeased._)
+
+SARAH. Hurry up, John. The company's waiting on you, and I don't know
+what's keeping you. Unless it was that brother of yours, more shame to
+him.
+
+JOHN. Aye. Daniel kept me. (_Looking at her._) He's talking of
+leaving. You wouldn't have that, Sarah, would you?
+
+SARAH (_sharply_). Leaving, is he? And a right good riddance say I.
+What has he done but ate up all your substance.
+
+JOHN (_astonished_). You wouldn't put him out, Sarah?
+
+SARAH (_snappishly_). I just wouldn't have him about the place. An
+idle, good for nothing, useless, old pull a cork.
+
+JOHN. Do you not like him, Sarah? (_Somewhat disapprovingly._) You
+told me you thought a good deal of him before.
+
+SARAH. Aye. Until I seen through him. Him and his letters and
+telegrams. Just look at that. (_She shows him the telegram._) It comes
+from Ballyannis.
+
+JOHN (_scratching his head in puzzled wonder_). I don't understand
+that.
+
+SARAH. He just put up some one to send it. Young McCready or someone.
+You couldn't watch a man like that. No. If I come here, out he goes.
+You expects me to come and save you money and the like of that old
+bauchle eating up the profits. (_She goes towards the door into tea
+room._) Come into your tea at once. (_Exit._)
+
+JOHN. By me sang he was right. (DANIEL _comes out and starts brushing
+his coat loudly to attract_ JOHN'S _attention, and then goes across
+towards him and holds out his hand._)
+
+DANIEL. I'll say good-bye, John. Maybe I'll never see you again. (_He
+appears much affected._)
+
+JOHN (_touched_). Ach. Take your time. I don't see the sense of this
+hurrying. Stop a week or two, man. I'll be lonesome without you. We
+had many a good crack in the evenings, Daniel.
+
+DANIEL. We had, John. And I suppose now that you'll be married I'll
+have to go, but many a time I'll be sitting lonely and thinking of
+them.
+
+JOHN. Aye. You were always the best of company, and heartsome. You
+were, Daniel.
+
+DANIEL. Well, I did my best, John, to keep--(_he half breaks
+down_)--to keep up a good heart.
+
+JOHN. You did. I wouldn't like to lose you, Daniel. (_He looks at the
+telegram in his hand._) But Daniel. This telegram. It comes from
+Ballyannis.
+
+DANIEL (_taken aback, but recovering his self possession._)
+Ballyannis? Ballyannis? Ah, of course. Sure Gregg, that London man, he
+was to go through Ballyannis to-day. He's on a visit, you know,
+somewhere this way. It's him I'm going to look for now.
+
+JOHN. Was that the way of it? (_With rising anger at the thought of
+the way in which his brother has been treated._) And she was for
+making you out an impostor and for putting you out. I didn't like
+them talking of a Murray the way they done.
+
+DANIEL (_with sudden hope_). Are you engaged to that McMinn woman,
+John?
+
+JOHN. Aye. I spoke the word the day.
+
+DANIEL. Was there anybody there when you asked her?
+
+JOHN. There was no one.
+
+DANIEL. Did you write her letters?
+
+JOHN. No. Not a line.
+
+DANIEL. And did you visit and court much at the home?
+
+JOHN. No. I always seen Andy on business and stopped to have a word or
+two with her.
+
+DANIEL (_appealingly_). Then, John, John, it's not too late yet.
+(_Desperately._) Give me--ah, give wee Mary another chance.
+
+SARAH (_at door_). Come in, John, at once. Your tea's cold waiting,
+and it's no way to entertain company that.
+
+JOHN (_angrily_). D----n her. Daniel! Out of this home you will not
+go. I'd rather have your crack of a winter night as two hundred pounds
+in the bank and yon woman. (_He reaches out his hand._) I'll break the
+match. (_The two men shake hands._)
+
+(CURTAIN.)
+
+
+
+
+ACT III
+
+
+_The same scene two weeks later._ BROWN _comes in by yard door holding
+letters in his hand, which he examines curiously at intervals._
+
+
+BROWN (_shouting loudly_). Miss Mary! Are you there, Miss Mary?
+
+KATE (_coming in from parlour_). Hi there. Stop that shouting. D'ye
+want to wake the dead?
+
+BROWN. I want to give these letters to Miss Mary. Where is she?
+
+KATE. Who're they for? Let's look at them.
+
+BROWN. Not for you anyway. (_Loudly._) Miss Mary.
+
+KATE. Ach quit deaving me with your shouting.
+
+MARY (_coming in_). What's the matter? Oh! Letters! Any for me, Sam?
+
+BROWN. Aye. There's a post card for you, Miss Mary, and a registered
+letter for Mr. John. The posty says he'll call on the road back for
+the account when you sign it. (_He hands the post card to_ MARY _and
+looks carefully at the letter._) It's like the MCMINN writing that.
+(_He looks at_ MARY, _who is reading and re-reading the post card with
+a puzzled expression._) Isn't Mr. Dan to be home to-day from Belfast,
+Miss Mary?
+
+MARY. Eh?
+
+BROWN. Isn't Mr. Dan expected home to-day from Belfast?
+
+MARY. Yes.
+
+BROWN. I wonder did he get the bellows sold? There was great talking
+about him last night in McArn's. Some said he had sold it and made a
+fortune. (_He breaks off abruptly on seeing that_ MARY _pays no
+attention to him, and then peers over to see what she is reading._)
+Post cards is interesting things. Picture post cards is.
+
+KATE. Here. Away out and get them purtas dug for the dinner. We're
+tired hearing your gabble.
+
+BROWN (_retreating to door and eyeing_ KATE _meaningly_). The master
+was complaining again to me yesterday evening about the dinner he got.
+There's no mistake he likes his meat like myself, and right enough it
+was bad yesterday. I was chowing haws all evening to keep off the
+hunger.
+
+KATE. Go on you out of this.
+
+BROWN. That's all the news this morning. (_He makes a grimace at_ KATE
+_and goes out into the yard._)
+
+MARY. I can't understand this post card. (KATE _goes over and looks at
+it along with_ MARY.)
+
+    "O wad that God the gift wad gie us,
+     To see oorselves as ithers see us."
+
+What does that mean? "How's the uncle?" It's some cheeky person
+anyway--"from D.M." Who could that be?
+
+KATE. It's not McCready, Miss, is it?
+
+MARY. No. That's not his writing.
+
+KATE. Och, Miss Mary! Do you see the picture of the Highland man
+dancing, and under it--"A Mackenzie Clansman." It's thon Scotch fellow
+sent it.
+
+MARY. Just like the way he would do. I met him again one night we were
+over at the doctor's, and he was trying to make up to me all he was
+able.
+
+KATE. Aye. Any word from Mr. Dan about the boy he was to bring you?
+
+MARY. No. I'm not going to bother any more about boys, I'm going to
+keep house from this on properly. But Uncle Dan said something in his
+last letter about a great surprise he had for all of us.
+
+KATE. Surprise enough it will be, and he lands home with a ha'penny in
+his pocket. The last time he come home he borrowed a shilling of me
+and niver paid me back yet. Did he sell the plans of the bellows,
+Miss?
+
+MARY. He didn't say. (JOHN MURRAY _comes through yard door. He has
+evidently been working outside and has left his work in a hurry._)
+Father, there's a letter for you. (_She hands it to him._) A
+registered one too.
+
+JOHN. Aye. So Brown was telling me. Maybe its from thon McAlenan
+fellow that owes me two pound for the heifer. (_He tears it open._
+MARY _and_ KATE _watch him with interest. His face changes as he
+reads, and an expression of dismay comes over it._)
+
+MARY (_coming closer to him_). What's the matter, father?
+
+JOHN (_fidgeting uneasily_). Nothing, child. Nothing. (_He looks at
+the letter again._) Well I'm--(_He stops short on remembering_ MARY
+_is there._) She's a caution.
+
+MARY. Father. Tell me. Is it from the McMinns?
+
+JOHN. Aye. (_Pacing up and down._) I knowed she'd do it. I knowed
+she'd do it.
+
+MARY. What?
+
+JOHN. Sarah's taking an action against me.
+
+MARY. An action?
+
+JOHN. Aye. (_Consulting the letter._) For a thousand pounds.
+
+MARY (_awestruck_). A thousand pounds!
+
+JOHN. Aye. Now the fat's in the fire. She says I promised to marry her
+and broke it off. At least, it's Andy that writes the letter, but it's
+her that put him up to it. I know that too well. (_Reading._) "To Mr.
+John Murray. Dear Sir,--You have acted to my sister in a most
+ungentlemanly way, and done her much wrong, and I have put the case
+intil the hands of Mr. McAllen, the solicitor, who will bring it
+forward at the coming Assizes. If you wish, however, to avoid a
+scandal, we are oped to settle the matter by private arrangement for
+one thousand pounds. Yours truly, Andrew McMinn."
+
+MARY. That's awful, father, isn't it?
+
+JOHN (_going over to fireplace and standing there irresolutely_). Aye.
+It's a terrible mess, right enough.
+
+MARY (_brightening up_). Sure she wouldn't get a thousand off you,
+father?
+
+KATE. There's John McArdle up by Slaney Cross got a hundred pounds
+took off him by wee Miss Black, the school teacher.
+
+JOHN (_uncomfortably_). Aye. Heth now, I just call that to mind. And
+he never got courting her at all, I believe.
+
+KATE. It just served him right. He was always a great man for having
+five or six girls running after him.
+
+JOHN. And she hadn't much of a case against him.
+
+KATE. The school children were standing by when he asked her in a
+joking sort of way would she marry him, and the court took their
+evidence.
+
+JOHN (_hopelessly_). Aye. Men are always terrible hard on other men
+where women are concerned.
+
+KATE. And a good job it is, or half the girls would be at the church
+waiting, and the groom lying at home rueing his bargain. (_She goes
+out by yard door._)
+
+MARY (_going up to her father_). Father, has she a good case against
+you?
+
+JOHN (_after a moment of deep thought_). No. I don't think it.
+
+MARY. Don't worry so much then, father.
+
+JOHN. It's the jury I'm so frightened of. They all come from the
+mountainy district at this Assizes, and there's not a man of them but
+wouldn't put a knife in me, the way I get beating them down in price
+at the fairs.
+
+MARY. I don't think they'd give her fifty pounds when they see her.
+It's only good looking girls would get big sums like a thousand
+pounds.
+
+JOHN. It's all very well, Mary, but she could dress herself to look
+nice enough, the same Sarah, if she liked.
+
+MARY. She could not, indeed.
+
+JOHN. They say, at least Brown was hinting to me, that its yon Scotch
+fellow, Mackenzie, has put up the McMinns to this business. He and
+that connection are as thick as thieves.
+
+MARY. He mightn't be so very fond of them. When a man sends post cards
+to a girl he doesn't know very well, he's got a wee bit of a liking
+for her.
+
+JOHN. What are you talking about? I never sent her any post cards.
+
+MARY. Father, what are you going to do?
+
+JOHN (_despairingly_). I'm d----d if I know.
+
+MARY. Will you defend the case?
+
+JOHN. I don't want to go near the court at all.
+
+MARY. Father! (_Alarmed._) Father! Sure you wouldn't--you couldn't
+think of marrying her after all that row that happened? (JOHN _remains
+silent._) Wouldn't you rather lose a thousand pounds and keep me,
+father? (JOHN _breaks a piece of soda bread morosely and eats it._)
+Wouldn't you, father.
+
+JOHN. Ah! (_He spits out the bread._) Heaven save us, what kind of
+bread's that?
+
+MARY (_taking away the bread and putting it behind her back._) Father!
+Ah please, please, don't marry her anyway. Sure you won't?
+
+BROWN (_coming in hastily_). Here's Mr. Dan coming up the loaning,
+sir, that grand looking you'd hardly know him, and a big cigar in his
+mouth.
+
+JOHN. Daniel back?
+
+MARY. Oh, I must go out and meet him. (_She goes out by yard door
+quickly._)
+
+JOHN. Had he his luggage with him?
+
+BROWN. Aye. He has yon big portmanteau of his, and a parcel of
+something or other.
+
+JOHN. Away out and help him then, can't you? (BROWN _goes out._) I
+wonder what kept him in Belfast all this time. I suppose he's spent
+most of the five pounds I gave him. Like enough. I never mind him
+coming back yet with a ha'penny on him. (_He sits down at the
+fireplace and looks again at the letter._) A thousand pounds! And
+there never was a breach of promise case known where they didn't bring
+in a verdict for the woman. Never! (_He becomes absorbed in thought,
+and as he sits ruminating_ MARY _opens the door, carrying a large
+brown paper parcel, followed by_ DANIEL. DANIEL _is dressed fairly
+well, and seems to be in high spirits._ BROWN _follows him carrying a
+portmanteau._)
+
+DANIEL (_brightly_). Home again, John.
+
+JOHN (_morosely_). Aye. It was near time, I think.
+
+DANIEL. Saw quite a number of people this time, John. A great number.
+They were all very much interested. Fine town, Belfast. Growing very
+rapidly. Wonderful place.
+
+MARY. What's in the parcel? (_She looks at it with great curiosity._)
+
+DANIEL. Ah, that--that't the great secret. Mum's the word. All in good
+time, Mary.
+
+BROWN. Will I leave your bag here, Mr. Dan?
+
+DANIEL. Yes. Here's a sixpence for you. (_He hands it to_ BROWN.)
+
+JOHN. You're brave and free-handed with your money. Giving the like of
+that bauchle sixpence. (BROWN, _who is going out through yard door,
+stares back at his master protestingly, and then goes out._) The Lord
+knows but we will be wanting every ha'penny we can scrape together,
+and soon enough.
+
+MARY. I didn't tell Uncle Dan yet, father.
+
+DANIEL (_seating himself near the workshop door_). Has anything
+happened?
+
+MARY. Yes. Sarah McMinn has----
+
+JOHN. Read that letter, Daniel. (_He goes across and hands_ DANIEL
+_the letter, and goes back to the fireplace to watch him._)
+
+DANIEL (_taking out his glasses and solemnly perusing the letter_).
+Um.
+
+JOHN. Well? What do you think of that?
+
+DANIEL (_endeavouring to appear cheerful._) Keep up a stout heart,
+John. You're safe enough.
+
+JOHN. Oh, heth, I'm not so sure of that. Sure you never heard tell of
+a jury yet that didn't give damages against the defendant in a breach
+of promise case. Did you now?
+
+DANIEL. Tuts, man. She has no case.
+
+JOHN. Case or no case it doesn't seem to matter. What sort of case had
+Jennie Black against John McArdle, of Slaney Cross? None. What sort of
+case had Maggie McAndless against old William Boyd? None at all. I was
+at both of them trials and says to Pat McAleenan--"the girl has no
+case at all!" But for all that they brought in a verdict for one
+hundred pounds against McArdle, and they put two hundred against old
+Boyd, and nearly broke the two of them.
+
+DANIEL. It's very awkward this.
+
+JOHN. Did you do anything, Daniel about the bellows?
+
+DANIEL. The bellows? Aye. (_He points at the parcel._) A good deal,
+John. It's all there. But it's all not quite settled yet. A day or two
+more and you'll see. If all goes well I'll have a great surprise for
+you in a day or two.
+
+JOHN (_disgustedly_). Ach! I suppose you spent every ha'penny of the
+money, too, that I gave you?
+
+DANIEL. John. Another surprise for you! Those people I met and went
+to, put me up very cheap for the week. Very cheap. (_He produces some
+money._) Therees one pound ten and sixpence for you.
+
+JOHN. What?
+
+DANIEL. I'll keep the pound to do me to the end of the month and not
+ask you for any more, John, after that. That is if--well--(_He looks
+at the parcel._) That thing there is all right.
+
+JOHN (_pocketing the ten and sixpence after counting it carefully_).
+Daniel. I'm sorry, but there's an account of some thirty shillings I
+owe the McArdles, and I want to pay it the night. So if you don't
+mind--(_He holds out his hand._)
+
+DANIEL (_unwillingly_). Well, I suppose it can't be helped, John. But
+it leaves me just with nothing. However, there you are. (_He hands
+the pound over to him._ SAM BROWN _opens the yard door and peeps in
+cautiously._)
+
+JOHN (_looking at him angrily_). What ails _you_ anyway?
+
+BROWN. If you please sir, the posty wants the account signed for that
+letter.
+
+MARY. Oh, I forgot all about that. (_She picks up the receipt for the
+letter from the table._) I'll sign it for you, father. (_She goes over
+to_ BROWN, _who whispers somethings. She nods._) And I'll give it to
+him myself. (_She goes out following_ BROWN.)
+
+JOHN. It's a serious business, this, about the McMinns.
+
+DANIEL. You're all right, man. Wait a day or two. Take my advice. Do
+nothing in a hurry. Sit down and think it over the way I do when I'm
+working out a new idea. Don't rush things. It will all come right in
+the end. Just you wait and see if it doesn't.
+
+JOHN. Would it not be better to settle before going into the court?
+You know I couldn't stand being pointed out to of a Sunday morning and
+one and another talking--"There's the man that Sarah McMinn took the
+breach of promise case against." No, I couldn't stand that at all. It
+would be a disgrace to the Murrays for ever. I'm wondering now----(_He
+pauses lost in thought._)
+
+DANIEL (_alarmed_). John. Surely you wouldn't--you couldn't think of
+going back on what you said to me. Would you?
+
+JOHN. I wonder, Daniel, would you mind so much after all if I married
+her?
+
+DANIEL (_in an agonised voice_). I couldn't stand it. No, John, I
+couldn't stay. Any other woman but that McMinn.
+
+MARY (_appearing at the door followed by_ ALICK MCCREADY). Come on in,
+Alick.
+
+ALICK. Good morning, Mr. Murray. How are you, Mr. Dan? So you are back
+again? We're all glad to have you back.
+
+DANIEL. Thank you, Alick.
+
+MARY. Father. Alick says he heard Andy McMinn talking yesterday to
+some one at McArdle's shop, and he was telling them all about the
+whole business, and blaming it all on Uncle Dan.
+
+JOHN. And so the people are talking of me already? Now that I come to
+think of it, it was your Uncle Dan, and a brave ha'penny it's going to
+cost me. One thousand pounds.
+
+ALICK. Never mind, Mr. Murray. Maybe Uncle Dan will do something yet.
+What about the bellows? (DAN _makes a horrified movement to stop_
+ALICK _talking, but too late._)
+
+JOHN. Aye. Here, Daniel. I'll make a bargain with you. I'll leave you
+to the settling of the case, and you can find the money yourself to
+pay for it if you want to. And if you can't find the money, I'll marry
+her.
+
+MARY. Father, surely----
+
+JOHN. What? That's enough about it. I would as soon do without the
+marrying if I could. I don't want the woman at all, but I'll marry her
+before she gets a ha'penny off me. So you can settle it among
+yourselves. You can take charge of that letter, Dan, and make the best
+you can of it. (_He goes angrily out by yard door._)
+
+DANIEL. This is a nice mess you put me in for, Alick. What the divil
+made you mention the bellows?
+
+ALICK. I'm sorry, Mr. Dan. I wasn't thinking.
+
+DANIEL. The sooner you start and think a bit the better. If you don't
+help to settle the case--(_he looks angrily at_ ALICK)--well--I've a
+good deal of influence with somebody. (_He looks significantly at_
+MARY, _who is again examining the parcel._)
+
+ALICK. I'll do my best, Mr. Dan, to help you.
+
+MARY. What will we do, Uncle Dan?
+
+DANIEL. I suppose you've no money, Alick?
+
+ALICK. Well, I haven't much ready money, Mr. Dan, but I could lend you
+up to twenty pounds at a pinch.
+
+MARY. Twenty pounds would hardly be enough. Would it, uncle?
+
+ALICK. Better get hold of Andy and ask him.
+
+DANIEL. I don't like going near that woman at all.
+
+MARY. Alick! Could you not slip over and ask Andy to come across? You
+know what the McMinns are like. He'd come over for a shilling if he
+thought he'd get one. Ah, yes. You will, Alick. Won't you?
+
+ALICK. I'll go straight across now if you--if you----
+
+MARY. What?
+
+ALICK. If you'd leave us along the road a bit.
+
+DANIEL. Aye. Do. Mary. Leave him down to the gate anyway. I want to
+stay here and think over things a wee bit. That't the good wee girl.
+(_He gently urges her out with_ ALICK, _then goes over to the table,
+lifts the parcel, and sits down near the fireplace. Feeling the
+parcel._) I'm afraid, Dan Murray, it's all U. P. this time. I'm afraid
+it is. (_Then an idea seems to dawn on him, and he looks at the
+parcel._) Unless--unless--well--I wonder now if I--
+
+(KATE _and_ BROWN _enter through yard door._ BROWN _is carrying a
+bucket filled with washed potatoes._)
+
+KATE. There. Put it down there. You didn't know we wanted that much,
+did you not? You're getting as big an old liar as Mr.--(_She stops
+short on perceiving_ DANIEL.)
+
+BROWN (_looking up and then realising what had made her pause_). Aye.
+Go on. As who do you say, woman?
+
+KATE (_recovering herself_). Just as big an old liar as Andy McMinn.
+
+BROWN. Now, whist. The McMinns were aye decent folk. (_He glances
+across at_ DANIEL, _who apparently is not listening._) They're near
+people, and all that sort of thing, but once they say a thing they
+stick to it.
+
+KATE. They're a lot of mean scrubs, the whole caboosh of them.
+
+DANIEL (_to himself_). I wonder would twenty pounds be any use at
+all?
+
+BROWN (_nudging_ KATE _slyly_). I believe that once Sarah puts a price
+on a thing, like a pig or a sow, or a hen, the divil himself couldn't
+beat her down in the price of it. And Andy, they say, can beat the
+best dealer in the county from here to the Mourne. (DANIEL, _who has
+been listening uneasily, gets up and turns round to look at them._)
+It's the fine cigar that you were smoking, Mr. Daniel, this morning.
+
+DANIEL. Cigar? Yes. Yes.
+
+BROWN. Aye. A fine cigar, sir. There was a grand smell off it. I seen
+you coming up by the McMinns, sir, this morning on the road from the
+station.
+
+DANIEL. Yes. On the road from the station.
+
+BROWN. You didn't see them, but I noticed Andy and Sarah coming out to
+the gate when you had passed them and looking after you a long time.
+
+DANIEL. Is that so?
+
+BROWN. Aye. A long time, sir. I suppose, like myself, they smelled the
+cigar. (DANIEL _at once throws down the cigar in disgust._) Mr. Andy,
+they say, is guy fond of a good cigar, and I understand that he'll be
+for getting a few boxes of them soon, for the sister, they say, is
+coming into a lot of money.
+
+KATE. Ach, you and your cigars! Will you get out of this and quit
+tormenting people? Go on. Out you go.
+
+BROWN (_as if out of curiosity, picks up the cigar and goes out
+slowly_).
+
+DANIEL. He's a very impertinent man that. Very worrisome.
+
+KATE. Ach, never heed him, Mr. Dan! sure no one in this house does.
+You'll be tired after travelling, sir. Will I make you a drop of tea?
+
+DANIEL. It's hard to eat anything, Kate, when I'm worried.
+(_Despairingly._) I don't think there's another man living that has
+the same worries as I have. Something awful! Where's the pen and ink,
+I wonder?
+
+KATE. There's some here on the dresser, Miss Mary was using it
+to-day. (_She takes it over from the dresser to the table._ DANIEL
+_rises and goes over and sits down and begins slowly to write._) Cheer
+up, Mr. Daniel. Sure you sold the plans of the bellows anyway. Didn't
+you, sir? They had word up at the McAleenans the other night that you
+got two thousand for it.
+
+DANIEL (_astonished_). Eh? They said that.
+
+KATE. Aye. To be sure. McAndless told McArdle, and he told Smith the
+postman, and the postman told the McAleenans, and said he had seen
+letters about it. And McAleenan was up in McMinns the other night and
+told them, and I believe you never saw such an astonished crowd of
+people in all their lives.
+
+DANIEL. He told the McMinns that?
+
+KATE. Aye, last night I think it was.
+
+DANIEL. Last night? (_He looks at the letter._) Yesterday was the
+14th, wasn't it? Aye. It was. I wonder did they believe McAleenan?
+
+KATE. I don't think they know right what to make of it. And yon
+Scotchman was there at the time, and mind you, Mr. Dan, they say he
+looked quite serious when he heard it, and said such things as that
+happened many's a time.
+
+DANIEL (_incredulously_). Mackenzie said that?
+
+KATE. Aye. You know, I think it's maybe because he has a wee notion of
+Miss Mary, sir.
+
+DANIEL. It's quite possible. Quite possible. A nice wee girl is Mary.
+Fact, too good for the half of the clodhoppers about these parts. (_He
+takes up the parcel, pen, and ink, and paper, and goes across into the
+workshop._)
+
+KATE (_looking after him_). Poor creature. I'm feared he's for the
+road again if he doesn't worry out some way for himself. And God knows
+he's the one best fitted for it. (MARY _enters._) Well, did you see
+him off comfortably?
+
+MARY. Who?
+
+KATE. Alick McCready.
+
+MARY. Kate. I with you'd mind your own business.
+
+KATE. It's a sore time I have in this house minding my own and every
+other bodies' business.
+
+MARY. Kate. He said I couldn't bake a cake to save my life. I'll just
+show him that I can, and you're not to help me, mind you. I'm going to
+do it all myself.
+
+MARY. Where's the flour?
+
+KATE. There's none in the house, Miss Mary.
+
+MARY. What?
+
+KATE. You mind it was all used up this morning on account of them
+cakes that nearly killed your poor ould da.
+
+MARY. Go down to McArdles, Kate, and get a quarter stone on account.
+
+KATE. Your da told me this morning, Miss Mary, that I wasn't to get
+any more from McArdles or any other place unless he gives me an order
+for it. Do you not mind?
+
+MARY (_dejectedly_). So he did. I had forgotten.
+
+KATE. Aye. Quite so, Miss. (_She sits down contentedly._)
+
+MARY. I wonder is Uncle Dan about?
+
+KATE. Aye. He's in his workshop, Miss.
+
+MARY (going over and knocking at door of workshop). Uncle Dan!
+
+DANIEL (_appearing at door_). Well, Mary?
+
+MARY. Uncle Dan, could you give me sixpence?
+
+DANIEL (_jumbling in his pockets_). Sixpence? Sixpence, Mary? Bless
+your wee heart. Here. Here's a two shilling bit. But Mary, mum's the
+word. Don't tell John I gave it to you.
+
+MARY. No. Thank you, uncle. (DANIEL _goes in again._) There, Kate,
+quick as you can and don't stop to talk to anybody. Sure you won't?
+(_She hands_ KATE _the money and takes up the recipe book._)
+
+KATE. I'm not dirty looking--am I, Miss Mary?
+
+MARY (_absorbed in the book_). No. You'll do grand. Flour, currants.
+
+KATE. Ach! You and your currants. Could you not tell a body was her
+face clean?
+
+MARY. It's lovely. Hurry, Kate. (KATE _shrugs her shoulders
+disgustedly, and goes out by yard door._) Flour, currants----(_She
+goes over to the workshop door and listens_)--raisins--(_A sound as of
+a blast blowing can be heard._ MARY _becomes intensely interested,
+and, throwing aside the book, kneels down and puts her head to the
+keyhole._) He's actually got something to work. (_She peeps in._) He
+has, indeed. (_She laughs, knocks loudly at the door, and then runs to
+the other side of the kitchen._ DANIEL _opens the door and cautiously
+peeps out._) Uncle Danny! Ha! Ha! Uncle Danny! (_Dancing up and down
+in front of the fireplace._) Uncle Dan's a wonderful man! Uncle Dan's
+a wonderful man!
+
+DANIEL (_amazed_). What's all this?
+
+MARY. I'm a cleverer girl than you think, Uncle Dan! I know your great
+surprise. I've found it out. And you've actually got it to work!
+That's splendid, uncle, isn't it? Father will be awful proud when he
+hears about it. And you did it all yourself, uncle?
+
+DANIEL. Well, I took those plans, Mary, to a handy chap, an
+acquaintance of mine, and he made it out according to my design. I'm
+not sure--I think it works all right.
+
+MARY. And did you get it sold, uncle?
+
+DANIEL. No, Mary, but I have hopes--great hopes. (_He wanders up to
+the window apparently searching for the screw driver._)
+
+MARY. Do you think you'd get more than one thousand pounds for it?
+
+DANIEL (_looking out of window and seeing someone approaching_). Don't
+know, Mary. Don't know. Very hard to know these things. Where could
+that screw driver be I wonder?
+
+MARY. I think I saw father working with it last at something in the
+parlour. Will I get it for you, Uncle Dan? (_Knocking at door._)
+
+DANIEL. No. Never mind, Mary. I'll get it myself. There's someone at
+the door. You better open the door, Mary. (_He goes off hurriedly to
+parlour._) (_Knocking at yard door._) Come in. (DONAL MACKENZIE _opens
+the door and comes in._)
+
+MACKENZIE. Fine afternoon, Miss Murray.
+
+MARY (_coldly_). Good day to you.
+
+MACKENZIE. I'm going off to Scotland verra soon, and I thought I would
+call over to see you before I went off. You're no angry, are you?
+
+MARY. No. (MACKENZIE _seats himself at the table._)
+
+MACKENZIE. Did you get a post card?
+
+MARY. I got some silly thing this morning that I tore up.
+
+MACKENZIE. I'm sorry. I'm verra fond of you, Mary.
+
+MARY. Miss Murray, please.
+
+MACKENZIE. A girl like you is lost here, you know. Now, if you were a
+Scotch lassie you would have a great time enjoying yourself. In a
+place like Greenock we have a theatre, and we have a music hall and a
+cinematograph show on Saturdays and trains to Glasgow. You could have
+a grand time in Scotland.
+
+MARY. Do you really like me, Mr. Mackenzie?
+
+MACKENZIE. Verra much. Indeed I--
+
+MARY. Well. Look here. I would like you very, very much too, if
+you----
+
+MACKENZIE. If I what, bonnie Mary?
+
+MARY. I'd even let you call me Mary, and write to me if you wanted to,
+if you would do me a favour.
+
+MACKENZIE. What's the favour?
+
+MARY. Uncle Dan has brought home his fan bellows, and it works.
+
+MACKENZIE (_laughs_). The fan bellows! I think he'll never make much
+of a fortune of his fan bellows.
+
+MARY. Do you ever examine new inventions?
+
+MACKENZIE. Aye. I'm a specialist on that, you know. I'm the writer of
+the inventions column in the Scottish----
+
+MARY. Yes. Yes. That's all right. I know. Are all the inventions you
+write about good things?
+
+MACKENZIE. Eh? Ninety-nine per cent. rotten, lassie. Ninety-nine per
+cent. perfectly rotten. People don't invent a reciprocating piston
+that works every day in the week, or a fan bellows either.
+
+MARY. But if you liked the inventor you could do him a good turn all
+the same?
+
+MACKENZIE. Aye. I did that often.
+
+MARY. Then could you do a good turn for Uncle Dan?
+
+MACKENZIE. Give the bellows a boost up. No, Mary. I could nae. I don't
+like to grieve you, but committing perjury--No. I couldn't do it,
+Mary.
+
+MARY (_coming closer_). Yes. You would. You'd do it for me. Won't you?
+
+MACKENZIE. Eh?
+
+MARY. Look. Uncle Dan has his new fan bellows in that workshop. Go in
+and look at it, and if you do like me really, you could tell the
+McMinns that it was good--even if it wasn't quite perfect.
+
+MACKENZIE (_hesitatingly_). Um. I'll consider the question.
+
+(DANIEL _re-enters. He stops short on seeing_ MACKENZIE, _and seems to
+become very uncomfortable._)
+
+MARY. Uncle Dan! Mr. Mackenzie's going to examine your bellows.
+
+DANIEL. I don't allow everybody to go and look at it. No. I refuse.
+It's my property and no one else's.
+
+MARY. Uncle Dan. (_She looks at him meaningly._) Mr. Mackenzie has
+promised to give his opinion on it.
+
+DANIEL. It's not protected yet by patent.
+
+MACKENZIE. Andy McMinn is coming over, Mr. Murray. He has got orders
+from his sister to settle the case for her. Are you going to pay the
+money?
+
+DANIEL. That is a matter of my own deciding. (MARY _goes over to her
+uncle and whispers to him._)
+
+MACKENZIE. Verra well. I may go. (_To_ MARY.) I would have done you
+that good turn, Miss Murray; but there's no enmity between us. And
+(_lowering his voice_)--I hope you get the best of the McMinns in the
+bargain. Don't give in, Mr. Murray, easy. Take my tip. I'm from the
+stables, you know. (_He laughs knowingly._)
+
+MARY. Here's Andy now (_she looks out through the window_), and
+Alick's with him. (_She opens the door,_ ANDY MCMINN _and_ MCCREADY
+_enter._ MCCREADY _glances at_ MARY _and_ MACKENZIE, _and goes over
+sulkily to the fireplace._ ANDY _advances awkwardly towards_ DANIEL.)
+
+DANIEL (_genially_). Good afternoon, Andy.
+
+ANDY. Good afternoon. (_He looks at_ MACKENZIE, _who nods curtly._) I
+suppose you know I've power to settle the case.
+
+DANIEL. Well, you wrote the letter, and so, in point of law, I think
+it is you who should look after all this unfortunate business. Believe
+me, Andy, I sympathise with you. I do indeed. (MARY _and_ MACKENZIE
+_become absorbed in conversation near the table._ ALICK MCCREADY
+_stands at the fireplace looking at them and unable to conceal his
+jealousy, makes sundry odd noises to distract_ MARY'S _attention. She
+pretends not to hear him._) I have your letter here. (_He searches in
+his pocket and produces it._) Yes. One thousand pounds. Do you not
+think that a trifle high?
+
+ANDY. Well. You know we could have as easily claimed two thousand, but
+we didn't like to break you altogether; so we just said that a
+thousand would come pretty near it.
+
+MACKENZIE. Mr. Daniel, may I look at the bellows?
+
+MARY. Uncle Dan, I'm sure you won't object. (_She makes a gesture as
+if asking him to assent._)
+
+DANIEL (_looking hard at her, and then seeming to understand what she
+is about_). Yes. Yes. I'll thrash out the matter here with Andy.
+(MACKENZIE _goes across into the workshop, followed by_ MARY. MCCREADY
+_sits down disconsolately at the fireplace and begins to smoke his
+pipe moodily._) A thousand pounds is impossible. Absolutely out of
+the question.
+
+MCCREADY (_to himself_). Ach. She only torments me.
+
+DANIEL (_looking over wonderingly_). Eh? People behave strangely
+sometimes, Andy. Very strangely. (MCCREADY _makes no response, but
+sits with his back to the two of them._) Just a moment, Andy. What
+about a wee drink. Eh, Andy?
+
+ANDY. Aye. Well, I wouldn't mind at all, Daniel.
+
+DANIEL. Just to show there's no ill-feeling over this unfortunate
+business. (_He goes to the clock, opens the panel door and takes out a
+bottle of whiskey, gets glasses from the dresser and pours out a small
+portion of whiskey into each._) Good health, Andy.
+
+ANDY. Good health, Daniel. (_They drink._)
+
+DANIEL. Now to go on with our business. I don't think, in the first
+case, that this was an affaire de coeur, as the Frenchmen say.
+
+ANDY. Eh?
+
+DANIEL. You don't understand French? Of course not. No. It wasn't a
+love affair, I mean. I don't think Sarah was in love with John, was
+she?
+
+ANDY (_hesitatingly_). Well--indeed, now, I don't know that she was.
+
+DANIEL. No. We're all aware of that. He was just what we'd call a
+likely man. That's all.
+
+ANDY. Aye. He would have been a good match for her.
+
+DANIEL. Yes. Quite so, Andy. He would have been a good match for her.
+(_He makes notes in a pocket book._) Nothing like notes, Andy. Now, so
+much for the love part of the business. They never exchanged letters?
+
+ANDY. No. No letters.
+
+DANIEL (_writing_). No letters. Of course in a breach of promise
+letters are a great help. A great help. I'm very glad, however, just
+for your sister's sake, that she never wrote any to John. Imagine them
+reading out the love letters in the open court, and all the servant
+boys gaping and laughing.
+
+ANDY. It's not nice, right enough. It's one thing I wouldn't like.
+
+DANIEL. No. It's one thing we would not like. Well. No love. No
+letters. Next thing. He never courted her?
+
+ANDY. Well, he came over and sat in the house a few nights.
+
+DANIEL. Yes. No doubt. But hadn't he always some message on business
+to transact with you? Loan of a plough or a horse, or something like
+that?
+
+ANDY (_uneasily_). That's so, of course.
+
+DANIEL. Ah, yes. That's so, of course.
+
+ANDY. But I seen him with his arm round her the night of the social at
+the school house.
+
+DANIEL. Andy. That's a wee failing of John's. I often warned him about
+doing that sort of thing indiscriminately. A bit of a ladies' man,
+John, in his way. I saw him do the same nonsense four or five times
+that night with other girls. John likes to think himself a bit of a
+gay dog, you know. It's not right--I don't think myself it's a bit
+proper to put your arm round a girl's waist on every occasion, but
+sometimes it's quite allowable. A night like a social, for instance.
+
+ANDY. Aye. Of course a social's different.
+
+DANIEL. Aye, Andy, a social's different. Well, now. No love, no
+letters, no courting, no photographs exchanged? (_He looks at_ ANDY
+_inquiringly_). No photographs exchanged? (_He notes it down._) No
+ring? In fact, Andy, no nothing.
+
+ANDY. But he proposed to her right enough.
+
+DANIEL. Who said so?
+
+ANDY (_astonished_). What? Do you mean to deny he didn't?
+
+DANIEL. My dear Andy, I don't know. There was no one there but the
+two, I suppose, when he asked her--if he did ask her. There's only her
+word for it.
+
+ANDY. He wouldn't deny it himself?
+
+DANIEL. Well. That depends on whether he really asked her to marry him
+of course. And it's likely enough that John would be inclined to deny
+it if his memory was at all bad--it is a bad memory he has, you know.
+He forgets often to return your ploughs and that sort of thing.
+
+ANDY (_blankly_). Aye. He has a bad memory.
+
+DANIEL. Yes. Just so. And the fact that a verdict of one thousand
+pounds would hang on it would hardly make it any better. Would it?
+You've a bad case against us, Andy. A rotten case! In fact, looking
+over the whole thing carefully, do you really believe you'd make even
+a ten pound note out of us?
+
+ANDY (_despairingly_). I wish Sarah had come and settled the case
+herself.
+
+DANIEL. Ah, no. You've a better head, Andy, for seeing the sensible
+side of a thing, far better. (MARY _comes out of the workshop smiling
+gaily._) Well?
+
+MARY. Uncle Dan, he's delighted with it.
+
+ANDY. What with? The bellows?
+
+MARY. Yes. Go in, Andy, till you see it.
+
+ANDY. Is it true, Daniel, you were offered two thousand for it?
+
+DANIEL. We'll just go in and have a look at it. (ANDY _and he go into
+workshop._)
+
+MARY (_looking across at_ ALICK). What's the matter?
+
+ALICK. Nothing. I'm going home. (_He goes across to the yard door._)
+
+MARY. Alick!
+
+MCCREADY. Goodbye.
+
+MARY. And I was going to go to all the trouble of baking a big plum
+cake for you, you big ungrateful thing.
+
+MCCREADY (_stopping at the door_). I know what your plum cakes would
+be like. (_He opens the door and stops again before going out._)
+
+MARY. Well, get that big, ugly Maggie Murphy to bake them for you
+then.
+
+MCCREADY (_looking out through door and then coming inside again_). I
+say, here's Kate and your father coming and a load of flour.
+
+MARY (_in a frightened voice_). Kate and father?
+
+MCCREADY. He seems to be in a bit of a temper.
+
+MARY (_in a frightened voice_). He's caught her with the flour!
+
+MCCREADY (_laughing_). Flour? Aye--she's carrying about three stone of
+it! Boys, but that would make a powerful pudding!
+
+MARY. It was to have been the nicest one I could have baked.
+
+MCCREADY (_coming in and going over to her_). Mary.
+
+MARY. What?
+
+MCCREADY. You wouldn't come to my house where there would be no stint
+of flour or raisins or anything else, and I'd eat all you cooked for
+me no matter if I was dying after it.
+
+MARY. Go to your house!
+
+ALICK. Aye. Look here, wee girl. I got this----(_He fumbles and
+produces a ring._) Let me put that on your wee finger, won't you?
+
+MARY. Oh, Alick, what a lovely wee ring. (_She allows him to put it on
+her finger, and is shyly kissing him when_ JOHN _enters, followed by_
+KATE, _who is trying vainly to stop a leak in the bag of flour which
+she is carrying._ KATE _goes to the dresser and places the bag on
+it._)
+
+JOHN (_severely to_ MARY). Mary. Did you send her for more flour?
+
+MARY (_meekly_). Yes, father.
+
+JOHN. And didn't I leave word there was no more to be got without my
+orders? (MARY _hangs her head._) It's lamentable the waste in this
+house! I was just looking at the pass book last night, and you'd think
+this house was a bakery to see the amount of flour comes into it.
+
+MARY (_submissively_). I'm sorry, father.
+
+JOHN. When I was out on the road, I seen a trail of flour leading up
+our loaning, and says I to myself, Jeminy' father, are they getting
+some more! So I followed up the mark and just caught up on her coming
+through the gate.
+
+MARY (_a little defiantly_). It's paid for, Kate, anyway. Isn't it?
+
+KATE. It is, Miss. (_She busies herself putting the flour into a box,
+and then slips out during the next speech._)
+
+JOHN. Eh? Who give you the money?
+
+MARY (_going over to her father and whispering_). Uncle Dan is in
+there, father, with Andy McMinn and Mr. Mackenzie, the Scotch
+engineer, looking at his bellows.
+
+JOHN (_amazed_). Eh? Andy McMinn? Is Dan settling the case?
+
+MARY. I believe he'll do it yet.
+
+JOHN (_admiringly_). He has a great head on him, Daniel.
+
+MACKENZIE (_coming out of workshop and going over to_ MARY). Mary, I'm
+sorry. That bellows is such an absolutely rotten thing--so useless and
+so absolutely rotten that I can't--(_He sees_ JOHN.) How are you, Mr.
+Murray?
+
+JOHN. Fine day.
+
+MARY (_appealingly_). Mr. Mackenzie, what did you say to Andy about
+it?
+
+MACKENZIE. What did I say? Oh, ma perjured conscience--I said it was a
+grand thing. (DANIEL _and_ ANDY MCMINN _come in from workshop._)
+
+ANDY (_nervously_). Brave day, John.
+
+JOHN. Aye. It is.
+
+ANDY. Sarah gave me power to settle the case.
+
+JOHN. I'm glad to hear it.
+
+MACKENZIE. I tell you what it is, Mr. Daniel Murray. It's a good thing
+that--a right good thing, and I'll make you an offer for it.
+
+ANDY (_eagerly_). What's it worth?
+
+MACKENZIE (_with a look at_ MARY). It's worth--it's worth more than
+all the damages your sister will get from Mr. Murray.
+
+DANIEL (_suddenly_). I tell you what it is, Andy, and believe me when
+I tell you, I'm sacrificing a great deal. I'll make a deal with you.
+Instead of a lump sum cash down, I'll hand over all the rights and
+royalties of that same bellows to you to settle the case.
+
+ANDY (_dubiously_). I--I don't know.
+
+DANIEL. You will have all the expense of the law, the bad name that
+your sister will be having over the head of being in a breach of
+promise, and all the expenses of solicitors and lawyers. Then, after
+that, trying to get the money out of us, and, mind you, we will fight
+you to the last ditch. Won't we, John?
+
+JOHN. Aye.
+
+DANIEL. There now. What do you say, Mr. Mackenzie?
+
+MACKENZIE. I tell you what it is, Mr. Murray. I'll make you an offer
+for----
+
+ANDY (_hastily_). I'll take your offer, Daniel.
+
+DANIEL. One second. I drew up a wee agreement for you to sign, and
+I'll fetch the bellows. (_He goes into the workshop._)
+
+ANDY. I don't like signing my name to agreements or things like that
+unless I'm quite certain they're all right, Mr. Mackenzie.
+
+MACKENZIE (_with a sly look at_ MARY). Well, if you have any
+compunction about signing, I'll do it myself.
+
+MARY. I think Uncle Dan's a fool to throw away the thing that way. I
+do indeed. (DANIEL _comes out with the parcel and the pen, ink and
+paper._)
+
+DANIEL. Just sign your name to that, Andy. It's a sort of agreement to
+settle the case--you can read it for yourself. (_He hands a sheet of
+paper to_ ANDY _with the pen._) It's to show that the whole thing is
+fixed up to the satisfaction of everybody. (ANDY _looks at it and then
+signs._) Ah. Good! Now, Alick, and you, Mr. Mackenzie, just witness it
+and the date. (_They both sign._) And now, Andy, there's your bellows.
+(ANDY _looks at it, and then takes it under his arm._) And may you
+have the best of luck with it. (ANDY _looks wonderingly at the parcel
+in his arms and moves slowly towards the door._)
+
+MACKENZIE. Noo, my reward, Miss Murray--Mary rather. (_He goes forward
+and she stretches out her hand for him to shake, when he notices the
+ring, and stops short._)
+
+JOHN. I hope you're satisfied, Andy.
+
+ANDY. I'm just wondering, Mr. Mackenzie, do you think----
+
+MACKENZIE. I think nothing for a year. I'll--I'll--I'm for Scotland in
+the morning. (_He goes out morosely through the door._)
+
+DANIEL. There, Andy. There's company home for you, and good luck to
+you. It's a sad heart I'll have this night.
+
+ANDY. I'm wondering what Sarah would say--(_He goes to the door._)
+Ach! She couldn't do better herself. No courting.
+
+DANIEL. No. No courting.
+
+ANDY. And no love and no letters.
+
+DANIEL. No. No love and no letters.
+
+ANDY. And no ring nor nothing, and a thousand pound bellows.
+
+DANIEL. Yes, Andy. And a thousand pound bellows. (_He wanders out
+abstractedly._ DANIEL _follows him to the door and shouts after
+him_)--Goodbye, Andy. And may you have the best of luck with it.
+
+ANDY (_without_). Thank ye, Daniel. Goodbye. (DANIEL _closes the door
+after him and looks sadly but triumphantly across at_ JOHN. ALICK
+_and_ MARY _go to the window together and look out after_ ANDY.)
+
+DANIEL. Well, John?
+
+JOHN (_with a sigh of intense relief and gratitude_). Dan, I've said
+it before, and I'll say it again, you've a great head on you, Daniel.
+
+(CURTAIN.)
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK THE DRONE***
+
+
+******* This file should be named 20176-8.txt or 20176-8.zip *******
+
+
+This and all associated files of various formats will be found in:
+http://www.gutenberg.org/dirs/2/0/1/7/20176
+
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://www.gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://www.gutenberg.org/about/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:
+http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
diff --git a/20176-8.zip b/20176-8.zip
new file mode 100644
index 0000000..ddfdca0
--- /dev/null
+++ b/20176-8.zip
diff --git a/20176-h.zip b/20176-h.zip
new file mode 100644
index 0000000..a64b02d
--- /dev/null
+++ b/20176-h.zip
diff --git a/20176-h/20176-h.htm b/20176-h/20176-h.htm
new file mode 100644
index 0000000..c542c46
--- /dev/null
+++ b/20176-h/20176-h.htm
@@ -0,0 +1,4016 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html>
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" />
+<title>The Project Gutenberg eBook of The Drone, by Rutherford Mayne</title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+        }
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-size: .8em;
+                text-align: right;
+              } /* page numbers */
+
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+    hr.full { width: 100%;
+              margin-top: 3em;
+              margin-bottom: 0em;
+              margin-left: auto;
+              margin-right: auto;
+              height: 4px;
+              border-width: 4px 0 0 0; /* remove all borders except the top one */
+              border-style: solid;
+              border-color: #000000;
+              clear: both; }
+    pre      {font-size: 75%;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+</head>
+<body>
+<h1>The Project Gutenberg eBook, The Drone, by Rutherford Mayne</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: The Drone</p>
+<p>       A Play in Three Acts</p>
+<p>Author: Rutherford Mayne</p>
+<p>Release Date: December 23, 2006  [eBook #20176]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK THE DRONE***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Audrey Longhurst, Diane Monico,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net/c/)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h1>THE DRONE</h1>
+
+<h2>A Play in Three Acts</h2>
+<h3>By Rutherford Mayne<br /><br /><br /><br /></h3>
+
+<h4>LUCE &amp; CO.<br />
+BOSTON<br /><br /><br /><br /><br /><br /></h4>
+
+
+
+
+
+<p class="center"><i>Copyright, 1912. Samuel Waddell.</i></p>
+<hr style="width: 65%;" />
+
+
+
+<p class="center">TO<br />
+<big>SEVEEN</big></p>
+<hr style="width: 65%;" />
+
+
+
+
+<h2>CHARACTERS</h2>
+
+
+<p class="center"><span class="smcap">John Murray</span>, <i>A farmer.</i><br />
+<span class="smcap">Daniel Murray</span>, <i>His brother.</i><br />
+<span class="smcap">Mary Murray</span>, <i>John's daughter.</i><br />
+<span class="smcap">Andrew McMinn</span>, <i>A farmer.</i><br />
+<span class="smcap">Sarah McMinn</span>, <i>His sister.</i><br />
+<span class="smcap">Donal Mackenzie</span>, <i>A Scotch engineer.</i><br />
+<span class="smcap">Sam Brown</span>, <i>A labourer in John Murray's employment.</i><br />
+<span class="smcap">Kate</span>, <i>A servant girl in John Murray's employment.</i><br />
+<span class="smcap">Alick McCready</span>, <i>A young farmer.</i></p>
+
+<p class="center"><i>The action takes place throughout in the kitchen
+of John Murray in the County of Down.</i></p>
+
+<p class="center"><span class="smcap">Time</span> ... <i>The present day.</i>
+</p>
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<h1>The Drone</h1>
+
+<h3><i>A COMEDY IN THREE ACTS</i></h3>
+
+<h2>ACT I.</h2>
+
+
+<p><span class="smcap">Scene</span>: <i>The farm kitchen of John Murray. It is large
+and spacious, with a wide open fire-place to the right. At
+the back is one door leading to the parlour and other rooms
+in the house, also a large window overlooking the yard outside.
+To the left of this window is the door leading into
+the yard, and near the door an old-fashioned grandfather's
+clock. Opposite to the fire-place on the left side is another
+door leading into Daniel Murray's workshop, and beside
+this door is a large dresser with crockery, &amp;c. At the
+back beneath the window is a table near which</i> <span class="smcap">Kate</span>, <i>the
+servant, a slatternly dressed girl of some thirty years of
+age or more, is seated. She is carefully examining some
+cakes of soda bread, and has a bucket beside her into which
+she throws the rejected pieces.</i></p>
+
+
+<p><span class="smcap">Kate</span>. That one's stale. It would break your teeth
+to eat it. (<i>She throws the cake into the bucket.</i>) And the
+mice have nibbled that one. And there's another as
+bad. (<i>She throws both pieces into the bucket.</i>)</p>
+
+<p>(<span class="smcap">Brown</span>, <i>the servant man, opens the door from yard and
+enters. He is elderly, and with a pessimistic expression
+of face, relieved somewhat by the sly humour that is
+in his eyes. He walks slowly to the centre of the
+kitchen, looks at</i> <span class="smcap">Kate</span>, <i>and then turns his eyes, with
+a disgusted shake of the head, towards the dresser as if
+searching for something.</i>)</p>
+
+<p><span class="smcap">Brown</span>. Well! Well! Pigs get fat and men get
+lean in this house.</p>
+
+<p><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p><p><span class="smcap">Kate</span>. It's you again, is it? And what are you looking
+now?</p>
+
+<p><span class="smcap">Brown</span>. I'm looking a spanner for the boss. The
+feedboard to the threshing machine got jammed just
+when halfway through the first stack, and he is in a
+lamentable temper.</p>
+
+<p><span class="smcap">Kate</span> (<i>uneasily</i>). Is he? (<i>She starts hurriedly to clear
+up the table.</i>)</p>
+
+<p><span class="smcap">Brown</span> (<i>watching her slyly to see what effect his words
+have</i>). And he's been grumbling all morning about the
+way things is going on in this house. Bread and things
+wasted and destroyed altogether.</p>
+
+<p><span class="smcap">Kate</span>. Well, it's all Miss Mary's fault. I told her
+about this bread yesterday forenoon, and she never
+took any heed to me.</p>
+
+<p><span class="smcap">Brown</span>. Miss Mary? (<i>With a deprecatory shake of
+his head.</i>) What does a slip of a girl like that know
+about housekeeping and her not home a half-year yet
+from the boarding-school in the big town, and with no
+mother nor nobody to train her. (<i>He stares in a puzzled
+way at the dresser.</i>) I don't see that spanner at all. Did
+you see it, Kate?</p>
+
+<p><span class="smcap">Kate</span>. No. I've more to do than look for spanners.</p>
+
+<p><span class="smcap">Brown</span> (<i>gazing reproachfully at her and then shaking
+his head</i>). It's a nice house, right enough. (<i>Lowering his
+voice.</i>) And I suppose old Mr. Dan is never up yet.
+I was told by Johnny McAndless, he was terribly full
+last night at McArn's publichouse and talking&mdash;ach&mdash;the
+greatest blethers about this new invention of his.</p>
+
+<p><span class="smcap">Kate</span>. Do you say so?</p>
+
+<p><span class="smcap">Brown</span>. Aye. No wonder he's taking a lie this morning.
+(<i>He peeps into the door of the workshop.</i>) He's not
+in his wee workshop?</p>
+
+<p><span class="smcap">Kate</span>. No. Miss Mary is just after taking up his
+breakfast to him.</p>
+
+<p><span class="smcap">Brown</span>. Some people get living easy in this world.
+(<i>He gives a last look at the dresser.</i>) Well divil a spanner
+can I see. I'll tell the master that. (<i>He goes out again
+through the yard door, and as he does so,</i> <span class="smcap">Mary Murray</span>
+<i>comes through the door from the inner rooms, carrying a<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span>
+tray with teacups, &amp;c., on it. She is a pretty, vivacious
+girl about eighteen years of age.</i>)</p>
+
+<p><span class="smcap">Mary</span>. Who was that?</p>
+
+<p><span class="smcap">Kate</span>. It's the servant man looking for a spanner for
+your father, Miss Mary. There's something gone wrong
+with the threshing machine.</p>
+
+<p><span class="smcap">Mary</span> (<i>taking the tray to the table and starting to get
+ready to wash up the cups</i>). I do believe sometimes that
+Uncle Dan's a lazy man.</p>
+
+<p><span class="smcap">Kate</span> (<i>assisting her at the washing and stopping as if
+astonished at the statement</i>). And is it only now you're
+after finding that out! Sure the whole countryside
+knowed it this years and years.</p>
+
+<p><span class="smcap">Mary</span> (<i>sharply</i>). The whole countryside has no business
+to talk about what doesn't concern it.</p>
+
+<p><span class="smcap">Kate</span>. Oh, well, people are bound to talk, Miss.</p>
+
+<p><span class="smcap">Mary</span>. But then Uncle Dan is awfully clever. He's
+got the whole brains of the Murrays, so father says,
+and then, besides that, he is a grand talker.</p>
+
+<p><span class="smcap">Kate</span>. Aye. He can talk plenty. Sure Sarah McMinn,
+that lives up the Cut, says its a shame the way he's going
+on this twenty years and more, never doing a hand's
+turn from morning to night, and she says she wonders
+your poor father stands him and his nonsense.</p>
+
+<p><span class="smcap">Mary</span>. Who said that?</p>
+
+<p><span class="smcap">Kate</span>. Sarah McMinn told Johnny McAndless that
+yesterday.</p>
+
+<p><span class="smcap">Mary</span>. Sarah McMinn? Pooh! That hard, mean,
+old thing. No. I believe in Uncle Dan and so does
+father. He'll make a name for himself yet.</p>
+
+<p><span class="smcap">Kate</span>. Well, it's getting near time he done it.</p>
+
+<p><span class="smcap">Mary</span>. And that Sarah McMinn they say just keeps her
+brother in starvation, and she just says nasty things like
+that about Uncle Dan because he doesn't like her.</p>
+
+<p><span class="smcap">Kate</span>. Aye. He never did like people as seen through
+him, not but she is a mean old skin-a-louse. (<i>The voice
+of</i> <span class="smcap">Daniel Murray</span> <i>is heard calling from within.</i>) He's
+up, Miss.</p>
+
+<p><span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span></p><p><span class="smcap">Mary</span>. Are you up, uncle?</p>
+
+<p>(<span class="smcap">Dan Murray</span> <i>opens the door from the inner apartments
+and comes into the kitchen. He is carelessly dressed
+and sleepy-looking as if just out of bed, wears a muffler
+and glasses, and appears to be some fifty years of age.</i>)</p>
+
+<p><span class="smcap">Daniel</span>. Yes. Did the <i>Whig</i> come yet?</p>
+
+<p><span class="smcap">Mary</span>. Yes. I put it in your workshop.</p>
+
+<p><span class="smcap">Daniel</span> (<i>glancing at the clock</i>). Bless my heart, it's
+half-past one!</p>
+
+<p><span class="smcap">Mary</span> (<i>reproachfully</i>). It is, indeed, uncle.</p>
+
+<p><span class="smcap">Daniel</span>. Well! Well! Time goes round, Mary. Time
+goes round. (<i>Kate picks up the bucket and goes out by
+the yard door.</i>) Where's your father? (<i>He crosses over
+to the workshop door.</i>)</p>
+
+<p><span class="smcap">Mary</span>. He's out working with Sam Brown at the
+threshing all morning since seven o'clock.</p>
+
+<p><span class="smcap">Daniel</span>. Well! Well! A very industrious man is
+John Murray. Very. But lacking in brains, my dear&mdash;lacking
+in brains. Kind, good-hearted, easy-going, but&mdash;ah!
+well, one can't help these things. (<i>He goes towards
+the workshop.</i>) Where did you say the <i>Whig</i> was, Mary?</p>
+
+<p><span class="smcap">Mary</span>. It's in your workshop. (<i>He crosses over to go
+there.</i>)</p>
+
+<p><span class="smcap">Mary</span>. You were very late coming in last night, uncle.</p>
+
+<p><span class="smcap">Daniel</span>. Eh? (<i>He goes in, gets the paper, comes out
+again.</i>)</p>
+
+<p><span class="smcap">Mary</span>. I heard you coming in, and the clock was just
+after striking two. (<i>He sits down and opens paper.</i>)</p>
+
+<p><span class="smcap">Daniel</span>. Well&mdash;I met a few friends last night. Appreciative
+friends I could talk to, and I was explaining that
+new idea of mine that I've been working at so long&mdash;that
+new idea for a fan-bellows. It's a great thing. Oh yes.
+It should be. I sat up quite a while last night, thinking
+it over, and I believe I've got more ideas about it&mdash;better
+ones.</p>
+
+<p><span class="smcap">Mary</span>. Do you think you'll make money off it, uncle?</p>
+
+<p><span class="smcap">Daniel</span>. Mary&mdash;if it comes off&mdash;if I can get someone
+to take it up, I believe 'twill make our fortune, I do.</p>
+
+<p><span class="smcap">Mary</span>. Oh, uncle, it would be lovely if you did, and<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+I would just die to see that nasty McMinn woman's
+face when she hears about you making such a hit.</p>
+
+<p><span class="smcap">Daniel</span>. McMinn? Has that woman been sneering
+about me again? That's one woman, Mary, I can't
+stand. I can never do myself justice explaining ideas
+in company when that woman is present.</p>
+
+<p><span class="smcap">Mary</span>. Never mind her, uncle. (<i>Coming close beside
+him.</i>) Do you mind the time last time, uncle, when you
+went up to Belfast for a week to see about that patent
+for&mdash;what's this the patent was, uncle?</p>
+
+<p><span class="smcap">Daniel</span> (<i>uncomfortably</i>). Last time? Aye? Why?</p>
+
+<p><span class="smcap">Mary</span>. Yes. Don't you remember you said you
+knew of an awfully nice boy that you met, and you were
+going to bring him down here.</p>
+
+<p><span class="smcap">Daniel</span>. Upon my soul, I had clean forgotten. Yes, yes.
+I think I did say something about a young fellow I met.</p>
+
+<p><span class="smcap">Mary</span>. Was he nice, uncle?</p>
+
+<p><span class="smcap">Daniel</span> (<i>becoming absorbed in the newspaper</i>). Eh?
+I think so. Oh. He was&mdash;very nice chap.</p>
+
+<p><span class="smcap">Mary</span>. Well, you said he was coming here to see me,
+and he never turned up yet.</p>
+
+<p><span class="smcap">Daniel</span>. Did I? Very possibly. I suppose he must
+have forgotten.</p>
+
+<p><span class="smcap">Mary</span> (<i>walking away to the left and then back again
+pouting</i>). I'm sick of the boys here. There's only Alick
+McCready that's anyway passable. When will you see
+him again, uncle?</p>
+
+<p><span class="smcap">Daniel</span>. Well&mdash;possibly, when I go up to town again.
+Very soon, perhaps. That is if your father, Mary, can
+spare the money.</p>
+
+<p><span class="smcap">Mary</span> (<i>thoughtfully</i>). I don't know, uncle. You see
+that would be five times now, and somehow you never
+seem to get anything done. That's what he said, mind
+you, uncle.</p>
+
+<p><span class="smcap">Daniel</span> (<i>mournfully</i>). Well! Well! To think of me
+toiling and moiling away in that workshop of mine, day
+after day, and week after week, and year after year&mdash;and
+there's all the thanks you get for it.</p>
+
+<p><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p><p><span class="smcap">Mary</span>. Uncle?</p>
+
+<p><span class="smcap">Daniel</span> (<i>somewhat irritably as he gets engrossed
+reading</i>). Well?</p>
+
+<p><span class="smcap">Mary</span>. Look, if you went up to Belfast again soon,
+won't you see that boy? I wonder what he's like. (<i>She
+gets close beside her uncle and nestles beside him.</i>) Is he
+dark or fair?</p>
+
+<p><span class="smcap">Daniel</span>. Yes, yes. I think so.</p>
+
+<p><span class="smcap">Mary</span>. Dark?</p>
+
+<p><span class="smcap">Daniel</span>. Yes. I believe he is dark.</p>
+
+<p><span class="smcap">Mary</span>. And tall?</p>
+
+<p><span class="smcap">Daniel</span> (<i>trying vainly to read in spite of the interruptions</i>).
+Very tall.</p>
+
+<p><span class="smcap">Mary</span>. Oh, how nice! And uncle, is he good-looking?</p>
+
+<p><span class="smcap">Daniel</span>. Very. Fine looking fellow.</p>
+
+<p><span class="smcap">Mary</span>. That's grand; and uncle, is he well to do?</p>
+
+<p><span class="smcap">Daniel</span>. He has every appearance of it.</p>
+
+<p><span class="smcap">Mary</span>. Oh you dear old uncle! (<i>She nestles closer
+to him.</i>) But maybe he wouldn't look at me when he
+has a whole lot of town girls to go with.</p>
+
+<p><span class="smcap">Daniel</span>. My dear niece, you don't know what a very
+good-looking young lady you are, and besides he saw
+your photograph.</p>
+
+<p><span class="smcap">Mary</span>. Which photograph?</p>
+
+<p><span class="smcap">Daniel</span> (<i>perplexed</i>). Which photograph? Your own
+of course!</p>
+
+<p><span class="smcap">Mary</span>. The one I got taken at Lurgan?</p>
+
+<p><span class="smcap">Daniel</span>. Yes. I think so.</p>
+
+<p><span class="smcap">Mary</span>. Oh uncle! That horrid thing! Why didn't
+you show him the one I got taken at Newcastle?</p>
+
+<p><span class="smcap">Daniel</span>. My mistake. Very sorry, indeed, Mary, I
+assure you. But I tell you what, I'll take the album with
+me next time. Will that do?</p>
+
+<p><span class="smcap">Mary</span> (<i>laughing</i>). There. Now you're only joking.
+(<i>Suddenly.</i>) What do you do all the time you stay in
+Belfast, uncle?</p>
+
+<p><span class="smcap">Daniel</span> (<i>uneasily</i>). Um&mdash;um&mdash;&mdash;Business, my dear
+girl, business. See engineers and all that sort of thing,<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>
+and talk things over. It takes time, you know, Mary,
+time.</p>
+
+<p><span class="smcap">Mary</span>. You've been an awful long time inventing,
+uncle, haven't you?</p>
+
+<p><span class="smcap">Daniel</span>. Well, you know, Mary dear&mdash;time&mdash;it takes
+time. You can't rush an inventor.</p>
+
+<p><span class="smcap">Mary</span>. Well look, uncle. You know I can just wheedle
+father round my wee finger, can't I?</p>
+
+<p><span class="smcap">Daniel</span>. You can indeed.</p>
+
+<p><span class="smcap">Mary</span>. Well, look: if you promise to bring down this
+boy you are talking about, I'll get father to give you
+enough to have two weeks in Belfast. There. It's a
+bargain.</p>
+
+<p><span class="smcap">Daniel</span>. Um&mdash;well&mdash;he may not be there you know.</p>
+
+<p><span class="smcap">Mary</span> (<i>disappointed</i>). O uncle!</p>
+
+<p><span class="smcap">Daniel</span>. You see he travels a lot and he may be away.
+He may be in London. In fact I think&mdash;yes. He said
+he would be going to London.</p>
+
+<p><span class="smcap">Mary</span>. Then why not go to London?</p>
+
+<p><span class="smcap">Daniel</span> (<i>starting up and speaking as if struck with
+delight at the possibility</i>). Eh? I never thought of that!
+(<i>He collapses again.</i>) But no. Your father, Mary.
+He would never give me the money. No.</p>
+
+<p><span class="smcap">Mary</span>. But you're more likely to meet people there
+who'd take it up, aren't you, uncle?</p>
+
+<p><span class="smcap">Daniel</span>. It's <i>the place</i> for an inventor to go, Mary.
+<i>The place.</i> (<i>Pauses.</i>) But I'm afraid when John hears
+about it&mdash;&mdash;(<i>he becomes very dubious and shakes his head</i>).</p>
+
+<p><span class="smcap">Mary</span>. Well, look here, uncle. Do you mind the last
+time when he would not give you money to go up to
+Belfast about your patent.</p>
+
+<p><span class="smcap">Daniel</span> (<i>sadly</i>). I do.</p>
+
+<p><span class="smcap">Mary</span>. You remember you got a letter a few days after
+asking you to come up at once and you had to go then.
+Hadn't you?</p>
+
+<p><span class="smcap">Daniel</span>. I had.</p>
+
+<p><span class="smcap">Mary</span>. Well, couldn't we do the same this time?</p>
+
+<p><span class="smcap">Daniel</span> (<i>looking at her uneasily</i>). Eh?</p>
+
+<p><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p><p><span class="smcap">Mary</span>. Couldn't we get someone to send a letter.
+(<i>Pausing and thinking, then suddenly</i>). Oh, the very
+thing! You know that silly Alick McCready that comes
+running after me. Well, look, I'll get him to send a letter.</p>
+
+<p><span class="smcap">Daniel</span>. No good, my dear. I did it before&mdash;&mdash;I mean
+letters on plain notepaper don't carry much weight.
+No.</p>
+
+<p><span class="smcap">Mary</span>. What about&mdash;&mdash;oh, I know! Uncle, a telegram!</p>
+
+<p><span class="smcap">Daniel</span>. Great idea! It is in soul!</p>
+
+<p><span class="smcap">Mary</span>. And we'll put something on it like "come to
+London at once to see about the patent," or something
+like that. And he'd have to let you go then.</p>
+
+<p><span class="smcap">Daniel</span>. Mary, you're really a cleverer girl than
+your father thinks. (<i>Musingly.</i>) Two weeks in London.</p>
+
+<p><span class="smcap">Mary</span>. And don't forget the nice boy, uncle, when
+you go.</p>
+
+<p><span class="smcap">Daniel</span>. I'll do my best to get hold of him.</p>
+
+<p><span class="smcap">Mary</span>. No. I want a good definite promise. Promise,
+uncle.</p>
+
+<p><span class="smcap">Daniel</span>. Well, really you know, my dear, he&mdash;&mdash;</p>
+
+<p><span class="smcap">Mary</span>. Uncle, promise.</p>
+
+<p><span class="smcap">Daniel</span>. Um&mdash;&mdash;well, I promise.</p>
+
+<p><span class="smcap">Mary</span>. You're a dear old thing. You see, uncle, I
+don't want to marry Alick McCready or Jim McDowell
+or any of those boys, unless there's nobody else.</p>
+
+<p><span class="smcap">Daniel</span>. Quite right, my dear, quite right. Two weeks
+in London. Splendid! But it's time I was going into my
+workshop. (<i>He rises and takes the paper with him.</i>) I
+must really try and do something this morning. (<i>Exit
+by workshop door.</i>)</p>
+
+<p><span class="smcap">Mary</span> (<i>calling after him</i>). You won't forget, uncle?
+Will you?</p>
+
+<p><span class="smcap">Daniel</span>. No, certainly not.</p>
+
+<p><span class="smcap">Mary</span>. I do hope uncle brings that nice boy. Dark&mdash;tall&mdash;well
+set up&mdash;well to do.</p>
+
+<p>(<span class="smcap">Kate</span> <i>comes in again through the yard door, and looks at</i>
+<span class="smcap">Mary</span>, <i>who is gazing vacantly into space.</i>)</p>
+
+<p><span class="smcap">Kate</span>. Well? What notion have you got now?</p>
+
+<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p><p><span class="smcap">Mary</span>. Oh! just think, Kate! How would you like
+a boy who was dark and tall, and well set up and well
+to do?</p>
+
+<p><span class="smcap">Kate</span>. I'd just leap at him.</p>
+
+<p><span class="smcap">Mary</span> (<i>laughing</i>). Agh! I don't think he'll ever come,
+Kate!</p>
+
+<p><span class="smcap">Kate</span>. I think you've plenty on hand to manage.
+(<span class="smcap">Brown</span> <i>opens the yard door and resumes his old-position
+from which he stares at the dresser</i>). You're back again,
+are you?</p>
+
+<p><span class="smcap">Brown</span>. Aye.</p>
+
+<p><span class="smcap">Kate</span>. What ails you now?</p>
+
+<p><span class="smcap">Brown</span>. I'm looking the spanner.</p>
+
+<p><span class="smcap">Mary</span>. The spanner?</p>
+
+<p><span class="smcap">Brown</span>. The spanner, Miss Mary. It's for turning the
+nuts like.</p>
+
+<p><span class="smcap">Kate</span>. Have you never got it yet?</p>
+
+<p><span class="smcap">Brown</span>. Do you think I've got eyes in the back of my
+head? Underneath the seat, beside the salt-box, on
+the right near the wee crock in the left hand corner.
+(<i>He makes a movement to open one of the drawers of the
+dresser.</i>)</p>
+
+<p><span class="smcap">Kate</span>. Will you get out of that, ignorance. It's not
+there.</p>
+
+<p><span class="smcap">Brown</span> (<i>with an appealing look at</i> <span class="smcap">Mary</span>). Maybe its
+in the parlour?</p>
+
+<p><span class="smcap">Mary</span>. Well, I'll take a look round. (<i>She goes through
+the door to living rooms.</i>)</p>
+
+<p><span class="smcap">Brown</span> (<i>mysteriously</i>). Did you hear the news?</p>
+
+<p><span class="smcap">Kate</span>. No. (<i>Very much interested</i>.) What?</p>
+
+<p><span class="smcap">Brown</span>. Ach! You women never know anything.</p>
+
+<p><span class="smcap">Kate</span>. What's the news? Somebody killed?</p>
+
+<p><span class="smcap">Brown</span>. No. More serious.</p>
+
+<p><span class="smcap">Kate</span> (<i>alarmed</i>). God bless me! What is it?</p>
+
+<p><span class="smcap">Brown</span>. Andy McMinn has a sister.</p>
+
+<p><span class="smcap">Kate</span> (<i>disappointed</i>). Ach!</p>
+
+<p><span class="smcap">Brown</span>. And she's trying to get a man.</p>
+
+<p><span class="smcap">Kate</span>. Well. I knowed that this years.</p>
+
+<p><span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span></p><p><span class="smcap">Brown</span>. And Mr. John Murray is a widow man.</p>
+
+<p><span class="smcap">Kate</span>. You mean to be telling me that Mr. John
+has a notion of that old thing? Go long with you!</p>
+
+<p><span class="smcap">Brown</span>. Did you ever hear tell of a widow man that
+never got married again.</p>
+
+<p><span class="smcap">Kate</span>. Plenty. Don't come in here talking blethers.</p>
+
+<p><span class="smcap">Brown</span>. Whist. There's more in what I'm telling you
+than you think. And I'll hold you to a shilling that
+Sarah McMinn will be Mrs. John Murray before one
+month.</p>
+
+<p><span class="smcap">Kate</span>. Who told you?</p>
+
+<p><span class="smcap">Brown</span>. Ach. You've no more head than a yellow
+yorling. Where has Mr. John been going to these wheen
+of nights?</p>
+
+<p><span class="smcap">Kate</span> (<i>thinking</i>). Andy McMinns!</p>
+
+<p><span class="smcap">Brown</span>. Aye. Do you think it is to see old Andy?
+And sure he's been talking to me all morning about the
+way the house is being kept. No hand to save the waste;
+bread and things destroyed; hens laying away; eggs
+ate up by the dozen and chickens lost and one thing and
+another. And hinting about what money a good saving
+woman would bring him. And Mr. Daniel&mdash;&mdash;</p>
+
+<p><span class="smcap">Kate</span>. Sh&mdash;&mdash;he's in there working.</p>
+
+<p><span class="smcap">Brown</span>. Working? Ah, God save us! Him working!
+The last man that seen Mr. Dan working is in his grave
+this twenty years. (<i>He goes over next workshop door.</i>)
+I'll just peep in at him through the keyhole. (<i>He goes
+over and does so, and then beckons</i> <span class="smcap">Kate</span> <i>over. She peeps
+in and grins. As they are thus occupied</i> <span class="smcap">Alick McCready</span>
+<i>opens the door and stands gazing at them. He is a type
+of the young well-to-do farmer, respectably dressed and
+good-looking.</i>)</p>
+
+<p><span class="smcap">Alick</span>. Well! Well! Some people earn their money
+easy!</p>
+
+<p><span class="smcap">Brown</span>. Aye. In soul. Just look in there to see it.
+(<span class="smcap">McCready</span> <i>looks in and bursts into a loud hearty laugh.</i>
+<span class="smcap">Brown</span> <i>hurriedly goes out by the yard door and</i> <span class="smcap">Kate</span>
+<i>by door to inner rooms.</i>)</p>
+
+<p><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span></p><p><span class="smcap">Daniel</span> (<i>opening door and standing there, perplexed
+looking</i>). What's the matter?</p>
+
+<p><span class="smcap">Alick</span>. Ah. I was just laughing at a wee joke, Mr.
+Murray.</p>
+
+<p><span class="smcap">Daniel</span>. It must have been very funny.</p>
+
+<p><span class="smcap">Alick</span>. Aye. It was. (<i>Coming close to</i> <span class="smcap">Daniel</span>, <i>who
+walks slowly to the middle of the kitchen.</i>) I say. Were
+you at McArn's publichouse last night?</p>
+
+<p><span class="smcap">Daniel</span> (<i>looking round cautiously to see that no one else
+can hear him</i>). Well, just a minute or two. Why?</p>
+
+<p><span class="smcap">Alick</span>. There was someone there told Andy McMinn
+this morning, I believe, that you'd been talking of a
+great invention altogether, and he was that much curious
+to see it that him and his sister Sarah are coming over
+this day to have a look at it.</p>
+
+<p><span class="smcap">Daniel</span>. Who? Sarah McMinn?</p>
+
+<p><span class="smcap">Alick</span>. Aye. She's very anxious to see it, I believe.</p>
+
+<p><span class="smcap">Daniel</span>. Um. Rather awkward this. She's not a
+woman that, plainly speaking, I care very much to talk
+about my ideas to.</p>
+
+<p><span class="smcap">Alick</span>. But have you got something struck out?</p>
+
+<p><span class="smcap">Daniel</span>. McCready, come here. (<span class="smcap">Alick</span> <i>goes closer
+to him.</i>) It is really a great idea. Splendid. But I've
+a great deal of trouble over it. In fact I've been thinking
+out details of a particular gear all morning.</p>
+
+<p><span class="smcap">Alick</span>. Aye. (<i>He looks at</i> <span class="smcap">Daniel</span> <i>and then endeavours
+to restrain unsuccessfully a burst of laughter.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>angrily</i>). You were always an ignorant hound
+anyway and be d&mdash;&mdash;d to you. (<i>He turns to go towards
+his workshop.</i>)</p>
+
+<p><span class="smcap">Alick</span>. Ah, Mr. Murray, I beg your pardon. It's
+another thing altogether I'm thinking about. I just
+wanted a talk with you this morning. You have a nice
+wee girl for a niece, Mr. Murray.</p>
+
+<p><span class="smcap">Daniel</span> (<i>somewhat mollified</i>). Well?</p>
+
+<p><span class="smcap">Alick</span> (<i>bashfully</i>). And I was wondering if you could
+put in a good word for me now and again with her.</p>
+
+<p><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span></p><p><span class="smcap">Daniel</span>. Now, look here, Alick. We can all work
+nice and comfortably together, can't we?</p>
+
+<p><span class="smcap">Alick</span>. Aye.</p>
+
+<p><span class="smcap">Daniel</span>. Well, if you behave yourself like a man with
+some manners, and not like an ignorant clodhopper, I
+can do a great deal for you.</p>
+
+<p><span class="smcap">Alick</span>. Thank you, sir. You know, Mr. Murray, I have
+as nice a wee farm, and as good stock on it as well, as any
+man in the county, and if I'm lucky enough to get that
+niece of yours, you'll always be welcome to come and pass
+a day or two and have a chat.</p>
+
+<p><span class="smcap">Daniel</span>. I think you and I will get along all right,
+Alick. There's one or two little things I need badly
+sometimes in this house. I mean I want help often,
+you know, Alick, to carry my points with John; points
+about going to see people and that sort of thing, and
+it's really very hard to manage John on points like that,
+unless we resort to certain means to convince him they are
+absolutely necessary.</p>
+
+<p><span class="smcap">Alick</span> (<i>uneasily</i>). Yes. I sort of follow you.</p>
+
+<p><span class="smcap">Daniel</span>. You know what I mean. John's a little dense,
+you know. He can't see the point of an argument very
+well unless you sort of knock him down with it. Now,
+if a thing is fair and reasonable, and a man is so dense
+that he can't see it, you are quite justified&mdash;at least,
+I take it so&mdash;to manufacture a way&mdash;it doesn't matter
+how&mdash;so long as you make that dense man accept the
+thing, whatever it is, as right. Do you follow me?</p>
+
+<p><span class="smcap">Alick</span>. I'm just beginning to see a kind of way.</p>
+
+<p><span class="smcap">Mary</span> (<i>appearing at door from inner rooms</i>). I can't
+see that thing anywhere. (<i>She suddenly sees</i> <span class="smcap">Alick</span>.)
+Oh Alick! You here!</p>
+
+<p><span class="smcap">Alick</span>. Yes. It's a nice morning, and you're looking
+beautiful!</p>
+
+<p><span class="smcap">Mary</span>. Oh, bother. (<i>She seems to suddenly recollect
+something.</i>) Oh, I say! uncle! You remember?
+Uncle!</p>
+
+<p><span class="smcap">Daniel</span> (<i>somewhat perplexed</i>). Eh?</p>
+
+<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p><p><span class="smcap">Mary</span> (<i>motioning towards</i> <span class="smcap">Alick</span>). Telegram to come
+to London.</p>
+
+<p><span class="smcap">Daniel</span>. Ah&mdash;&mdash;Oh, yes, yes.</p>
+
+<p><span class="smcap">Mary</span>. Let's go into your workshop and tell Alick
+what we want. Come on.</p>
+
+<p><span class="smcap">Alick</span>. I'll do anything in the world you want.</p>
+
+<p>(<i>They all go into the workshop. As they disappear,</i> <span class="smcap">John
+Murray</span>, <i>sweating and angry looking, comes through
+from the yard followed by</i> <span class="smcap">Brown</span>. <span class="smcap">John</span> <i>is a tall,
+stout man, with a rather dour countenance and somewhat
+stolid expression. He is a year or so the elder
+of Dan in age. He goes to the dresser, puts his
+hand on the top shelf, takes down a spanner and throws
+it down angrily on the table.</i>)</p>
+
+<p><span class="smcap">John</span>. There. There you are, you stupid-looking,
+good for nothing, dunder-headed, Italian idiot you.</p>
+
+<p><span class="smcap">Brown</span>. You're something terrible cross this morning.</p>
+
+<p><span class="smcap">John</span>. (<i>heatedly</i>). Is it any wonder? Away out at once
+now and put her to rights and quick about it. (<span class="smcap">Brown</span>
+<i>meekly goes out.</i>) The like of servant men nowadays,
+I never seen in my mortal days. A concern of ignorant
+bauchles, every one of them.</p>
+
+<p><span class="smcap">Daniel</span> (<i>opening door of workshop and peeping out. He
+sees</i> <span class="smcap">John</span> <i>and goes over to him with a genial air</i>). Good
+morning John.</p>
+
+<p><span class="smcap">John</span> (<i>snappishly</i>). Morning.</p>
+
+<p><span class="smcap">Daniel</span>. John, what do you think, I believe I have
+just come on to a great idea about&mdash;&mdash;</p>
+
+<p><span class="smcap">John</span>. Ach! You and your great ideas! Here you've
+been blundering and blethering and talking these fifteen
+years and more, and I've never seen anything come of them
+yet.</p>
+
+<p><span class="smcap">Daniel</span> (<i>soothingly</i>). I know, John, I know. But I'm
+handicapped you know. Bad place to work in and all
+the rest of it: but you've been kind to me, John. Keeping
+a brother and helping him after he has lost all his
+money isn't a common thing with many men, but John<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+a day will come sometime, and you'll get it all back.
+(<i>Impressively</i>). Every penny. Aye, and twice over.</p>
+
+<p><span class="smcap">John</span> (<i>softening</i>). Thank you, Daniel.</p>
+
+<p><span class="smcap">Daniel</span>. You will, John, you will. But don't cast up
+things like that about the time I've been. It hurts me.
+A thing like this takes time to mature, you know, John.
+The great and chief thing for an inventor is time. Look
+at Palissy, the great French potter, who found out how
+to make porcelain glaze. Why he worked for years and
+years at his invention. And there was the man who
+found out how to make steam drive engines. Look at
+the years those men spent&mdash;and no one begrudged them.</p>
+
+<p><span class="smcap">John</span>. I suppose that now.</p>
+
+<p><span class="smcap">Daniel</span>. Certainly, John, nothing surer. And look
+at the fortunes those men made. But the great difficulty
+is trying to get someone to take up your patent. You
+see these men had the eyes of the world fixed on them.
+People knew all about them, and had their hands stretched
+out ready to grab what they invented. (<i>Pathetically</i>).
+I&mdash;&mdash;I'm just a poor unknown man struggling in a wee
+dark corner.</p>
+
+<p><span class="smcap">John</span> (<i>touched</i>). Never mind, Danny. You'll make the
+name of the Murray's known yet, maybe.</p>
+
+<p><span class="smcap">Daniel</span>. I'll do my best, John. But mind you it would
+take me to be pushing on this thing that I have found
+out and bringing it before people to notice. You see
+I've got it all ready now except for a few small details.</p>
+
+<p><span class="smcap">John</span> (<i>much interested</i>). Have you now? I would like
+you sometime to explain it to me, Daniel. I didn't
+quite get on to it the last time you were telling me about
+it.</p>
+
+<p><span class="smcap">Daniel</span>. Some time again. Oh yes. But John&mdash;I'll
+have to go to some of the towns soon to see people
+about it. The bigger the town the better the chance,
+and John (<i>impressively</i>)&mdash;London's the place.</p>
+
+<p><span class="smcap">John</span> (<i>aghast</i>). London! In all the name of the
+world, yon place! Would Belfast not do you?</p>
+
+<p><span class="smcap">Daniel</span>. No. I don't like Belfast. They're a mangy,<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span>
+stick-in-the-mud, follow-in-the-old-ruts crowd. Never
+strike out anything new. It's a case of London or nothing.</p>
+
+<p><span class="smcap">John</span> (<i>dubiously</i>). It will be a terrible expense this
+London visiting.</p>
+
+<p><span class="smcap">Daniel.</span> It'll be worth it.</p>
+
+<p><span class="smcap">John.</span> Now, Danny, I would like to oblige you, but
+what do you think it would cost me?</p>
+
+<p><span class="smcap">Daniel.</span> Well, I could live cheap you know, John,
+and do without meals an odd day, and go steerage and
+third class, and that sort of thing. I would say about
+fifteen pounds roughly. That would let me stay more
+than a week.</p>
+
+<p><span class="smcap">John.</span> Fifteen pounds! God bless me, Daniel, would
+you break me? No, no, I couldn't afford to give you
+that much.</p>
+
+<p><span class="smcap">Daniel.</span> Maybe ten would do it. I could sleep out
+under the arches an odd night or two, and&mdash;&mdash;</p>
+
+<p><span class="smcap">John.</span> No, no. I'll not have that. A Murray aye
+had a bed to go to and a sup to eat. (<i>After a contemplative
+pause.</i>) Here, I'll give you three pounds and
+you can go to Belfast.</p>
+
+<p><span class="smcap">Daniel.</span> I don't care much about Belfast. You know
+I have been there five times now, and I have never got
+anyone to look into the thing at all proper.</p>
+
+<p><span class="smcap">John.</span> You're too backward, Daniel, when it comes to
+the like of that. But ten pounds! No, I would like
+you to get on in the world right enough, Daniel, but I
+couldn't afford it. You know the way this house is being
+kept; it's lamentable. Tea and sugar and flour and things.
+Man, I'm just after paying off ten pounds to the McAfees
+for one thing and another, and it only a running account
+for two months. If I had a good housekeeper now,
+maybe things would alter for the better.</p>
+
+<p><span class="smcap">Mary</span> (<i>coming out from the workshop followed by</i> <span class="smcap">Alick</span>).
+O Uncle Dan! He says he'll go at once and get it&mdash;&mdash;(<i>She
+stops short in confusion on seeing her father.</i>)</p>
+
+<p><span class="smcap">Alick.</span> How are you, Mr. Murray?</p>
+
+<p><span class="smcap">John.</span> O! bravely. What's the news with you?</p>
+
+<p><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p><p><span class="smcap">Alick.</span> I was just looking over some of them ideas of
+Daniel's, about the new fan bellows.</p>
+
+<p><span class="smcap">John.</span> Aye. Now what do you think of it?</p>
+
+<p><span class="smcap">Alick</span> (<i>warned by</i> <span class="smcap">Daniel</span> <i>who nudges him</i>). They're
+great altogether.</p>
+
+<p><span class="smcap">John.</span> Do you think there will be any sale for it at all?</p>
+
+<p><span class="smcap">Alick.</span> I think so. (<i>He perceives</i> <span class="smcap">Daniel</span> <i>motioning
+assent.</i>) I believe there would be indeed.</p>
+
+<p><span class="smcap">John.</span> Man, I wish I had the head of some of you
+young fellows to understand the working of them
+machinery and things. (<span class="smcap">Daniel</span> <i>goes back into the
+workshop.</i>) I've the worst head in the world for understanding
+about them sort of things. There's Daniel,
+a great head on him, Daniel.</p>
+
+<p><span class="smcap">Alick</span> (<i>slyly</i>). He has, right enough!</p>
+
+<p><span class="smcap">John</span> (<i>proudly</i>). One of the best. When he was a
+wee fellow, dang the one could beat him at making
+boats or drawing pictures, or explaining extraordinary
+things to you. None. Not one. A great head on him,
+Daniel. He'll do something yet.</p>
+
+<p><span class="smcap">Alick.</span> Did you know Andy McMinn's for coming
+over to see you this day, Mr. Murray?</p>
+
+<p><span class="smcap">John</span> (<i>eagerly</i>). This day? When? Are you sure?</p>
+
+<p><span class="smcap">Alick.</span> Aye, so he said. About two o'clock or so.
+Someone told him about Daniel's great new idea, and he's
+very curious to hear about it.</p>
+
+<p><span class="smcap">Mary.</span> He's always poking his nose into people's
+business.</p>
+
+<p><span class="smcap">John.</span> Whist. Andy McMinn's a very decent man.
+Tell me (<i>rather bashfully</i>), was Sarah to come with him?</p>
+
+<p><span class="smcap">Mary</span> (<i>alarmed</i>). O holy prophets! I hope not.</p>
+
+<p><span class="smcap">Alick.</span> Aye. She's coming too. She wanted to see
+it as well as Andy.</p>
+
+<p><span class="smcap">John.</span> Aye. Certainly, and she's welcome too. Mary,
+you can get the house ready, and the table set, and a
+nice tea for them when they come, and I can go and get
+tidied up a wee bit. (<i>He goes off through door into inner
+rooms.</i>)</p>
+
+<p><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span></p><p><span class="smcap">Alick</span> (<i>leaning against the table and looking across at</i>
+<span class="smcap">Mary</span>, <i>who is sitting at the opposite end.</i>) You're as nice
+a wee girl as ever I&mdash;&mdash;</p>
+
+<p><span class="smcap">Mary.</span> You're an awful fool. Hurry, Alick, like a
+decent man and get that telegram sent.</p>
+
+<p><span class="smcap">Alick.</span> That uncle of yours, Mary, heth he's as canny
+a keoghboy as I've seen. Its the queer tears he'll be
+taking to himself in London if I know anything.</p>
+
+<p><span class="smcap">Mary.</span> Hold your tongue. You've no business to
+talk about Uncle Dan that way. He could give you tons
+as far as brains go anyway.</p>
+
+<p><span class="smcap">Alick.</span> I believe that. (<i>He goes to yard door, then
+turns back.</i>) I say, Mary. What name will I put on that
+telegram? "Come to London at once about patent.
+Intend purchasing." Hadn't we better have a name?</p>
+
+<p><span class="smcap">Mary.</span> Yes. I'll just ask uncle. (<i>She knocks at door
+of workshop.</i>) Uncle!</p>
+
+<p><span class="smcap">Daniel</span> (<i>without</i>). Yes.</p>
+
+<p><span class="smcap">Mary.</span> What name will we put to that telegram?</p>
+
+<p><span class="smcap">Daniel</span> (<i>without</i>). Oh, it's not particular. Wilson
+or Smith, or Brown, or Gregg.</p>
+
+<p><span class="smcap">Alick.</span> I'll put Gregg on it.</p>
+
+<p><span class="smcap">Daniel.</span> Do well.</p>
+
+<p><span class="smcap">Alick.</span> Did you see the fluster that your father got
+into, Mary, when he heard that Sarah McMinn was
+coming over?</p>
+
+<p><span class="smcap">Mary</span> (<i>alarmed</i>). What?</p>
+
+<p><span class="smcap">Alick.</span>. Did you not see how he rushed off to tidy
+himself up when he heard Sarah McMinn was coming
+over?</p>
+
+<p><span class="smcap">Mary</span> (<i>seating herself on chair to right of table</i>). Nonsense.
+Father wouldn't think of that woman.</p>
+
+<p><span class="smcap">Alick.</span> All right. But I think I know something
+more than you.</p>
+
+<p><span class="smcap">Mary</span> (<i>anxiously</i>). What? Tell me.</p>
+
+<p><span class="smcap">Alick.</span> Come on and leave me down the loaning a
+pace, and I'll tell you.</p>
+
+<p><span class="smcap">Mary</span> (<i>glancing at him, and then coquettishly turning<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+her back to him as he leans against the table</i>). Oh, I can't.
+Those people are coming over, and that McMinn woman
+will be looking at everything and telling you how to do
+things in front of father, and all the rest of it.</p>
+
+<p><span class="smcap">Alick</span> (<i>entreatingly</i>). Leave me down the loaning a
+pace till I tell you the news.</p>
+
+<p><span class="smcap">Mary</span> (<i>teasingly</i>). No.</p>
+
+<p><span class="smcap">Alick.</span> Come on.</p>
+
+<p><span class="smcap">Mary.</span> No. (<span class="smcap">Alick</span> <i>moves sadly towards the door.</i> <span class="smcap">Mary</span>
+<i>looks round, and then laughingly skips past him out through
+the yard door, and he follows her.</i>)</p>
+
+<p><span class="smcap">John</span> (<i>coming through door from inner rooms partly
+dressed, with a towel in his hands, evidently making much
+preparation to clean himself</i>). Daniel! (<i>Loudly and
+crossly.</i>) Daniel!</p>
+
+<p><span class="smcap">Daniel</span> (<i>peeping out from workshop door</i>). Well!</p>
+
+<p><span class="smcap">John.</span> Tidy yourself up a wee bit, man, Andy McMinn
+and Sarah's coming over to see you.</p>
+
+<p><span class="smcap">Daniel</span> (<i>somewhat taken back</i>). Me?</p>
+
+<p><span class="smcap">John.</span> Aye. They want to see about the new invention.
+You can have the collar I wore last Sunday,
+and put on your new coat that you got in Belfast.
+(<span class="smcap">Daniel</span> <i>goes back into the workshop.</i>) I wonder what
+tie would be the better one? Yon green or the red one
+that Mary gave me last Christmas. Aye. (<i>Seeing no
+sign of</i> <span class="smcap">Daniel</span>.) D&mdash;&mdash;n! Is he making no shapes
+to dress himself. Daniel!</p>
+
+<p><span class="smcap">Daniel</span> (<i>without</i>). Aye.</p>
+
+<p><span class="smcap">John</span> (<i>loudly</i>). Daniel!</p>
+
+<p><span class="smcap">Daniel</span> (<i>again appearing at door</i>). Well!</p>
+
+<p><span class="smcap">John</span> (<i>impatiently</i>). Come on and get on you.</p>
+
+<p><span class="smcap">Daniel.</span> Ach. This is always the way. Just when
+a man has got the whole thing worked out and the plans
+of the apparatus just on the point of completion he has
+to stop.</p>
+
+<p><span class="smcap">John.</span> Never mind, Danny. You can do it again
+the night or the morrow morning. I want you to look
+decent. Come on and get on you.</p>
+
+<p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p><p><span class="smcap">Daniel</span> (<i>beginning to regard his brother with a sudden
+interest and suspicion</i>). Who did you say was coming?</p>
+
+<p><span class="smcap">John</span> (<i>at door to rooms</i>). Andy and Sarah McMinn.
+(He goes out.)</p>
+
+<p><span class="smcap">Daniel</span> (<i>suddenly realising the import of the preparations
+going on.</i>) McMinn. Mc&mdash;&mdash;. (<i>He stops short,
+and then in a horrified voice.</i>) Surely to God he hasn't
+a notion of that woman? (<i>Calling tremulously.</i>) John!
+John!</p>
+
+<p><span class="smcap">John</span> (<i>at door</i>). Hurry up, man.</p>
+
+<p><span class="smcap">Daniel</span> (<i>appealingly</i>). John. Tell me, John. You
+haven't&mdash;&mdash;you're not going to&mdash;&mdash;you haven't a notion
+of that woman?</p>
+
+<p><span class="smcap">John</span> (<i>hesitatingly</i>). Well, Daniel, you see the house
+needs some one to look after it proper, and I thought&mdash;&mdash;well&mdash;maybe&mdash;that
+Sarah would be just as nice and
+saving a woman as I could get, but I thought I would
+keep it a bit secret, don't you know, because I don't
+know yet if she'd have me or not. And she could talk
+to you better nor I could about machinery and things
+that would interest you, for she has an agency for sewing
+machines, and knows something about that sort of thing,
+and you'd get on great with each other. Now, hurry
+and get on you. (<i>He goes out by door into rooms.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>looking after him in a helpless manner, and
+sinking into a chair</i>). If&mdash;if she'd have him! O great
+God! If that woman comes to this house, I&mdash;I'm a
+ruined man.</p>
+
+<p class="center">(<span class="smcap">Curtain.</span>)</p>
+
+
+
+<p><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span></p><hr style="width: 65%;" />
+<h2><a name="ACT_II" id="ACT_II"></a>ACT II.</h2>
+
+
+<p><i>The same scene some hours later. The curtain rises to
+discover</i> <span class="smcap">Kate</span> <i>seated near table at back enjoying a cup of
+tea which she has made, and is drinking with relish.</i></p>
+
+
+<p><span class="smcap">Kate.</span> I suppose they'll be wanting jam and sugar
+for the tea&mdash;aye&mdash;and some of them scones Miss Mary
+cooked yesterday, not but you couldn't eat them, and a
+pat or two of butter. (<i>She finishes off the remains of the
+tea.</i>) Now, that's a nice girl for you! Here's company
+coming till the house and tea and things a wanting,
+and she goes and leaves all to go strolling down the loaning
+with that fool of a McCready.</p>
+
+<p>(<span class="smcap">Brown</span> <i>opens the yard door and comes in. He replaces
+the spanner on the top shelf and then turns and
+looks at</i> <span class="smcap">Kate.</span>)</p>
+
+<p><span class="smcap">Kate.</span> Well?</p>
+
+<p><span class="smcap">Brown.</span> Well, yourself?</p>
+
+<p><span class="smcap">Kate.</span> Do you see any sign of them McMinns yet?</p>
+
+<p><span class="smcap">Brown.</span> Aye. I see the trap coming over the Cattle
+Hill. There was three in it, as far as I could make out.</p>
+
+<p><span class="smcap">Kate.</span> Who be to be the third party I wonder? Is
+it their servant man?</p>
+
+<p><span class="smcap">Brown.</span> Do you think old Andy McMinn's servant
+man gets leave to drive them about of an afternoon like
+the clergy's? Talk sense, woman.</p>
+
+<p><span class="smcap">Kate.</span> Maybe it's yon Scotch body I heard was
+stopping with them.</p>
+
+<p><span class="smcap">Brown.</span> Aye. Yon Mackenzie. Ach, man, but yon
+creature would scunder you.</p>
+
+<p><span class="smcap">Kate.</span> Aye.</p>
+
+<p><span class="smcap">Brown.</span> Ach! Cracking jokes and laughing that
+hearty at them, and I'm danged if a bat with one eye<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+shut could make out what he was laughing at. (<i>Listening.</i>)
+Here they are. I hear the wheels coming up the
+loaning. I'll have to go and put up the horse for them
+I suppose. (<i>He goes out by yard door.</i>)</p>
+
+<p><span class="smcap">Kate.</span> I wonder if the master seen them coming.
+(<i>She rapidly clears the table and then goes over to door into
+room</i>.) I better tell him. (<i>She knocks at the door</i>.)</p>
+
+<p><span class="smcap">John</span> (<i>without</i>). Aye. (<i>He comes and opens the door,
+dressed in his best suit of clothes.</i>) What's the matter?</p>
+
+<p><span class="smcap">Kate.</span> They're just come, sir.</p>
+
+<p><span class="smcap">John</span> (<i>excitedly</i>). Are they? (<i>Comes into kitchen.</i>) Is
+my tie right, Kate? And my clothes&mdash;is there any dirt
+on the back of them?</p>
+
+<p><span class="smcap">Kate</span> (<i>inspecting him critically</i>). You'll do grand. I
+never seen you looking better.</p>
+
+<p><span class="smcap">John.</span> Where's Mary? Why isn't she here?</p>
+
+<p><span class="smcap">Kate.</span> She went out about something. She'll be back
+in a minute.</p>
+
+<p><span class="smcap">John.</span> Right enough, it would do her all the good in
+the world to have a sensible woman looking after her.
+She just gets her own way a deal too much in this house.
+(<i>He goes to window and looks out.</i>) Aye. Here they are!
+Tell Daniel to hurry. (<span class="smcap">Kate</span> <i>goes off by door to rooms.</i>)
+Sarah's looking bravely. Man, that woman could save
+me thirty, aye forty, pounds a year if she was here.
+(<i>Suddenly.</i>) Ach! Is Daniel never ready yet? (<i>Calls.</i>)
+Daniel! (<i>Louder.</i>) Daniel!</p>
+
+<p><span class="smcap">Daniel</span> (<i>without</i>). Aye.</p>
+
+<p><span class="smcap">John.</span> Hurry, man. They've come. (<span class="smcap">John</span> <i>goes to
+yard door and goes out.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>in an exasperated voice</i>). Ach!</p>
+
+<p>(<span class="smcap">John</span> <i>comes in followed by</i> <span class="smcap">Andrew McMinn,</span> <i>an elderly
+non-descript sort of man, followed by</i> <span class="smcap">Sarah,</span> <i>a sour faced
+spinster of uncertain age. In the rear is</i> <span class="smcap">Donal
+Mackenzie.</span> <i>He is wearing a tourist costume of
+Norfolk jacket and knickers, and is a keen faced, hard,
+angular looking personage.</i>)</p>
+
+<p><span class="smcap">John.</span> Yous are all welcome. Every one of you.<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+You Andy and Sarah, and Mr. Mackenzie. The Scotch
+is aye welcome, Mr. Mackenzie.</p>
+
+<p><span class="smcap">Mackenzie.</span> Aye. That's what I said the last time
+I was in Ballyannis, and was verra thirsty, and went into
+a beer-shop to get a dram&mdash;Black and White it was. Verra
+guid. (<i>He laughs loudly at his own joke.</i>)</p>
+
+<p><span class="smcap">Sarah.</span> We brought Mr. Mackenzie along with us
+to see your brother, John. You see he's an engineer
+and knows a good deal about machinery and plans and
+things.</p>
+
+<p><span class="smcap">Mackenzie.</span> Aye. There's not much about machinery
+that I dinna ken, Mr. Murray, from a forty thousand
+horse power quadruple expansion doon to a freewheel
+bicycle. (<i>Proudly.</i>) I hae done spells work at all of them,
+you ken.</p>
+
+<p><span class="smcap">Andy.</span> I suppose Daniel's at home. Is he?</p>
+
+<p><span class="smcap">John.</span> Daniel? Oh aye, Daniel's at home. He's
+just tidying himself up a wee bit.</p>
+
+<p><span class="smcap">Mackenzie.</span> A wee bit paint and powder gangs a
+lang gait to make up defects, as you ken yourself, Miss
+McMinn. (<i>He laughs loudly.</i>) That's a guid one.</p>
+
+<p><span class="smcap">Andy</span> (<i>looking slyly at Sarah</i>). He's up out of bed then?</p>
+
+<p><span class="smcap">John</span> (<i>innocently</i>). Oh aye. He sits up late of nights
+working out things. (<i>He points to the door of workshop.</i>)
+That's his workshop.</p>
+
+<p><span class="smcap">Mackenzie.</span> He works then?</p>
+
+<p><span class="smcap">John.</span> Aye. He works in there. (<i>Andy goes over and
+goes into workshop.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> Because it doesna follow always, as I have
+discovered in my experience, that because a man has a
+workshop, he works. (<i>He laughs, evidently much pleased
+at his own humour.</i>)</p>
+
+<p><span class="smcap">Andy</span> (<i>looking out again through door</i>). There's nothing
+much to see in this place except a lot of dirty papers.</p>
+
+<p><span class="smcap">John.</span> That's the plans of the bellows he's
+working at.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>going over to workshop</i>). Come out, Mr.
+McMinn, till I examine. (<i>Andy comes out and he passes<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+in.</i>) Eh. This is the plan of the great bellows. (<i>He
+laughs loudly.</i>)</p>
+
+<p><span class="smcap">Andy.</span> Is he making much headway with it, John?</p>
+
+<p><span class="smcap">John.</span> Indeed, now, I think he's doing bravely at it.
+He's keeping very close at it this day or two.</p>
+
+<p><span class="smcap">Andy.</span> There's a terrible amount of newspapers lying
+in there. Has he no other plans and drawings except
+what's there?</p>
+
+<p><span class="smcap">John.</span> Oh aye. He has plenty of plans and drawings
+somewhere, for I seen them once or twice.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>coming out</i>). I can't say much about that
+contrivance. (<i>He laughs.</i>) And, I say. Look here.
+He does more than draw bellows. He draws corks as
+well. (<i>He produces a bottle of whiskey almost empty.</i>)</p>
+
+<p><span class="smcap">John.</span> Ah, well. He's not a great transgressor either
+in the matter of a bottle. No, no.</p>
+
+<p><span class="smcap">Andy.</span> And the smell of smoke in the place!</p>
+
+<p><span class="smcap">Sarah.</span> John, I think Daniel smokes far too much.</p>
+
+<p><span class="smcap">Andy.</span> He should be dressed by now.</p>
+
+<p><span class="smcap">John.</span> Aye. Oh, aye. He should right enough. He's
+a wee bit backward before women, you know, Sarah.
+(<i>Calls.</i>) Daniel! (<i>He goes over and opens door into rooms.</i>)
+Daniel!</p>
+
+<p><span class="smcap">Daniel</span> (<i>without</i>). Yes. (<i>He appears at the door
+struggling vainly with his collar.</i>)</p>
+
+<p><span class="smcap">John.</span> Why didn't you come long ago. What kept
+you?</p>
+
+<p><span class="smcap">Daniel.</span> Your collar. (<i>He looks across at</i> <span class="smcap">Andy</span> <i>and</i>
+<span class="smcap">Sarah,</span> <i>who have seated themselves at the back.</i>) How
+do you do, Andy and Sarah? You're very welcome.
+(<i>He looks at</i> <span class="smcap">Mackenzie,</span> <i>who stares curiously at him.</i>)</p>
+
+<p><span class="smcap">Andy.</span> This is a friend of ours, Daniel, that happened
+to be stopping with us last summer at Newcastle in the
+same house, and he came over for his holidays to us this
+time. We brought him over to see you. They calls
+him Mackenzie.</p>
+
+<p><span class="smcap">Daniel</span> (<i>crossing over to the left and taking a seat near
+the door of the workshop.</i>) How do you do?</p>
+
+<p><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span></p><p><span class="smcap">Mackenzie</span> (<i>patronisingly</i>). I'm glad to see you at last,
+Mr. Murray, for I've heard a good deal about you.</p>
+
+<p><span class="smcap">Sarah.</span> You see, Daniel, Mr. Mackenzie is an engineer
+in one of the great Scotch engineering yards. (<span class="smcap">Daniel's</span>
+<i>face expresses his dismay, which he hurriedly tries to hide</i>.)
+What place was it you were in, Mr. Mackenzie?</p>
+
+<p><span class="smcap">Mackenzie.</span> I served six years in the engine and fitting
+shops with Messrs. Ferguson, Hartie &amp; Macpherson,
+and was two years shop foreman afterwards to Dennison,
+McLachlan &amp; Co., and now I'm senior partner with
+the firm of Stephenson &amp; Mackenzie. If ever you're
+up in Greenock direction, and want to see how we do it,
+just ask for Donal Mackenzie, and they'll show you the
+place. (<i>Proudly.</i>) We're the sole makers of the
+Mackenzie piston, if ever you heard of it.</p>
+
+<p><span class="smcap">Daniel</span> (<i>uneasily</i>). I'm sorry to say I haven't.</p>
+
+<p><span class="smcap">Mackenzie.</span> And you call yourself an engineer and
+you don't know about Donal Mackenzie's patent
+reciprocating piston.</p>
+
+<p><span class="smcap">John</span> (<i>apologetically</i>). You see we be a bit out of the
+world here, Mr. Mackenzie.</p>
+
+<p><span class="smcap">Daniel.</span> Yes. Now that's one point. One great
+point that always tells against me. (<i>Getting courageous.</i>)
+It really needs a man to be continually visiting the great
+engineering centres&mdash;Greenock, London&mdash;</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>scornfully</i>). London's not an engineering
+centre&mdash;Glasgow, Hartlepool, Newcastle&mdash;&mdash;</p>
+
+<p><span class="smcap">Daniel.</span> Well, all those places. He could keep
+himself posted up in all the newest ideas then, and
+inventions.</p>
+
+<p><span class="smcap">Mackenzie.</span> But a man can keep himself to the fore
+if he reads the technical journals and follows their articles.
+What technical papers do you get? Do you ever get the
+Scottish Engineers' Monthly Handbook, price sixpence
+monthly? I'm the writer on the inventors' column.
+My articles are signed Fergus McLachlan. Perhaps
+you've read them?</p>
+
+<p><span class="smcap">Daniel.</span> I think&mdash;um&mdash;I'm not quite sure that I have.</p>
+
+<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p><p><span class="smcap">Mackenzie.</span> You remember one I wrote on the new
+compressed air drills last July?</p>
+
+<p><span class="smcap">Daniel</span> (<i>looking across at</i> <span class="smcap">John,</span> <i>who is standing with his
+back to the fireplace</i>). I don't think I do.</p>
+
+<p><span class="smcap">John.</span> No. We don't get them sort of papers. I
+did buy one or two like them for Daniel, but he told me
+he would just as soon have the <i>Whig</i>, for there was just
+as much information in it.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>laughing</i>). O spirit of Burns! Just as
+much information&mdash;well, so much for that. Now, about
+this new patent, this new fan bellows that I hear you're
+working at, Mr. Murray.</p>
+
+<p><span class="smcap">Daniel.</span> What about it?</p>
+
+<p><span class="smcap">Andy.</span> We both seen the drawings in there, Daniel,
+but I don't think either of us made much of it. Could
+you not explain it to him, Daniel. Give him an idea
+what you mean to do with it.</p>
+
+<p><span class="smcap">John.</span> Aye. Now's your chance, Daniel. You were
+talking of some difficulty or other. Maybe this gentleman
+could help you with it.</p>
+
+<p><span class="smcap">Daniel</span> (<i>shifting uneasily, and looking appealingly at</i>
+<span class="smcap">John</span>). Well. There's no great hurry. A little later
+on in the evening. (<i>He looks at</i> <span class="smcap">Sarah.</span>) I'm thinking
+about Miss McMinn. I don't think this conversation
+would be very interesting to her.</p>
+
+<p><span class="smcap">Sarah.</span> Oh, indeed now, Mr. Murray, I just love to
+know about it. A good fan bellows would be the great
+thing for yon fireplace of ours, Andy.</p>
+
+<p><span class="smcap">Andy.</span> Aye. Soul, it would that.</p>
+
+<p><span class="smcap">Daniel</span> (<i>uncomfortably</i>). No. Not just yet, John. A
+bit later on. I'm shy, John, you know. A bit backward
+before company.</p>
+
+<p><span class="smcap">John.</span> You're a man to talk about going to see people
+in London.</p>
+
+<p><span class="smcap">Sarah.</span> What? Was he going to London?</p>
+
+<p><span class="smcap">John.</span> Aye. He was talking about going to London,
+and I was half-minded to let him go.</p>
+
+<p><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span></p><p><span class="smcap">Andy</span> (<i>who exchanges meaning glances with</i> <span class="smcap">Sarah</span>).
+Boys, that would cost a wheen of pounds!</p>
+
+<p><span class="smcap">Mackenzie.</span> Who wull you go to see in London?</p>
+
+<p><span class="smcap">Daniel</span> (<i>evasively</i>). Oh&mdash;engineers and patent agents
+and people that would take an interest in that sort of thing.</p>
+
+<p><span class="smcap">Mackenzie.</span> Have you anyone to go to in particular?</p>
+
+<p><span class="smcap">Daniel.</span> Oh, yes.</p>
+
+<p><span class="smcap">Sarah.</span> It will cost a great deal of money, Daniel.
+Seven or eight pounds anyway. Won't it, Mr.
+Mackenzie?</p>
+
+<p><span class="smcap">Mackenzie.</span> It would, and more.</p>
+
+<p><span class="smcap">John</span> (<i>looking at</i> <span class="smcap">Sarah</span> <i>with evident admiration</i>). Man,
+that's a saving woman. She can count the pounds.
+(<i>Suddenly</i>). Daniel, away out and show Andy and Mr.
+Mackenzie the thresher, and get used to the company,
+and then you can come in and explain the thing to them.
+I want Sarah to stay here and help me to make the tea.
+That fool of a Mary is away again somewhere.</p>
+
+<p><span class="smcap">Andy</span> (<i>after a sly glance at</i> <span class="smcap">Sarah</span>). Aye. Come on,
+Daniel, and explain it to us. I hear there's a new kind
+of feedboard on her.</p>
+
+<p><span class="smcap">Mackenzie.</span> How is she driven, Mr. Murray?</p>
+
+<p><span class="smcap">Daniel</span> (<i>uncomfortably</i>). How is she what?</p>
+
+<p><span class="smcap">Mackenzie.</span> How is she worked&mdash;steam, horse, or
+water power, which?</p>
+
+<p><span class="smcap">John</span> (<i>motioning</i> <span class="smcap">Daniel</span> <i>to go, which the latter does
+very unwillingly</i>). Go on out and you can show them,
+Daniel. (<span class="smcap">Daniel,</span> <span class="smcap">Andy,</span> <i>and</i> <span class="smcap">Mackenzie</span> <i>go out through
+yard door.</i>) He's backward, you know, Sarah, oh, aye&mdash;backward;
+but a great head. A great head on him,
+Daniel.</p>
+
+<p><span class="smcap">Sarah.</span> I suppose he is clever in his way.</p>
+
+<p><span class="smcap">John</span> (<i>seating himself close beside her and talking with
+innocent enthusiasm</i>). Ah, boys, Sarah, I mind when he
+went to serve his time with McArthurs, of Ballygrainey,
+he was as clever a boy as come out of the ten townlands.
+And then he set up for himself, you know, and lost all,
+and then he come here. He's doing his best, poor<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span>
+creature, till pay me for what kindness I showed him,
+by trying to invent things that he says would maybe
+pay off, some time or other, all he owes to me.</p>
+
+<p><span class="smcap">Sarah</span> (<i>cynically</i>). Poor Daniel! And he lost all his
+money?</p>
+
+<p><span class="smcap">John.</span> Aye. Every ha'penny; and he took a hundred
+pounds off me as well. And now, poor soul, he hasn't a
+shilling, barring an odd pound or two I give him once
+or twice a month.</p>
+
+<p><span class="smcap">Sarah.</span> Well! Well! And he's been a long time this
+way?</p>
+
+<p><span class="smcap">John.</span> Aye. (<i>Reflectively.</i>) I suppose it's coming on
+now to twenty years.</p>
+
+<p><span class="smcap">Sarah.</span> It's a wonder he wouldn't make some shapes
+to try and get a situation somewhere.</p>
+
+<p><span class="smcap">John.</span> Ach, well, you know, when Annie, the wife,
+died and left Mary a wee bit of a wain, I was lonesome,
+and Daniel was always a right heartsome fellow, and I
+never asked him about going when he came here.</p>
+
+<p><span class="smcap">Sarah.</span> He must be rather an expense to you. Pocket
+money for tobacco, and whenever he goes out a night
+to McArn's, its a treat all round to who is in at the
+time. And his clothes and boots, and let alone that, his
+going to see people about patents and things up to
+Belfast three or four times in the year. If he was in a
+situation and doing for himself, you could save a bit of
+money.</p>
+
+<p><span class="smcap">John</span> (<i>pensively</i>). Aye. Heth and I never thought
+much of that, Sarah. I could right enough. I'll think
+over that now. (<i>He looks at her, and then begins in a
+bashful manner.</i>) You weren't at Ballyannis School
+f&ecirc;te, Sarah?</p>
+
+<p><span class="smcap">Sarah.</span> No. But I heard you were there. Why?</p>
+
+<p><span class="smcap">John</span> (<i>coming still closer</i>). I was expecting to see you.</p>
+
+<p><span class="smcap">Sarah</span> (<i>contemptuously</i>). I don't believe in young girls
+going to them things.</p>
+
+<p><span class="smcap">John</span> (<i>gazing at her in astonishment</i>). But God bless
+me, they wouldn't call you young! (<span class="smcap">Sarah</span> <i>turns up her<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+nose disgustedly.</i>) I missed you. Man, I was looking
+for you all roads.</p>
+
+<p><span class="smcap">Sarah.</span> I'm not a fool sort of young girl that you can
+just pass an idle hour or two with, John Murray, mind
+that.</p>
+
+<p><span class="smcap">John.</span> I never thought that of you, Sarah.</p>
+
+<p><span class="smcap">Sarah.</span> Some people think that.</p>
+
+<p><span class="smcap">John</span> (<i>astonished</i>). No.</p>
+
+<p><span class="smcap">Sarah.</span> They do. There's Andy just after warning
+me this morning about making a fool of myself.</p>
+
+<p><span class="smcap">John</span> (<i>puzzled</i>). But you never done that, Sarah.</p>
+
+<p><span class="smcap">Sarah.</span> Well, he was just after giving me advice about
+going round flirting with Tom, Dick and Harry.</p>
+
+<p><span class="smcap">John.</span> Ah no. You never done that. Sure I knowed
+you this years and years, and you never had a boy to my
+knowing.</p>
+
+<p><span class="smcap">Sarah</span> (<i>offended</i>). Well I had, plenty. Only I just
+wouldn't take them. I refused more than three offers
+in my time.</p>
+
+<p><span class="smcap">John</span> (<i>incredulously</i>). Well! Well! And you wouldn't
+have them!</p>
+
+<p><span class="smcap">Sarah.</span> No.</p>
+
+<p><span class="smcap">John.</span> Why now?</p>
+
+<p><span class="smcap">Sarah</span> (<i>looking at him meaningly</i>). Well&mdash;I liked
+somebody else better.</p>
+
+<p><span class="smcap">John</span> (<i>piqued</i>). Did he&mdash;the somebody&mdash;did he never
+ask you?</p>
+
+<p><span class="smcap">Sarah.</span> He might yet, maybe.</p>
+
+<p><span class="smcap">John</span> (<i>hopelessly to himself</i>). I wonder would it be any
+use then me asking her.</p>
+
+<p><span class="smcap">Sarah.</span> And I'm beginning to think he is a long time
+thinking about it. (<i>Knocking at the door.</i>)</p>
+
+<p><span class="smcap">John</span> (<i>angrily</i>). Ach! Who's that?</p>
+
+<p><span class="smcap">Brown</span> (<i>opening yard door and looking in</i>). Me, sir.
+Mr. Dan wants to know could you not come out a minute,
+and show the gentlemen what way you can stop the
+feedboard working.</p>
+
+<p><span class="smcap">John.</span> Don't you know yourself, you stupid headed<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span>
+lump you. Away back at once. (<span class="smcap">Brown</span> <i>hurriedly
+closes the door after an inquiring glance at the pair.</i>) That's
+them servant men for you. He knowed rightly what
+way it worked, only he was just curious. (<i>Savagely.</i>)
+He's a stupid creature, anyway.</p>
+
+<p><span class="smcap">Sarah.</span> I think all men is stupid. They never see
+things at all.</p>
+
+<p><span class="smcap">John.</span> Now, Sarah, sure women are just as bad. There's
+Mary. She's bright enough someways, but others&mdash;ach&mdash;&mdash;</p>
+
+<p><span class="smcap">Sarah.</span> Mary needs someone&mdash;a woman&mdash;to look
+after her. Somebody that knows how to manage a
+house and save money. She's lost running about here.
+Now, I had a young girl with me once was a wild
+useless thing when she came, and when she left me six
+months after, there wasn't a better trained, nor as meek
+a child in the whole country.</p>
+
+<p><span class="smcap">John.</span> And you can manage a house, Sarah, and well,
+too. Can't you?</p>
+
+<p><span class="smcap">Sarah.</span> I ran the house for Andy there twenty years
+and more, and I never once had to ask him for a pound.
+And what's more, I put some into the bank every quarter.</p>
+
+<p><span class="smcap">John.</span> Did you now? (<i>He looks at her in wondering
+admiration.</i>)</p>
+
+<p><span class="smcap">Sarah.</span> Yes. And I cleared five pounds on butter
+last half year.</p>
+
+<p><span class="smcap">John</span> (<i>with growing wonder</i>). Did you?</p>
+
+<p><span class="smcap">Sarah.</span> And made a profit of ten pounds on eggs
+alone this year already.</p>
+
+<p><span class="smcap">John</span> (<i>unable to contain himself any longer</i>). Sarah, will
+you marry me?</p>
+
+<p><span class="smcap">Sarah</span> (<i>coyly</i>). Oh, John, this is very sudden. (<i>Knocking
+at yard door.</i>) I will. I will. Will you tell them
+when they come in?</p>
+
+<p><span class="smcap">John</span> (<i>now that the ordeal has been passed, feeling somewhat
+uncomfortable</i>). Well, I would rather you waited a
+few days, and then we could let them know, canny, don't
+you know, Sarah. Break the news soft, so to speak. Eh?</p>
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p><p><span class="smcap">Sarah</span> (<i>disappointedly</i>). Well, if you want it particular
+that way I&mdash;(<i>knocking</i>).</p>
+
+<p><span class="smcap">John</span> (<i>going to door</i>). Aye, I'd rather you did. (<i>He
+goes to the door and opens it and</i> <span class="smcap">Mary</span> <i>comes in.</i>)</p>
+
+<p><span class="smcap">Mary.</span> I peeped through the window and I thought,
+perhaps, it would be better to knock first. It's a nice
+evening Miss McMinn. (<i>She takes off her hat and flings
+it carelessly on a chair.</i>) Where's Uncle Dan? I want
+to see him.</p>
+
+<p><span class="smcap">John.</span> He'll be in soon enough. He's out showing
+Andy and Mackenzie the thresher.</p>
+
+<p><span class="smcap">Mary</span> (<i>laughing</i>). Uncle Dan! What does he know
+about&mdash;&mdash;(<i>she stops short, remembering that</i> <span class="smcap">Sarah</span> <i>is
+present.</i>) Mr. Mackenzie?</p>
+
+<p><span class="smcap">Sarah.</span> Yes. He's a gentleman, a friend of ours,
+engaged in the engineering business, who has a large place
+of his own in Scotland, and we brought him over here
+to see your Uncle Dan about the invention he's
+working at.</p>
+
+<p><span class="smcap">John.</span> You stop here, Mary, with Sarah, and get the
+tea ready. You should have been in the house when
+company was coming. Where were you?</p>
+
+<p><span class="smcap">Mary.</span> Oh, just down the loaning.</p>
+
+<p><span class="smcap">John.</span> Who with?</p>
+
+<p><span class="smcap">Mary.</span> Alick McCready.</p>
+
+<p><span class="smcap">John</span> (<i>sternly</i>). Aye. You're gay fond of tralloping
+about with the boys.</p>
+
+<p><span class="smcap">Sarah.</span> He's not just the sort of young man I would
+like to see in your company, Mary.</p>
+
+<p><span class="smcap">Mary</span> (<i>impertinently</i>). It's none of your business
+whose company I was in.</p>
+
+<p><span class="smcap">John</span> (<i>disapprovingly</i>). Now, Mary, remember your
+manners in front of your elders, and mind you must
+always show Miss McMinn particular respect. (<i>Impressively</i>).
+Particular respect. (<i>Going towards yard
+door.</i>) And you can show Sarah what you have in the
+house, and do what she bids you. Them's my orders.
+(<i>He goes out.</i>)</p>
+
+<p><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p><p><span class="smcap">Sarah</span> (<i>looking disapprovingly at</i> <span class="smcap">Mary</span>). I wonder a
+girl like you has no more sense than to go gallivanting
+about at this time of day with boys, making talk for the
+whole country side.</p>
+
+<p><span class="smcap">Mary</span> (<i>sharply</i>). I don't have to run after them to other
+people's houses anyway.</p>
+
+<p><span class="smcap">Sarah.</span> And that is no way to be leaving down your hat.
+(<i>She picks it up and looks at it.</i>) Is that your Sunday one?</p>
+
+<p><span class="smcap">Mary</span> (<i>snatching it out of her hand</i>). Just find out for
+yourself.</p>
+
+<p><span class="smcap">Sarah.</span> Now, you should take and put it away carefully.
+There's no need to waste money that way, wearing things
+out.</p>
+
+<p><span class="smcap">Mary</span> (<i>with rising temper</i>). Do you know it's <i>my</i> hat?
+Not yours. And I can do what I like with it. (<i>She
+throws it down and stamps on it.</i>) I can tramp on it if I
+want to.</p>
+
+<p><span class="smcap">Sarah</span> (<i>smiling grimly</i>). Oh, well, tramp away. It's
+no wonder your father complained of waste and this sort
+of conduct going on.</p>
+
+<p>(<span class="smcap">Kate</span> <i>comes in through door from rooms.</i>)</p>
+
+<p><span class="smcap">Mary.</span> Have you got the tea things ready, Kate?</p>
+
+<p><span class="smcap">Kate.</span> Yes, Miss.</p>
+
+<p><span class="smcap">Mary.</span> I suppose we better wet the tea.</p>
+
+<p><span class="smcap">Sarah</span> (<i>looking at the fire</i>). Have you the kettle on?</p>
+
+<p><span class="smcap">Mary.</span> Can't you see for yourself it's not on.</p>
+
+<p><span class="smcap">Sarah.</span> Here, girl (<i>to</i> <span class="smcap">Kate</span>), fill the kettle and put it
+on. (<span class="smcap">Kate</span> <i>looks at</i> <span class="smcap">Mary,</span> <i>and with a shrug of her shoulders,
+obeys the orders.</i>) Where's the tea till I show you how
+to measure?</p>
+
+<p><span class="smcap">Mary</span> (<i>in a mocking voice</i>). Kate, get Miss McMinn
+the tea cannister till she shows you how to measure.
+(<span class="smcap">Kate</span> <i>goes to the dresser and brings the teapot and
+cannister over to</i> <span class="smcap">Sarah</span> <i>at the table.</i>)</p>
+
+<p><span class="smcap">Sarah.</span> But it's <i>you</i> I want to show. (<span class="smcap">Mary</span> <i>pays
+no attention, but sits down idly drumming her fingers on the
+table.</i>) There now&mdash;pay particular attention to this.
+(<i>She takes the cannister from</i> <span class="smcap">Kate,</span> <i>opens it and ladles out<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+the tea with a spoon into the teapot.</i>) One spoonful for
+your father and uncle, one for my brother and Mr.
+Mackenzie, one for yourself and me, and half-a-one
+for Kate.</p>
+
+<p><span class="smcap">Mary.</span> Do you see that, Kate?</p>
+
+<p><span class="smcap">Kate.</span> Yes, Miss.</p>
+
+<p><span class="smcap">Mary</span> (<i>mockingly</i>). Now the next thing, I suppose,
+is to weigh out the sugar.</p>
+
+<p><span class="smcap">Sarah.</span> No. You always ask the company first do
+they take sugar before you pour out the tea.</p>
+
+<p><span class="smcap">Mary.</span> No; not in good society. You put it on the
+saucers.</p>
+
+<p><span class="smcap">Sarah.</span> Put some in the bowl, Kate, and never heed her.</p>
+
+<p><span class="smcap">Mary</span> (<i>almost tearfully</i>). You've no business to say
+that, Kate! Who's your mistress here?</p>
+
+<p><span class="smcap">Kate</span> (<i>very promptly</i>). You, Miss.</p>
+
+<p><span class="smcap">Mary.</span> Then do what I tell you. Put on the tablecloth,
+and lay the cups and saucers, and make everything
+ready, and take no orders except from me.</p>
+
+<p><span class="smcap">Sarah.</span> Very well. I'll learn her manners when I
+come to this house. (<i>To</i> <span class="smcap">Mary</span>) I want to see the china.</p>
+
+<p><span class="smcap">Mary.</span> Well, go into the next room and look for it.</p>
+
+<p><span class="smcap">Sarah</span> (<i>going towards door to rooms</i>). You better mind
+what your father told you. (<i>She goes in.</i>)</p>
+
+<p><span class="smcap">Mary</span> (<i>making a face after her</i>). You nasty old thing.
+(<span class="smcap">Daniel</span> <i>appears at the door from yard. He is nervous and
+worried looking. He goes and sits down near the fireplace,
+wearily.</i>) Uncle Dan. (<i>She goes over close beside
+him.</i>) Wasn't it good of Alick? He went away to Ballyannis
+Post Office to get that telegram sent.</p>
+
+<p><span class="smcap">Daniel.</span> A very decent fellow, Alick. (<i>Gratefully.</i>)
+Very obliging.</p>
+
+<p><span class="smcap">Mary</span> (<i>confidingly</i>). Do you know, uncle, when he
+went off to send that telegram I was nearly calling him
+back. I don't care so very much now whether I see that
+boy you were telling me about or not. Is he&mdash;do you
+think, uncle&mdash;is he much nicer than Alick?</p>
+
+<p><span class="smcap">Daniel.</span> Nicer? (<i>He looks at his niece, and then<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+begins to divine the way her feelings lie.</i>) Well, of course
+we have all our opinions on these things you know,
+Mary, but Alick&mdash;well, after all there's many a worse
+fellow than Alick, isn't there? (<span class="smcap">Mary</span> <i>does not answer,
+but puts her head close to her uncle.</i>) Ah, yes.</p>
+
+<p><span class="smcap">Mary</span> (<i>suddenly</i>). Uncle! Do you know what has
+happened? I heard father proposing to Miss McMinn!</p>
+
+<p><span class="smcap">Daniel</span> (<i>groaning</i>). Oh my! I knew it would happen!
+I knew it would happen! When? Where?</p>
+
+<p><span class="smcap">Mary.</span> In here. I wanted to slip in quietly after
+leaving Alick down the loaning when I overheard the
+voices. It was father and Miss McMinn. She was
+telling him how she had saved five pounds on butter last
+half year, and ten pounds on eggs this year, and then
+father asked her to marry him. I knocked at the door
+out of divilment, and she just pitched herself at him.
+I&mdash;I'm not going to stay in the house with that woman.
+I'd sooner marry Alick McCready.</p>
+
+<p><span class="smcap">Daniel</span> (<i>despairingly</i>). I would myself. I daren't&mdash;I
+couldn't face the look of that woman in the
+mornings.</p>
+
+<p><span class="smcap">Mary.</span> It's all right for you to talk, uncle. You'll
+be working away at your inventions, and that sort of thing,
+and will have nothing much to do with her, but I'd be
+under her thumb all the time. And I hate her, and I
+know she hates me. (<i>Tearfully.</i>) And then the way
+father talks about her being such a fine housekeeper,
+and about the waste that goes on in this house, it nearly
+makes me cry, just because I have been a bit careless
+maybe. But I could manage a house every bit as well
+as she could, and I'd show father that if I only got another
+chance. Couldn't I uncle?</p>
+
+<p><span class="smcap">Daniel</span> (<i>soothingly</i>). And far better, Mary. Far
+better.</p>
+
+<p><span class="smcap">Mary.</span> And you could do far more at your invention
+if you only got a chance. Couldn't you, uncle?</p>
+
+<p><span class="smcap">Daniel.</span> No doubt about it, Mary. None. I never
+got much of a chance here.</p>
+
+<p><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span></p><p><span class="smcap">Mary.</span> I wonder could we both try to get another
+chance. (<i>Suddenly, with animation.</i>) Uncle!</p>
+
+<p><span class="smcap">Daniel.</span> Well?</p>
+
+<p><span class="smcap">Mary.</span> Aren't you going to explain that fan bellows
+thing you've been working at to them when they come in?
+(<span class="smcap">Daniel</span> <i>nods sadly.</i>) Well, look. That Scotchman&mdash;he
+understands things like that, and that's just the reason
+why that nasty woman brought him over. Just to trip
+you and show you up, and she thinks she'll make father
+see through you. But just you rise to the occasion and
+astonish them. Eh, uncle?</p>
+
+<p><span class="smcap">Daniel</span> (<i>uneasily</i>). Um&mdash;well, I don't know. That
+Scotchman's rather a dense sort of fellow. Very hard to
+get on with somehow.</p>
+
+<p><span class="smcap">Mary.</span> Now, Uncle Dan, it's our last chance. Let us
+beat that woman somehow or other.</p>
+
+<p><span class="smcap">Daniel.</span> It's all very well, Mary, to talk that way.
+(<i>Suddenly.</i>) I wonder is there a book on machinery in
+the house?</p>
+
+<p><span class="smcap">Mary.</span> Machinery? Let me think. Yes, I do believe
+<span class="smcap">Kate</span> was reading some book yesterday about things,
+and there was something about machinery in it.</p>
+
+<p><span class="smcap">Daniel.</span> For Heaven's sake, Mary, get it.</p>
+
+<p><span class="smcap">Mary</span> (<i>calling</i>). Kate! Are you there, Kate? (<span class="smcap">Kate</span>
+<i>comes in from inner rooms.</i>) Where's that book you were
+reading last night, Kate?</p>
+
+<p><span class="smcap">Kate</span> (<i>surprised</i>). For dear's sake, Miss! Yon dirty
+old thing? The one with the big talk between the
+old fellow and the son about everything in the world
+you could think of?</p>
+
+<p><span class="smcap">Mary.</span> Yes, yes. Uncle Dan wants it. (<span class="smcap">Kate</span> <i>fetches
+a tattered volume from the dresser and hands it to</i> <span class="smcap">Daniel.</span>
+<span class="smcap">Daniel</span> <i>opens it, and reads while the two girls peer over his
+shoulder.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>reading slowly</i>). "The Child's Educator. A
+series of conversations between Charles and his father
+regarding the natural philosophy, as revealed to us, by
+the Very Reverend Ezekiel Johnston."</p>
+
+<p><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span></p><p><span class="smcap">Kate.</span> (<i>much interested</i>). Aye. Just go on till you see
+Mr. Dan. Its the queerest conversation between an
+old lad and his son ever you heard tell of.</p>
+
+<p><span class="smcap">Daniel</span> (<i>reading</i>). Ah! "The simple forms of machines.
+The lever, the wedge, the inclined plane&mdash;Father&mdash;and
+here we come to further consider the application of this
+principle, my dear Charles, to what is known as the
+differential wheel and axle. Um Charles&mdash;Father&mdash;Charles.
+Father." (<i>He looks up despairingly at</i> <span class="smcap">Mary.</span>)
+No good, my dear. Out of date. (<i>He, however, resumes
+reading the book carefully.</i>)</p>
+
+<p><span class="smcap">Kate</span> (<i>nudging</i> <span class="smcap">Mary,</span> <i>and pointing to door into rooms</i>).
+She's going into all the cupboards and drawers, and looking
+at everything. (<i>She turns to go back and opens the
+door to pass through.</i>) I never seen such a woman.</p>
+
+<p><span class="smcap">Mary</span> (<i>raising her voice so as to let</i> <span class="smcap">Sarah</span> <i>hear her</i>).
+Just keep an eye on her, Kate, and see she doesn't take
+anything.</p>
+
+<p><span class="smcap">Daniel.</span> I might get something out of this. Atmosphere.
+Pressure.</p>
+
+<p><span class="smcap">Mary.</span> Uncle Dan. (<i>He pays no attention, but is
+absorbed in the book</i>). Uncle Dan, I'm going down the
+loaning a pace. Alick said he might be back, and I
+think&mdash;(<i>she sees he is not listening, and slips back to look
+over his shoulder.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>reading</i>). Charles. And now my dear father,
+after discussing in such clear and lucid terms the use of
+the barometer, and how it is constructed, could you tell
+me or explain the meaning of the word "pneumatic."</p>
+
+<p><span class="smcap">Mary</span> (<i>going towards yard door</i>). Good luck, Uncle
+Danny. I'm away. (<i>She goes out.</i>)</p>
+
+<p><span class="smcap">Daniel</span>. There's not much here about bellows.
+(<i>Hopelessly.</i>) I wish I had made up this subject a little
+better. (<span class="smcap">Kate</span> <i>comes in evidently much perturbed and
+angry.</i>)</p>
+
+<p><span class="smcap">Kate.</span> The divil take her and them remarks of hers.
+Who gave her the right to go searching that way, I
+wonder? Where's the silver kept, and was it locked,<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+and how many spoons was there, and why weren't they
+better polished; and part of the china broke.</p>
+
+<p><span class="smcap">Sarah</span> (<i>coming to door and speaking. As soon as</i> <span class="smcap">Daniel</span>
+<i>hears her voice he hurriedly retreats across to the workshop.</i>)
+Where do you keep the knives and forks?</p>
+
+<p><span class="smcap">Kate.</span> You don't want forks for the tea.</p>
+
+<p><span class="smcap">Sarah.</span> I want to count them.</p>
+
+<p>Kate (<i>in amazement</i>). Oh, God save us! You'd think
+there was a pross on the house! (<i>She follows</i> <span class="smcap">Sarah</span> <i>in
+through door</i> <span class="smcap">Mackenzie</span> <i>comes in, followed by</i> <span class="smcap">John,</span>
+<i>then</i> <span class="smcap">Andy.</span>)</p>
+
+<p><span class="smcap">Mackenzie.</span> And it was a great idea, you know. The
+steam passed through the condenser, and the exhaust
+was never open to the atmosphere.</p>
+
+<p><span class="smcap">John</span> (<i>evidently much impressed, and repeating the
+word in a wondering manner</i>) Aye. The exhaust!</p>
+
+<p><span class="smcap">Mackenzie.</span> Aye. The exhaust. But now I'm verra
+anxious to hear your brother explaining what he's made
+out about the bellows. Its the small things like that
+you ken that a man makes a fortune of, not the big ones.</p>
+
+<p><span class="smcap">John</span> (<i>impressed</i>). Do you think that now?</p>
+
+<p><span class="smcap">Mackenzie.</span> You know I take a particular interest
+in bellows myself. I tried my hand a good while working
+out a new kind of bellows, and I flatter myself that I
+know something about the subject.</p>
+
+<p><span class="smcap">John.</span> Aye. (<i>Looking round.</i>) Where's Daniel?
+Daniel! Are you there, Daniel? (<span class="smcap">Daniel</span> <i>comes out and
+stands near the door.</i>) You could maybe bring them plans
+out you're working at and explain it to them now, Daniel.
+Eh? And wait, Sarah wants to hear it too. (<i>Calling.</i>)
+Are you there, Sarah?</p>
+
+<p><span class="smcap">Daniel</span> (<i>seating himself sadly</i>). Aye. She's in there
+somewhere taking stock.</p>
+
+<p><span class="smcap">John</span> (<i>going next door to rooms</i>). Are you there, dear?
+(<span class="smcap">Sarah</span> <i>comes out.</i>) Daniel's going to explain the thing
+to us, and you wanted to hear about it. Didn't you?</p>
+
+<p><span class="smcap">Sarah.</span> I'm just dying to know all about it. (<i>She
+seats herself to the right at back.</i> <span class="smcap">Andy</span> <i>sits on one side<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+of the table and</i> <span class="smcap">Mackenzie</span> <i>at the other, expectantly, while</i>
+<span class="smcap">John</span> <i>goes over to the fireplace almost opposite his brother.</i>)
+You know, Mr. Daniel, that's one thing we want very
+bad in our house&mdash;a good fan bellows.</p>
+
+<p><span class="smcap">Daniel.</span> They are very useful, very.</p>
+
+<p><span class="smcap">John.</span> Aye. They are that. (<i>To</i> <span class="smcap">Sarah</span>). He has
+a good head on him, Daniel. Eh? (<i>To</i> <span class="smcap">Daniel.</span>) Now
+go on and make it very plain so that every one can follow
+you. Bring out the plans and show us.</p>
+
+<p><span class="smcap">Daniel</span> (<i>uneasily</i>.) I can explain it better without them.
+(<i>After a pause.</i>) Well, I suppose this subject of bellows
+would come under the heading of pneumatics in
+natural philosophy.</p>
+
+<p><span class="smcap">John.</span> Oh, now, don't be going off that way. Could
+you not make it plainer nor that?</p>
+
+<p><span class="smcap">Daniel</span> (<i>appealingly</i>). Well. Could I be much plainer,
+Mr. Mackenzie?</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>cynically</i>). I'm here to discuss fan bellows,
+not pneumatics.</p>
+
+<p><span class="smcap">Daniel</span> (<i>sotto voce</i>). D&mdash;&mdash;n him. (<i>He pulls himself
+together.</i>) Well. Then I suppose the first thing is&mdash;well&mdash;to
+know what is a bellows.</p>
+
+<p><span class="smcap">Andy.</span> Aye. Man, Daniel, you start off just the same
+as the clergy. That's the way they always goes on
+expounding things to you.</p>
+
+<p><span class="smcap">Sarah</span> (<i>severely</i>). Don't be interrupting, Andy.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>sneeringly</i>). Well, I think everyone here
+knows what a bellows is.</p>
+
+<p><span class="smcap">Daniel.</span> Everyone here? Do you, John?</p>
+
+<p><span class="smcap">John.</span> Aye. I would like, Daniel, to hear right what
+a bellows is. I mean I can see the thing blowing up a
+fire when you use it, any man could see that&mdash;but its
+the workings of it. What's the arrangements and
+internal works of the bellows now, Daniel?</p>
+
+<p><span class="smcap">Daniel.</span> Well, you push the handles together in an
+ordinary bellows and&mdash;and the air&mdash;blows out. (<i>Seeing
+that this statement is received coldly.</i>) Now, why does
+it blow out?</p>
+
+<p><span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span></p><p><span class="smcap">John</span> (<i>disappointedly</i>). Because it's pushed out of course.
+There's no sense in asking that sort of a question.</p>
+
+<p><span class="smcap">Daniel.</span> Well, there's a flap on the bellows&mdash;a thing
+that moves up and down. Well, that flap has all to do
+with pushing the air.</p>
+
+<p><span class="smcap">John.</span> Maybe this scientifican business is uninteresting
+to you, Sarah, is it?</p>
+
+<p><span class="smcap">Daniel</span> (<i>brightening up at the suggestion</i>). I'm sure
+it is. Perhaps we better stop.</p>
+
+<p><span class="smcap">Sarah</span> (<i>smiling grimly</i>). Oh, not at all. I want to hear
+more.</p>
+
+<p><span class="smcap">Mackenzie.</span> You're wasting a lot of my time, Mr.
+Murray. I came here to hear about a fan bellows.</p>
+
+<p><span class="smcap">Daniel</span> (<i>confusedly</i>). Oh, yes. Yes. Certainly. Fan
+bellows. There's a difference between a fan bellows
+and an ordinary bellows.</p>
+
+<p><span class="smcap">Mary</span> (<i>opening door from yard and coming in</i>). Oh,
+Uncle Dan, are you explaining it to them. Did I miss
+much of it?</p>
+
+<p><span class="smcap">Mackenzie.</span> I don't think it matters much what time
+you come in during this.</p>
+
+<p><span class="smcap">John</span> (<i>impatiently</i>). Go on, Daniel.</p>
+
+<p><span class="smcap">Daniel.</span> It's very hard for me to go on with these
+constant interruptions. Well, I was just saying there
+was a difference between a fan bellows and an ordinary
+bellows.</p>
+
+<p><span class="smcap">Mackenzie.</span> Now, what is a fan bellows yourself, Mr.
+Murray?</p>
+
+<p><span class="smcap">Daniel</span> (<i>hopelessly</i>). A fan bellows? Ah. Why now
+is it called a fan bellows?</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>roughly</i>). Don't be asking me my own
+questions.</p>
+
+<p><span class="smcap">Daniel</span> (<i>with a despairing effort</i>). Well, now we will
+take it for granted it is because there must be something
+of the nature of a fan about a fan bellows. It is because
+there are fans inside the casing. And the handle being
+turned causes these&mdash;eh&mdash;fans to turn round too. And
+then the air comes out with a rush.</p>
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p><p><span class="smcap">John.</span> Aye. It must be the fans that pushes it out.</p>
+
+<p><span class="smcap">Daniel.</span> Exactly. Well, now, the difficulty we find
+here is&mdash;(<i>he pauses</i>).</p>
+
+<p><span class="smcap">Andy.</span> Aye.</p>
+
+<p><span class="smcap">John.</span> Go on, Daniel.</p>
+
+<p><span class="smcap">Daniel.</span> You want a constant draught blowing. That's
+number one. Then&mdash;well&mdash;the other. You see, if
+we took some of these fans.</p>
+
+<p><span class="smcap">Mackenzie.</span> Yes.</p>
+
+<p><span class="smcap">Daniel</span> (<i>in a floundering way</i>). And put them in a
+tight-fitting case, and put more of them inside, and
+understood exactly what their size was, we could arrange
+for the way that&mdash;</p>
+
+<p><span class="smcap">John</span> (<i>in a puzzled way to</i> <span class="smcap">Sarah</span>). I can only follow
+Daniel a short way too. (<i>Repeating slowly.</i>) Put them
+in a tight-fitting case&mdash;</p>
+
+<p><span class="smcap">Brown</span> (<i>appearing at yard door with a telegram in his
+hand, and speaking with suppressed excitement</i>). A telegram
+for Mr. Daniel.</p>
+
+<p><span class="smcap">Daniel</span> (<i>with a gasp of relief</i>). Ah! (<i>He tears it open
+and proudly reads it out aloud.</i>) "Come to London at
+once to explain patent. Want to purchase. Gregg."</p>
+
+<p>(<span class="smcap">Brown</span> <i>goes out again.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> Who? Gregg?</p>
+
+<p><span class="smcap">Daniel.</span> I suppose I better go, John?</p>
+
+<p><span class="smcap">John.</span> Let's see the telegram. (<i>He goes over to</i> <span class="smcap">Daniel,</span>
+<i>who hands it to him.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> If you go to London, it'll take you to
+explain yourself a bit better, Mr. Murray.</p>
+
+<p><span class="smcap">John</span> (<i>who has resumed his place at the fire, and is looking
+carefully at the telegram</i>). That will mean how many
+pounds, Daniel, did you say?</p>
+
+<p><span class="smcap">Daniel</span> (<i>promptly</i>). Fifteen, John. (<span class="smcap">Mary</span> <i>goes out
+by door to rooms.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> Who is Gregg?</p>
+
+<p><span class="smcap">Daniel.</span> Gregg? Ah. He's a man lives in London.
+Engineer.</p>
+
+<p><span class="smcap">John</span> (<i>dubiously</i>). Well, I suppose you&mdash;(<i>he pauses,<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+then hands the telegram to</i> <span class="smcap">Sarah</span>, <i>who stretches out her hand
+for it.</i>)</p>
+
+<p><span class="smcap">Mary</span> (<i>at door</i>). Tea's ready. (<i>She stands aside to
+let the company past.</i>)</p>
+
+<p><span class="smcap">Sarah.</span> We didn't hear all about the bellows.</p>
+
+<p><span class="smcap">Andy</span> (<i>contemptuously</i>). No, nor you never will. (<i>He
+rises and goes through the door.</i>)</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>rising and stretching himself wearily</i>).
+Any more, Mr. Murray?</p>
+
+<p><span class="smcap">Daniel.</span> I refuse to discuss the matter any further
+in public. (<i>He goes off across to tea.</i>)</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>going over to John and looking at him
+knowingly</i>). Do you know what it is, Mr. Murray? Your
+brother's nothing short of an impostor.</p>
+
+<p><span class="smcap">John</span> (<i>much offended</i>). Don't dare to say that of a
+Murray.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>shrugging his shoulders</i>). Well, I'm going
+for some tea. (<i>Exit.</i>)</p>
+
+<p><span class="smcap">Sarah.</span> John, I've something to say to you again about
+Daniel, but the company's waiting. (<i>She goes out to
+the tea room.</i>)</p>
+
+<p><span class="smcap">John</span> (<i>sitting down moodily</i>). Aye.</p>
+
+<p><span class="smcap">Mary.</span> Are you not coming, father?</p>
+
+<p><span class="smcap">John.</span> Aye.</p>
+
+<p><span class="smcap">Mary.</span> Father! Surely you aren't going to marry that
+woman?</p>
+
+<p><span class="smcap">John.</span> Don't talk of Sarah that ways. I am!</p>
+
+<p><span class="smcap">Mary.</span> Well, if you are, I'm going to say yes to Alick
+McCready. I don't want to yet awhile, but I'm not going
+to stay on here if that nasty woman comes. (<i>She kneels
+close beside her father and puts her arms round his neck.</i>)
+Oh, father, if you only give me another chance, I could
+show you I could keep house every bit as well as that
+woman. (<span class="smcap">Daniel</span> <i>appears at the door. He slips across
+to the workshop unobserved.</i>) Give me another chance,
+father. Don't marry her at all. Let me stay with you&mdash;won't
+you?</p>
+
+<p><span class="smcap">John.</span> You're too late. She's trothed to me now.</p>
+
+<p><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p><p><span class="smcap">Mary.</span> Pooh. I'd think nothing of that. (<span class="smcap">Daniel</span>
+<i>comes out of the workshop with a bag.</i>) Uncle Dan!
+What's the matter?</p>
+
+<p><span class="smcap">Daniel.</span> Mary, I can't eat and sit beside that Scotchman.
+(<i>He notices</i> <span class="smcap">John</span> <i>is absorbed in deep thought, and
+motions</i> <span class="smcap">Mary</span> <i>to slip out. She does so, and he looks
+observingly at</i> <span class="smcap">John,</span> <i>and then goes to the table, and makes
+a noise with the bag on the table.</i> <span class="smcap">John</span> <i>watches him a
+moment or two in amazed silence.</i>)</p>
+
+<p><span class="smcap">John.</span> What are you doing, Daniel?</p>
+
+<p><span class="smcap">Daniel.</span> Just making a few preparations.</p>
+
+<p><span class="smcap">John.</span> Ah, but look here. I haven't settled about
+London yet, Daniel.</p>
+
+<p><span class="smcap">Daniel.</span> Oh, London, John. (<i>Deprecatingly.</i>) Let
+that pass. I won't worry you about that. (<i>Broken
+heartedly.</i>) I'm leaving your house, John.</p>
+
+<p><span class="smcap">John</span> (<i>astonished</i>). What?</p>
+
+<p><span class="smcap">Daniel.</span> You've been kind, John. Very kind. We
+always pulled well together, and never had much cross
+words with one another, but&mdash;well, circumstances are
+altered now.</p>
+
+<p><span class="smcap">John.</span> You mean because I'm going to marry Sarah.</p>
+
+<p><span class="smcap">Daniel.</span> Exactly. That puts an end to our long and
+pleasant sojourn here together. I'll have to go.</p>
+
+<p><span class="smcap">John</span> (<i>affected</i>). Oh easy, Daniel. Ah, now, Sarah
+always liked you. She thinks a deal of you, and I'm sure
+she'd miss you out of the house as much as myself.</p>
+
+<p><span class="smcap">Daniel.</span> John, I know better. She wants me out of
+this, and I would only be a source of unhappiness. I
+wouldn't like to cause you sorrow. She doesn't believe
+in me. She brought that Scotchman over to try and
+show me up. You all think he did. You think I mugged
+the thing. You don't believe in me now yourself. (<i>He
+puts a few articles of clothing, &amp;c., into the bag.</i>)</p>
+
+<p><span class="smcap">John</span> (<i>awkwardly</i>). Aye. Well&mdash;to tell you the truth,
+Daniel, you did not make much of a hand at explaining,
+you&mdash;&mdash;</p>
+
+<p><span class="smcap">Daniel</span> (<i>pathetically</i>). I thought so. Look here.<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>
+One word. (<i>He draws</i> <span class="smcap">John</span> <i>aside.</i>) Do you think
+Mackenzie invented that patent reciprocating piston
+that he's so proud of?</p>
+
+<p><span class="smcap">John</span> (<i>looking at him in amazement</i>). What?</p>
+
+<p><span class="smcap">Daniel</span> (<i>impressively</i>). Well. I know something about
+that. He stole it off another man, and took all the
+profits. I knew that. Do you think I'm going to give
+away the product of my brains explaining it to a man
+like that! No fear, John. (<i>He turns again to the bag.</i>)
+I'm taking details of my bellows, and my coat, and a
+few socks, and the pound you gave me yesterday, and
+I'm going to face the world alone.</p>
+
+<p><span class="smcap">John</span> (<i>moved</i>). No, no. You'll not leave me, Daniel.
+Ah, no. I never meant that.</p>
+
+<p><span class="smcap">Daniel.</span> If she's coming here I'll have to go, and may
+as well now.</p>
+
+<p><span class="smcap">Sarah</span> (<i>without</i>). John Murray!</p>
+
+<p><span class="smcap">Daniel</span> (<i>retreating slowly to the workshop</i>). I'm going
+to get that other coat you gave me. It's better than this
+one for seeing people in. (<i>He goes into workshop as</i>
+<span class="smcap">Sarah</span> <i>comes out into the kitchen. She is evidently displeased.</i>)</p>
+
+<p><span class="smcap">Sarah.</span> Hurry up, John. The company's waiting on
+you, and I don't know what's keeping you. Unless it
+was that brother of yours, more shame to him.</p>
+
+<p><span class="smcap">John.</span> Aye. Daniel kept me. (<i>Looking at her.</i>) He's
+talking of leaving. You wouldn't have that, Sarah,
+would you?</p>
+
+<p><span class="smcap">Sarah</span> (<i>sharply</i>). Leaving, is he? And a right good
+riddance say I. What has he done but ate up all your
+substance.</p>
+
+<p><span class="smcap">John</span> (<i>astonished</i>). You wouldn't put him out, Sarah?</p>
+
+<p><span class="smcap">Sarah</span> (<i>snappishly</i>). I just wouldn't have him about
+the place. An idle, good for nothing, useless, old pull
+a cork.</p>
+
+<p><span class="smcap">John.</span> Do you not like him, Sarah? (<i>Somewhat
+disapprovingly.</i>) You told me you thought a good deal
+of him before.</p>
+
+<p><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p><p><span class="smcap">Sarah.</span> Aye. Until I seen through him. Him and
+his letters and telegrams. Just look at that. (<i>She shows
+him the telegram.</i>) It comes from Ballyannis.</p>
+
+<p><span class="smcap">John</span> (<i>scratching his head in puzzled wonder</i>). I don't
+understand that.</p>
+
+<p><span class="smcap">Sarah.</span> He just put up some one to send it. Young
+McCready or someone. You couldn't watch a man like
+that. No. If I come here, out he goes. You expects
+me to come and save you money and the like of that old
+bauchle eating up the profits. (<i>She goes towards the door
+into tea room.</i>) Come into your tea at once. (<i>Exit.</i>)</p>
+
+<p><span class="smcap">John.</span> By me sang he was right. (<span class="smcap">Daniel</span> <i>comes out
+and starts brushing his coat loudly to attract</i> <span class="smcap">John's</span> <i>attention,
+and then goes across towards him and holds out his hand.</i>)</p>
+
+<p><span class="smcap">Daniel.</span> I'll say good-bye, John. Maybe I'll never
+see you again. (<i>He appears much affected.</i>)</p>
+
+<p><span class="smcap">John</span> (<i>touched</i>). Ach. Take your time. I don't see
+the sense of this hurrying. Stop a week or two, man.
+I'll be lonesome without you. We had many a good
+crack in the evenings, Daniel.</p>
+
+<p><span class="smcap">Daniel.</span> We had, John. And I suppose now that
+you'll be married I'll have to go, but many a time I'll be
+sitting lonely and thinking of them.</p>
+
+<p><span class="smcap">John.</span> Aye. You were always the best of company,
+and heartsome. You were, Daniel.</p>
+
+<p><span class="smcap">Daniel.</span> Well, I did my best, John, to keep&mdash;(<i>he half
+breaks down</i>)&mdash;to keep up a good heart.</p>
+
+<p><span class="smcap">John.</span> You did. I wouldn't like to lose you, Daniel.
+(<i>He looks at the telegram in his hand.</i>) But Daniel. This
+telegram. It comes from Ballyannis.</p>
+
+<p><span class="smcap">Daniel</span> (<i>taken aback, but recovering his self possession.</i>)
+Ballyannis? Ballyannis? Ah, of course. Sure Gregg,
+that London man, he was to go through Ballyannis
+to-day. He's on a visit, you know, somewhere this way.
+It's him I'm going to look for now.</p>
+
+<p><span class="smcap">John.</span> Was that the way of it? (<i>With rising anger at
+the thought of the way in which his brother has been treated.</i>)
+And she was for making you out an impostor and for<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+putting you out. I didn't like them talking of a Murray
+the way they done.</p>
+
+<p><span class="smcap">Daniel</span> (<i>with sudden hope</i>). Are you engaged to that
+McMinn woman, John?</p>
+
+<p><span class="smcap">John.</span> Aye. I spoke the word the day.</p>
+
+<p><span class="smcap">Daniel.</span> Was there anybody there when you asked her?</p>
+
+<p><span class="smcap">John.</span> There was no one.</p>
+
+<p><span class="smcap">Daniel.</span> Did you write her letters?</p>
+
+<p><span class="smcap">John.</span> No. Not a line.</p>
+
+<p><span class="smcap">Daniel.</span> And did you visit and court much at the home?</p>
+
+<p><span class="smcap">John.</span> No. I always seen Andy on business and
+stopped to have a word or two with her.</p>
+
+<p><span class="smcap">Daniel</span> (<i>appealingly</i>). Then, John, John, it's not too
+late yet. (<i>Desperately.</i>) Give me&mdash;ah, give wee Mary
+another chance.</p>
+
+<p><span class="smcap">Sarah</span> (<i>at door</i>). Come in, John, at once. Your tea's
+cold waiting, and it's no way to entertain company that.</p>
+
+<p><span class="smcap">John</span> (<i>angrily</i>). D&mdash;&mdash;n her. Daniel! Out of this
+home you will not go. I'd rather have your crack of a
+winter night as two hundred pounds in the bank and yon
+woman. (<i>He reaches out his hand.</i>) I'll break the match.
+(<i>The two men shake hands.</i>)</p>
+
+<p class="center">(<span class="smcap">Curtain.</span>)</p>
+
+
+
+<p><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span></p><hr style="width: 65%;" />
+<h2><a name="ACT_III" id="ACT_III"></a>ACT III</h2>
+
+
+<p><i>The same scene two weeks later.</i> <span class="smcap">Brown</span> <i>comes in by
+yard door holding letters in his hand, which he examines
+curiously at intervals.</i></p>
+
+
+<p><span class="smcap">Brown</span> (<i>shouting loudly</i>). Miss Mary! Are you there,
+Miss Mary?</p>
+
+<p><span class="smcap">Kate</span> (<i>coming in from parlour</i>). Hi there. Stop that
+shouting. D'ye want to wake the dead?</p>
+
+<p><span class="smcap">Brown.</span> I want to give these letters to Miss Mary.
+Where is she?</p>
+
+<p><span class="smcap">Kate.</span> Who're they for? Let's look at them.</p>
+
+<p><span class="smcap">Brown.</span> Not for you anyway. (<i>Loudly.</i>) Miss Mary.</p>
+
+<p><span class="smcap">Kate.</span> Ach quit deaving me with your shouting.</p>
+
+<p><span class="smcap">Mary</span> (<i>coming in</i>). What's the matter? Oh! Letters!
+Any for me, Sam?</p>
+
+<p><span class="smcap">Brown.</span> Aye. There's a post card for you, Miss Mary,
+and a registered letter for Mr. John. The posty says
+he'll call on the road back for the account when you
+sign it. (<i>He hands the post card to</i> <span class="smcap">Mary</span> <i>and looks carefully
+at the letter.</i>) It's like the <span class="smcap">McMinn</span> writing that.
+(<i>He looks at</i> <span class="smcap">Mary,</span> <i>who is reading and re-reading the post
+card with a puzzled expression.</i>) Isn't Mr. Dan to be
+home to-day from Belfast, Miss Mary?</p>
+
+<p><span class="smcap">Mary.</span> Eh?</p>
+
+<p><span class="smcap">Brown.</span> Isn't Mr. Dan expected home to-day from
+Belfast?</p>
+
+<p><span class="smcap">Mary.</span> Yes.</p>
+
+<p><span class="smcap">Brown.</span> I wonder did he get the bellows sold? There
+was great talking about him last night in McArn's. Some
+said he had sold it and made a fortune. (<i>He breaks off
+abruptly on seeing that</i> <span class="smcap">Mary</span> <i>pays no attention to him, and
+then peers over to see what she is reading.</i>) Post cards
+is interesting things. Picture post cards is.</p>
+
+<p><span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span></p><p><span class="smcap">Kate.</span> Here. Away out and get them purtas dug for
+the dinner. We're tired hearing your gabble.</p>
+
+<p><span class="smcap">Brown</span> (<i>retreating to door and eyeing</i> <span class="smcap">Kate</span> <i>meaningly</i>).
+The master was complaining again to me yesterday evening
+about the dinner he got. There's no mistake he
+likes his meat like myself, and right enough it was bad
+yesterday. I was chowing haws all evening to keep off
+the hunger.</p>
+
+<p><span class="smcap">Kate.</span> Go on you out of this.</p>
+
+<p><span class="smcap">Brown.</span> That's all the news this morning. (<i>He makes
+a grimace at</i> <span class="smcap">Kate</span> <i>and goes out into the yard.</i>)</p>
+
+<p><span class="smcap">Mary.</span> I can't understand this post card. (<span class="smcap">Kate</span>
+<i>goes over and looks at it along with</i> <span class="smcap">Mary.</span>)</p>
+
+<p>
+<span style="margin-left: 2.5em;">"O wad that God the gift wad gie us,</span><br />
+<span style="margin-left: 2.5em;">To see oorselves as ithers see us."</span><br />
+</p>
+
+<p>What does that mean? "How's the uncle?" It's some
+cheeky person anyway&mdash;"from D.M." Who could that
+be?</p>
+
+<p><span class="smcap">Kate.</span> It's not McCready, Miss, is it?</p>
+
+<p><span class="smcap">Mary.</span> No. That's not his writing.</p>
+
+<p><span class="smcap">Kate.</span> Och, Miss Mary! Do you see the picture of the
+Highland man dancing, and under it&mdash;"A Mackenzie
+Clansman." It's thon Scotch fellow sent it.</p>
+
+<p><span class="smcap">Mary.</span> Just like the way he would do. I met him again
+one night we were over at the doctor's, and he was trying
+to make up to me all he was able.</p>
+
+<p><span class="smcap">Kate.</span> Aye. Any word from Mr. Dan about the boy
+he was to bring you?</p>
+
+<p><span class="smcap">Mary.</span> No. I'm not going to bother any more about
+boys, I'm going to keep house from this on properly.
+But Uncle Dan said something in his last letter about a
+great surprise he had for all of us.</p>
+
+<p><span class="smcap">Kate.</span> Surprise enough it will be, and he lands home
+with a ha'penny in his pocket. The last time he come
+home he borrowed a shilling of me and niver paid me
+back yet. Did he sell the plans of the bellows, Miss?</p>
+
+<p><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span></p><p><span class="smcap">Mary.</span> He didn't say. (<span class="smcap">John Murray</span> <i>comes through
+yard door. He has evidently been working outside and has
+left his work in a hurry.</i>) Father, there's a letter for
+you. (<i>She hands it to him.</i>) A registered one too.</p>
+
+<p><span class="smcap">John.</span> Aye. So Brown was telling me. Maybe its
+from thon McAlenan fellow that owes me two pound
+for the heifer. (<i>He tears it open.</i> <span class="smcap">Mary</span> <i>and</i> <span class="smcap">Kate</span>
+<i>watch him with interest. His face changes as he reads, and
+an expression of dismay comes over it.</i>)</p>
+
+<p><span class="smcap">Mary</span> (<i>coming closer to him</i>). What's the matter,
+father?</p>
+
+<p><span class="smcap">John</span> (<i>fidgeting uneasily</i>). Nothing, child. Nothing.
+(<i>He looks at the letter again.</i>) Well I'm&mdash;(<i>He stops
+short on remembering</i> <span class="smcap">Mary</span> <i>is there.</i>) She's a caution.</p>
+
+<p><span class="smcap">Mary.</span> Father. Tell me. Is it from the McMinns?</p>
+
+<p><span class="smcap">John.</span> Aye. (<i>Pacing up and down.</i>) I knowed she'd
+do it. I knowed she'd do it.</p>
+
+<p><span class="smcap">Mary.</span> What?</p>
+
+<p><span class="smcap">John.</span> Sarah's taking an action against me.</p>
+
+<p><span class="smcap">Mary.</span> An action?</p>
+
+<p><span class="smcap">John.</span> Aye. (<i>Consulting the letter.</i>) For a thousand
+pounds.</p>
+
+<p><span class="smcap">Mary</span> (<i>awestruck</i>). A thousand pounds!</p>
+
+<p><span class="smcap">John.</span> Aye. Now the fat's in the fire. She says I
+promised to marry her and broke it off. At least, it's
+Andy that writes the letter, but it's her that put him up
+to it. I know that too well. (<i>Reading.</i>) "To Mr. John
+Murray. Dear Sir,&mdash;You have acted to my sister in
+a most ungentlemanly way, and done her much wrong,
+and I have put the case intil the hands of Mr. McAllen,
+the solicitor, who will bring it forward at the coming
+Assizes. If you wish, however, to avoid a scandal, we
+are oped to settle the matter by private arrangement for
+one thousand pounds. Yours truly, Andrew McMinn."</p>
+
+<p><span class="smcap">Mary.</span> That's awful, father, isn't it?</p>
+
+<p><span class="smcap">John</span> (<i>going over to fireplace and standing there
+irresolutely</i>). Aye. It's a terrible mess, right enough.</p>
+
+<p><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span></p><p><span class="smcap">Mary</span> (<i>brightening up</i>). Sure she wouldn't get a
+thousand off you, father?</p>
+
+<p><span class="smcap">Kate.</span> There's John McArdle up by Slaney Cross got
+a hundred pounds took off him by wee Miss Black, the
+school teacher.</p>
+
+<p><span class="smcap">John</span> (<i>uncomfortably</i>). Aye. Heth now, I just call that
+to mind. And he never got courting her at all, I believe.</p>
+
+<p><span class="smcap">Kate.</span> It just served him right. He was always a
+great man for having five or six girls running after him.</p>
+
+<p><span class="smcap">John.</span> And she hadn't much of a case against him.</p>
+
+<p><span class="smcap">Kate.</span> The school children were standing by when he
+asked her in a joking sort of way would she marry him,
+and the court took their evidence.</p>
+
+<p><span class="smcap">John</span> (<i>hopelessly</i>). Aye. Men are always terrible hard
+on other men where women are concerned.</p>
+
+<p><span class="smcap">Kate.</span> And a good job it is, or half the girls would be
+at the church waiting, and the groom lying at home
+rueing his bargain. (<i>She goes out by yard door.</i>)</p>
+
+<p><span class="smcap">Mary</span> (<i>going up to her father</i>). Father, has she a good
+case against you?</p>
+
+<p><span class="smcap">John</span> (<i>after a moment of deep thought</i>). No. I don't
+think it.</p>
+
+<p><span class="smcap">Mary.</span> Don't worry so much then, father.</p>
+
+<p><span class="smcap">John.</span> It's the jury I'm so frightened of. They all
+come from the mountainy district at this Assizes, and
+there's not a man of them but wouldn't put a knife in me,
+the way I get beating them down in price at the fairs.</p>
+
+<p><span class="smcap">Mary.</span> I don't think they'd give her fifty pounds
+when they see her. It's only good looking girls would
+get big sums like a thousand pounds.</p>
+
+<p><span class="smcap">John.</span> It's all very well, Mary, but she could dress
+herself to look nice enough, the same Sarah, if she liked.</p>
+
+<p><span class="smcap">Mary.</span> She could not, indeed.</p>
+
+<p><span class="smcap">John.</span> They say, at least Brown was hinting to me,
+that its yon Scotch fellow, Mackenzie, has put up the
+McMinns to this business. He and that connection
+are as thick as thieves.</p>
+
+<p><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span></p><p><span class="smcap">Mary.</span> He mightn't be so very fond of them. When
+a man sends post cards to a girl he doesn't know very well,
+he's got a wee bit of a liking for her.</p>
+
+<p><span class="smcap">John.</span> What are you talking about? I never sent her
+any post cards.</p>
+
+<p><span class="smcap">Mary.</span> Father, what are you going to do?</p>
+
+<p><span class="smcap">John</span> (<i>despairingly</i>). I'm d&mdash;&mdash;d if I know.</p>
+
+<p><span class="smcap">Mary.</span> Will you defend the case?</p>
+
+<p><span class="smcap">John.</span> I don't want to go near the court at all.</p>
+
+<p><span class="smcap">Mary.</span> Father! (<i>Alarmed.</i>) Father! Sure you
+wouldn't&mdash;you couldn't think of marrying her after
+all that row that happened? (<span class="smcap">John</span> <i>remains silent.</i>)
+Wouldn't you rather lose a thousand pounds and keep
+me, father? (<span class="smcap">John</span> <i>breaks a piece of soda bread morosely
+and eats it.</i>) Wouldn't you, father.</p>
+
+<p><span class="smcap">John.</span> Ah! (<i>He spits out the bread.</i>) Heaven save us,
+what kind of bread's that?</p>
+
+<p><span class="smcap">Mary</span> (<i>taking away the bread and putting it behind her
+back.</i>) Father! Ah please, please, don't marry her
+anyway. Sure you won't?</p>
+
+<p><span class="smcap">Brown</span> (<i>coming in hastily</i>). Here's Mr. Dan coming up
+the loaning, sir, that grand looking you'd hardly know
+him, and a big cigar in his mouth.</p>
+
+<p><span class="smcap">John.</span> Daniel back?</p>
+
+<p><span class="smcap">Mary.</span> Oh, I must go out and meet him. (<i>She goes
+out by yard door quickly.</i>)</p>
+
+<p><span class="smcap">John.</span> Had he his luggage with him?</p>
+
+<p><span class="smcap">Brown.</span> Aye. He has yon big portmanteau of his,
+and a parcel of something or other.</p>
+
+<p><span class="smcap">John.</span> Away out and help him then, can't you?
+(<span class="smcap">Brown</span> <i>goes out.</i>) I wonder what kept him in Belfast
+all this time. I suppose he's spent most of the five
+pounds I gave him. Like enough. I never mind him
+coming back yet with a ha'penny on him. (<i>He sits down
+at the fireplace and looks again at the letter.</i>) A thousand
+pounds! And there never was a breach of promise case
+known where they didn't bring in a verdict for the<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+woman. Never! (<i>He becomes absorbed in thought, and
+as he sits ruminating</i> <span class="smcap">Mary</span> <i>opens the door, carrying a large
+brown paper parcel, followed by</i> <span class="smcap">Daniel.</span> <span class="smcap">Daniel</span> <i>is dressed
+fairly well, and seems to be in high spirits.</i> <span class="smcap">Brown</span> <i>follows
+him carrying a portmanteau.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>brightly</i>). Home again, John.</p>
+
+<p><span class="smcap">John</span> (<i>morosely</i>). Aye. It was near time, I think.</p>
+
+<p><span class="smcap">Daniel.</span> Saw quite a number of people this time, John.
+A great number. They were all very much interested.
+Fine town, Belfast. Growing very rapidly. Wonderful
+place.</p>
+
+<p><span class="smcap">Mary.</span> What's in the parcel? (<i>She looks at it with
+great curiosity.</i>)</p>
+
+<p><span class="smcap">Daniel.</span> Ah, that&mdash;that't the great secret. Mum's
+the word. All in good time, Mary.</p>
+
+<p><span class="smcap">Brown.</span> Will I leave your bag here, Mr. Dan?</p>
+
+<p><span class="smcap">Daniel.</span> Yes. Here's a sixpence for you. (<i>He hands
+it to</i> <span class="smcap">Brown.</span>)</p>
+
+<p><span class="smcap">John.</span> You're brave and free-handed with your money.
+Giving the like of that bauchle sixpence. (<span class="smcap">Brown,</span> <i>who
+is going out through yard door, stares back at his master
+protestingly, and then goes out.</i>) The Lord knows but
+we will be wanting every ha'penny we can scrape together,
+and soon enough.</p>
+
+<p><span class="smcap">Mary.</span> I didn't tell Uncle Dan yet, father.</p>
+
+<p><span class="smcap">Daniel</span> (<i>seating himself near the workshop door</i>). Has
+anything happened?</p>
+
+<p><span class="smcap">Mary.</span> Yes. Sarah McMinn has&mdash;&mdash;</p>
+
+<p><span class="smcap">John.</span> Read that letter, Daniel. (<i>He goes across and
+hands</i> <span class="smcap">Daniel</span> <i>the letter, and goes back to the fireplace to
+watch him.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>taking out his glasses and solemnly perusing the
+letter</i>). Um.</p>
+
+<p><span class="smcap">John.</span> Well? What do you think of that?</p>
+
+<p><span class="smcap">Daniel</span> (<i>endeavouring to appear cheerful.</i>) Keep up a
+stout heart, John. You're safe enough.</p>
+
+<p><span class="smcap">John.</span> Oh, heth, I'm not so sure of that. Sure you<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+never heard tell of a jury yet that didn't give damages
+against the defendant in a breach of promise case. Did
+you now?</p>
+
+<p><span class="smcap">Daniel.</span> Tuts, man. She has no case.</p>
+
+<p><span class="smcap">John.</span> Case or no case it doesn't seem to matter.
+What sort of case had Jennie Black against John McArdle,
+of Slaney Cross? None. What sort of case had Maggie
+McAndless against old William Boyd? None at all. I
+was at both of them trials and says to Pat McAleenan&mdash;"the
+girl has no case at all!" But for all that they
+brought in a verdict for one hundred pounds against
+McArdle, and they put two hundred against old Boyd,
+and nearly broke the two of them.</p>
+
+<p><span class="smcap">Daniel.</span> It's very awkward this.</p>
+
+<p><span class="smcap">John.</span> Did you do anything, Daniel about the bellows?</p>
+
+<p><span class="smcap">Daniel.</span> The bellows? Aye. (<i>He points at the parcel.</i>)
+A good deal, John. It's all there. But it's all not quite
+settled yet. A day or two more and you'll see. If all
+goes well I'll have a great surprise for you in a day or two.</p>
+
+<p><span class="smcap">John</span> (<i>disgustedly</i>). Ach! I suppose you spent every
+ha'penny of the money, too, that I gave you?</p>
+
+<p><span class="smcap">Daniel.</span> John. Another surprise for you! Those
+people I met and went to, put me up very cheap for the
+week. Very cheap. (<i>He produces some money.</i>) Therees
+one pound ten and sixpence for you.</p>
+
+<p><span class="smcap">John.</span> What?</p>
+
+<p><span class="smcap">Daniel.</span> I'll keep the pound to do me to the end of the
+month and not ask you for any more, John, after that.
+That is if&mdash;well&mdash;(<i>He looks at the parcel.</i>) That thing
+there is all right.</p>
+
+<p><span class="smcap">John</span> (<i>pocketing the ten and sixpence after counting it
+carefully</i>). Daniel. I'm sorry, but there's an account of
+some thirty shillings I owe the McArdles, and I want
+to pay it the night. So if you don't mind&mdash;(<i>He holds
+out his hand.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>unwillingly</i>). Well, I suppose it can't be
+helped, John. But it leaves me just with nothing.<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+However, there you are. (<i>He hands the pound over to
+him.</i> <span class="smcap">Sam Brown</span> <i>opens the yard door and peeps in
+cautiously.</i>)</p>
+
+<p><span class="smcap">John</span> (<i>looking at him angrily</i>). What ails <i>you</i> anyway?</p>
+
+<p><span class="smcap">Brown.</span> If you please sir, the posty wants the account
+signed for that letter.</p>
+
+<p><span class="smcap">Mary.</span> Oh, I forgot all about that. (<i>She picks up the
+receipt for the letter from the table.</i>) I'll sign it for you,
+father. (<i>She goes over to</i> <span class="smcap">Brown,</span> <i>who whispers somethings.
+She nods.</i>) And I'll give it to him myself. (<i>She goes out
+following</i> <span class="smcap">Brown.</span>)</p>
+
+<p><span class="smcap">John.</span> It's a serious business, this, about the McMinns.</p>
+
+<p><span class="smcap">Daniel.</span> You're all right, man. Wait a day or two.
+Take my advice. Do nothing in a hurry. Sit down and
+think it over the way I do when I'm working out a new
+idea. Don't rush things. It will all come right in the
+end. Just you wait and see if it doesn't.</p>
+
+<p><span class="smcap">John.</span> Would it not be better to settle before going
+into the court? You know I couldn't stand being pointed
+out to of a Sunday morning and one and another talking&mdash;"There's
+the man that Sarah McMinn took the breach
+of promise case against." No, I couldn't stand that at
+all. It would be a disgrace to the Murrays for ever.
+I'm wondering now&mdash;&mdash;(<i>He pauses lost in thought.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>alarmed</i>). John. Surely you wouldn't&mdash;you
+couldn't think of going back on what you said to me.
+Would you?</p>
+
+<p><span class="smcap">John.</span> I wonder, Daniel, would you mind so much
+after all if I married her?</p>
+
+<p><span class="smcap">Daniel</span> (<i>in an agonised voice</i>). I couldn't stand it.
+No, John, I couldn't stay. Any other woman but that
+McMinn.</p>
+
+<p><span class="smcap">Mary</span> (<i>appearing at the door followed by</i> <span class="smcap">Alick
+McCready</span>). Come on in, Alick.</p>
+
+<p><span class="smcap">Alick.</span> Good morning, Mr. Murray. How are you,
+Mr. Dan? So you are back again? We're all glad to
+have you back.</p>
+
+<p><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p><p><span class="smcap">Daniel.</span> Thank you, Alick.</p>
+
+<p><span class="smcap">Mary.</span> Father. Alick says he heard Andy McMinn
+talking yesterday to some one at McArdle's shop, and
+he was telling them all about the whole business, and
+blaming it all on Uncle Dan.</p>
+
+<p><span class="smcap">John.</span> And so the people are talking of me already? Now
+that I come to think of it, it was your Uncle Dan, and a
+brave ha'penny it's going to cost me. One thousand pounds.</p>
+
+<p><span class="smcap">Alick.</span> Never mind, Mr. Murray. Maybe Uncle
+Dan will do something yet. What about the bellows?
+(<span class="smcap">Dan</span> <i>makes a horrified movement to stop</i> <span class="smcap">Alick</span> <i>talking,
+but too late.</i>)</p>
+
+<p><span class="smcap">John.</span> Aye. Here, Daniel. I'll make a bargain with
+you. I'll leave you to the settling of the case, and you
+can find the money yourself to pay for it if you want to.
+And if you can't find the money, I'll marry her.</p>
+
+<p><span class="smcap">Mary.</span> Father, surely&mdash;&mdash;</p>
+
+<p><span class="smcap">John.</span> What? That's enough about it. I would
+as soon do without the marrying if I could. I don't
+want the woman at all, but I'll marry her before she
+gets a ha'penny off me. So you can settle it among
+yourselves. You can take charge of that letter, Dan,
+and make the best you can of it. (<i>He goes angrily out
+by yard door.</i>)</p>
+
+<p><span class="smcap">Daniel.</span> This is a nice mess you put me in for, Alick.
+What the divil made you mention the bellows?</p>
+
+<p><span class="smcap">Alick.</span> I'm sorry, Mr. Dan. I wasn't thinking.</p>
+
+<p><span class="smcap">Daniel.</span> The sooner you start and think a bit the better.
+If you don't help to settle the case&mdash;(<i>he looks angrily
+at</i> <span class="smcap">Alick</span>)&mdash;well&mdash;I've a good deal of influence with
+somebody. (<i>He looks significantly at</i> <span class="smcap">Mary,</span> <i>who is again
+examining the parcel.</i>)</p>
+
+<p><span class="smcap">Alick.</span> I'll do my best, Mr. Dan, to help you.</p>
+
+<p><span class="smcap">Mary.</span> What will we do, Uncle Dan?</p>
+
+<p><span class="smcap">Daniel.</span> I suppose you've no money, Alick?</p>
+
+<p><span class="smcap">Alick.</span> Well, I haven't much ready money, Mr. Dan,
+but I could lend you up to twenty pounds at a pinch.</p>
+
+<p><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span></p><p><span class="smcap">Mary.</span> Twenty pounds would hardly be enough.
+Would it, uncle?</p>
+
+<p><span class="smcap">Alick.</span> Better get hold of Andy and ask him.</p>
+
+<p><span class="smcap">Daniel.</span> I don't like going near that woman at all.</p>
+
+<p><span class="smcap">Mary.</span> Alick! Could you not slip over and ask Andy
+to come across? You know what the McMinns are like.
+He'd come over for a shilling if he thought he'd get one.
+Ah, yes. You will, Alick. Won't you?</p>
+
+<p><span class="smcap">Alick.</span> I'll go straight across now if you&mdash;if you&mdash;&mdash;</p>
+
+<p><span class="smcap">Mary.</span> What?</p>
+
+<p><span class="smcap">Alick.</span> If you'd leave us along the road a bit.</p>
+
+<p><span class="smcap">Daniel.</span> Aye. Do. Mary. Leave him down to the
+gate anyway. I want to stay here and think over things
+a wee bit. That't the good wee girl. (<i>He gently urges
+her out with</i> <span class="smcap">Alick,</span> <i>then goes over to the table, lifts the
+parcel, and sits down near the fireplace. Feeling the
+parcel.</i>) I'm afraid, Dan Murray, it's all U. P. this
+time. I'm afraid it is. (<i>Then an idea seems to dawn on
+him, and he looks at the parcel.</i>) Unless&mdash;unless&mdash;well&mdash;I
+wonder now if I&mdash;</p>
+
+<p>(<span class="smcap">Kate</span> <i>and</i> <span class="smcap">Brown</span> <i>enter through yard door.</i> <span class="smcap">Brown</span>
+<i>is carrying a bucket filled with washed potatoes.</i>)</p>
+
+<p><span class="smcap">Kate.</span> There. Put it down there. You didn't know we
+wanted that much, did you not? You're getting as big an
+old liar as Mr.&mdash;(<i>She stops short on perceiving</i> <span class="smcap">Daniel.</span>)</p>
+
+<p><span class="smcap">Brown</span> (<i>looking up and then realising what had made
+her pause</i>). Aye. Go on. As who do you say, woman?</p>
+
+<p><span class="smcap">Kate</span> (<i>recovering herself</i>). Just as big an old liar as
+Andy McMinn.</p>
+
+<p><span class="smcap">Brown.</span> Now, whist. The McMinns were aye decent
+folk. (<i>He glances across at</i> <span class="smcap">Daniel</span>, <i>who apparently is
+not listening.</i>) They're near people, and all that sort of
+thing, but once they say a thing they stick to it.</p>
+
+<p><span class="smcap">Kate.</span> They're a lot of mean scrubs, the whole
+caboosh of them.</p>
+
+<p><span class="smcap">Daniel</span> (<i>to himself</i>). I wonder would twenty pounds be
+any use at all?</p>
+
+<p><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span></p><p><span class="smcap">Brown</span> (<i>nudging</i> <span class="smcap">Kate</span> <i>slyly</i>). I believe that once Sarah
+puts a price on a thing, like a pig or a sow, or a hen, the
+divil himself couldn't beat her down in the price of it.
+And Andy, they say, can beat the best dealer in the county
+from here to the Mourne. (<span class="smcap">Daniel,</span> <i>who has been listening
+uneasily, gets up and turns round to look at them.</i>) It's the
+fine cigar that you were smoking, Mr. Daniel, this
+morning.</p>
+
+<p><span class="smcap">Daniel.</span> Cigar? Yes. Yes.</p>
+
+<p><span class="smcap">Brown.</span> Aye. A fine cigar, sir. There was a grand
+smell off it. I seen you coming up by the McMinns,
+sir, this morning on the road from the station.</p>
+
+<p><span class="smcap">Daniel.</span> Yes. On the road from the station.</p>
+
+<p><span class="smcap">Brown.</span> You didn't see them, but I noticed Andy
+and Sarah coming out to the gate when you had passed
+them and looking after you a long time.</p>
+
+<p><span class="smcap">Daniel.</span> Is that so?</p>
+
+<p><span class="smcap">Brown.</span> Aye. A long time, sir. I suppose, like
+myself, they smelled the cigar. (<span class="smcap">Daniel</span> <i>at once throws
+down the cigar in disgust.</i>) Mr. Andy, they say, is guy
+fond of a good cigar, and I understand that he'll be for
+getting a few boxes of them soon, for the sister, they say,
+is coming into a lot of money.</p>
+
+<p><span class="smcap">Kate.</span> Ach, you and your cigars! Will you get out
+of this and quit tormenting people? Go on. Out you go.</p>
+
+<p><span class="smcap">Brown</span> (<i>as if out of curiosity, picks up the cigar and
+goes out slowly</i>).</p>
+
+<p><span class="smcap">Daniel.</span> He's a very impertinent man that. Very worrisome.</p>
+
+<p><span class="smcap">Kate.</span> Ach, never heed him, Mr. Dan! sure no one in
+this house does. You'll be tired after travelling, sir.
+Will I make you a drop of tea?</p>
+
+<p><span class="smcap">Daniel.</span> It's hard to eat anything, Kate, when I'm
+worried. (<i>Despairingly.</i>) I don't think there's another
+man living that has the same worries as I have. Something
+awful! Where's the pen and ink, I wonder?</p>
+
+<p><span class="smcap">Kate.</span> There's some here on the dresser, Miss Mary<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+was using it to-day. (<i>She takes it over from the dresser
+to the table.</i> <span class="smcap">Daniel</span> <i>rises and goes over and sits down
+and begins slowly to write.</i>) Cheer up, Mr. Daniel. Sure
+you sold the plans of the bellows anyway. Didn't you,
+sir? They had word up at the McAleenans the other
+night that you got two thousand for it.</p>
+
+<p><span class="smcap">Daniel</span> (<i>astonished</i>). Eh? They said that.</p>
+
+<p><span class="smcap">Kate.</span> Aye. To be sure. McAndless told McArdle,
+and he told Smith the postman, and the postman told the
+McAleenans, and said he had seen letters about it. And
+McAleenan was up in McMinns the other night and told
+them, and I believe you never saw such an astonished
+crowd of people in all their lives.</p>
+
+<p><span class="smcap">Daniel.</span> He told the McMinns that?</p>
+
+<p><span class="smcap">Kate.</span> Aye, last night I think it was.</p>
+
+<p><span class="smcap">Daniel.</span> Last night? (<i>He looks at the letter.</i>) Yesterday
+was the 14th, wasn't it? Aye. It was. I wonder
+did they believe McAleenan?</p>
+
+<p><span class="smcap">Kate.</span> I don't think they know right what to make of
+it. And yon Scotchman was there at the time, and mind
+you, Mr. Dan, they say he looked quite serious when he
+heard it, and said such things as that happened many's a
+time.</p>
+
+<p><span class="smcap">Daniel</span> (<i>incredulously</i>). Mackenzie said that?</p>
+
+<p><span class="smcap">Kate.</span> Aye. You know, I think it's maybe because
+he has a wee notion of Miss Mary, sir.</p>
+
+<p><span class="smcap">Daniel.</span> It's quite possible. Quite possible. A nice
+wee girl is Mary. Fact, too good for the half of the clodhoppers
+about these parts. (<i>He takes up the parcel, pen,
+and ink, and paper, and goes across into the workshop.</i>)</p>
+
+<p><span class="smcap">Kate</span> (<i>looking after him</i>). Poor creature. I'm feared
+he's for the road again if he doesn't worry out some way
+for himself. And God knows he's the one best fitted
+for it. (<span class="smcap">Mary</span> <i>enters.</i>) Well, did you see him off comfortably?</p>
+
+<p><span class="smcap">Mary.</span> Who?</p>
+
+<p><span class="smcap">Kate.</span> Alick McCready.</p>
+
+<p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p><p><span class="smcap">Mary.</span> Kate. I with you'd mind your own business.</p>
+
+<p><span class="smcap">Kate.</span> It's a sore time I have in this house minding
+my own and every other bodies' business.</p>
+
+<p><span class="smcap">Mary.</span> Kate. He said I couldn't bake a cake to save
+my life. I'll just show him that I can, and you're not
+to help me, mind you. I'm going to do it all myself.</p>
+
+<p><span class="smcap">Mary.</span> Where's the flour?</p>
+
+<p><span class="smcap">Kate.</span> There's none in the house, Miss Mary.</p>
+
+<p><span class="smcap">Mary.</span> What?</p>
+
+<p><span class="smcap">Kate.</span> You mind it was all used up this morning on
+account of them cakes that nearly killed your poor ould da.</p>
+
+<p><span class="smcap">Mary.</span> Go down to McArdles, Kate, and get a quarter
+stone on account.</p>
+
+<p><span class="smcap">Kate.</span> Your da told me this morning, Miss Mary,
+that I wasn't to get any more from McArdles or any
+other place unless he gives me an order for it. Do you
+not mind?</p>
+
+<p><span class="smcap">Mary</span> (<i>dejectedly</i>). So he did. I had forgotten.</p>
+
+<p><span class="smcap">Kate.</span> Aye. Quite so, Miss. (<i>She sits down contentedly.</i>)</p>
+
+<p><span class="smcap">Mary.</span> I wonder is Uncle Dan about?</p>
+
+<p><span class="smcap">Kate.</span> Aye. He's in his workshop, Miss.</p>
+
+<p><span class="smcap">Mary</span> (going over and knocking at door of workshop).
+Uncle Dan!</p>
+
+<p><span class="smcap">Daniel</span> (<i>appearing at door</i>). Well, Mary?</p>
+
+<p><span class="smcap">Mary.</span> Uncle Dan, could you give me sixpence?</p>
+
+<p><span class="smcap">Daniel</span> (<i>jumbling in his pockets</i>). Sixpence? Sixpence,
+Mary? Bless your wee heart. Here. Here's a two
+shilling bit. But Mary, mum's the word. Don't tell
+John I gave it to you.</p>
+
+<p><span class="smcap">Mary.</span> No. Thank you, uncle. (<span class="smcap">Daniel</span> <i>goes in
+again.</i>) There, Kate, quick as you can and don't stop
+to talk to anybody. Sure you won't? (<i>She hands</i> <span class="smcap">Kate</span>
+<i>the money and takes up the recipe book.</i>)</p>
+
+<p><span class="smcap">Kate.</span> I'm not dirty looking&mdash;am I, Miss Mary?</p>
+
+<p><span class="smcap">Mary</span> (<i>absorbed in the book</i>). No. You'll do grand.
+Flour, currants.</p>
+
+<p><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span></p><p><span class="smcap">Kate.</span> Ach! You and your currants. Could you not
+tell a body was her face clean?</p>
+
+<p><span class="smcap">Mary.</span> It's lovely. Hurry, Kate. (<span class="smcap">Kate</span> <i>shrugs her
+shoulders disgustedly, and goes out by yard door.</i>) Flour,
+currants&mdash;&mdash;(<i>She goes over to the workshop door and listens</i>)&mdash;raisins&mdash;(<i>A
+sound as of a blast blowing can be heard.</i> <span class="smcap">Mary</span>
+<i>becomes intensely interested, and, throwing aside the book,
+kneels down and puts her head to the keyhole.</i>) He's
+actually got something to work. (<i>She peeps in.</i>) He
+has, indeed. (<i>She laughs, knocks loudly at the door, and
+then runs to the other side of the kitchen.</i> <span class="smcap">Daniel</span> <i>opens
+the door and cautiously peeps out.</i>) Uncle Danny! Ha!
+Ha! Uncle Danny! (<i>Dancing up and down in front
+of the fireplace.</i>) Uncle Dan's a wonderful man! Uncle
+Dan's a wonderful man!</p>
+
+<p><span class="smcap">Daniel</span> (<i>amazed</i>). What's all this?</p>
+
+<p><span class="smcap">Mary.</span> I'm a cleverer girl than you think, Uncle Dan!
+I know your great surprise. I've found it out. And
+you've actually got it to work! That's splendid, uncle,
+isn't it? Father will be awful proud when he hears
+about it. And you did it all yourself, uncle?</p>
+
+<p><span class="smcap">Daniel.</span> Well, I took those plans, Mary, to a handy chap,
+an acquaintance of mine, and he made it out according
+to my design. I'm not sure&mdash;I think it works all right.</p>
+
+<p><span class="smcap">Mary.</span> And did you get it sold, uncle?</p>
+
+<p><span class="smcap">Daniel</span>. No, Mary, but I have hopes&mdash;great hopes.
+(<i>He wanders up to the window apparently searching for the
+screw driver.</i>)</p>
+
+<p><span class="smcap">Mary.</span> Do you think you'd get more than one thousand
+pounds for it?</p>
+
+<p><span class="smcap">Daniel</span> (<i>looking out of window and seeing someone
+approaching</i>). Don't know, Mary. Don't know. Very
+hard to know these things. Where could that screw
+driver be I wonder?</p>
+
+<p><span class="smcap">Mary.</span> I think I saw father working with it last at
+something in the parlour. Will I get it for you, Uncle
+Dan? (<i>Knocking at door.</i>)</p>
+
+<p><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span></p><p><span class="smcap">Daniel.</span> No. Never mind, Mary. I'll get it myself.
+There's someone at the door. You better open the door,
+Mary. (<i>He goes off hurriedly to parlour.</i>) (<i>Knocking at
+yard door.</i>) Come in. (<span class="smcap">Donal Mackenzie</span> <i>opens the
+door and comes in.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> Fine afternoon, Miss Murray.</p>
+
+<p><span class="smcap">Mary</span> (<i>coldly</i>). Good day to you.</p>
+
+<p><span class="smcap">Mackenzie.</span> I'm going off to Scotland verra soon, and
+I thought I would call over to see you before I went off.
+You're no angry, are you?</p>
+
+<p><span class="smcap">Mary.</span> No. (<span class="smcap">Mackenzie</span> <i>seats himself at the table.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> Did you get a post card?</p>
+
+<p><span class="smcap">Mary.</span> I got some silly thing this morning that I tore up.</p>
+
+<p><span class="smcap">Mackenzie.</span> I'm sorry. I'm verra fond of you, Mary.</p>
+
+<p><span class="smcap">Mary.</span> Miss Murray, please.</p>
+
+<p><span class="smcap">Mackenzie.</span> A girl like you is lost here, you know.
+Now, if you were a Scotch lassie you would have a great
+time enjoying yourself. In a place like Greenock we
+have a theatre, and we have a music hall and a cinematograph
+show on Saturdays and trains to Glasgow. You
+could have a grand time in Scotland.</p>
+
+<p><span class="smcap">Mary.</span> Do you really like me, Mr. Mackenzie?</p>
+
+<p><span class="smcap">Mackenzie.</span> Verra much. Indeed I&mdash;</p>
+
+<p><span class="smcap">Mary.</span> Well. Look here. I would like you very,
+very much too, if you&mdash;&mdash;</p>
+
+<p><span class="smcap">Mackenzie.</span> If I what, bonnie Mary?</p>
+
+<p><span class="smcap">Mary.</span> I'd even let you call me Mary, and write to
+me if you wanted to, if you would do me a favour.</p>
+
+<p><span class="smcap">Mackenzie.</span> What's the favour?</p>
+
+<p><span class="smcap">Mary.</span> Uncle Dan has brought home his fan bellows,
+and it works.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>laughs</i>). The fan bellows! I think he'll
+never make much of a fortune of his fan bellows.</p>
+
+<p><span class="smcap">Mary.</span> Do you ever examine new inventions?</p>
+
+<p><span class="smcap">Mackenzie.</span> Aye. I'm a specialist on that, you know.
+I'm the writer of the inventions column in the
+Scottish&mdash;&mdash;</p>
+
+<p><span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span></p><p><span class="smcap">Mary.</span> Yes. Yes. That's all right. I know. Are
+all the inventions you write about good things?</p>
+
+<p><span class="smcap">Mackenzie.</span> Eh? Ninety-nine per cent. rotten, lassie.
+Ninety-nine per cent. perfectly rotten. People don't
+invent a reciprocating piston that works every day in
+the week, or a fan bellows either.</p>
+
+<p><span class="smcap">Mary.</span> But if you liked the inventor you could do him
+a good turn all the same?</p>
+
+<p><span class="smcap">Mackenzie.</span> Aye. I did that often.</p>
+
+<p><span class="smcap">Mary.</span> Then could you do a good turn for Uncle Dan?</p>
+
+<p><span class="smcap">Mackenzie.</span> Give the bellows a boost up. No, Mary.
+I could nae. I don't like to grieve you, but committing
+perjury&mdash;No. I couldn't do it, Mary.</p>
+
+<p><span class="smcap">Mary</span> (<i>coming closer</i>). Yes. You would. You'd do
+it for me. Won't you?</p>
+
+<p><span class="smcap">Mackenzie.</span> Eh?</p>
+
+<p><span class="smcap">Mary.</span> Look. Uncle Dan has his new fan bellows
+in that workshop. Go in and look at it, and if you do
+like me really, you could tell the McMinns that it was
+good&mdash;even if it wasn't quite perfect.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>hesitatingly</i>). Um. I'll consider the
+question.</p>
+
+<p>(<span class="smcap">Daniel</span> <i>re-enters. He stops short on seeing</i> <span class="smcap">Mackenzie</span>,
+<i>and seems to become very uncomfortable.</i>)</p>
+
+<p><span class="smcap">Mary.</span> Uncle Dan! Mr. Mackenzie's going to
+examine your bellows.</p>
+
+<p><span class="smcap">Daniel.</span> I don't allow everybody to go and look at it.
+No. I refuse. It's my property and no one else's.</p>
+
+<p><span class="smcap">Mary.</span> Uncle Dan. (<i>She looks at him meaningly.</i>)
+Mr. Mackenzie has promised to give his opinion on it.</p>
+
+<p><span class="smcap">Daniel.</span> It's not protected yet by patent.</p>
+
+<p><span class="smcap">Mackenzie.</span> Andy McMinn is coming over, Mr.
+Murray. He has got orders from his sister to settle the
+case for her. Are you going to pay the money?</p>
+
+<p><span class="smcap">Daniel.</span> That is a matter of my own deciding. (<span class="smcap">Mary</span>
+<i>goes over to her uncle and whispers to him.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> Verra well. I may go. (<i>To</i> <span class="smcap">Mary.</span>) I<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+would have done you that good turn, Miss Murray; but
+there's no enmity between us. And (<i>lowering his voice</i>)&mdash;I
+hope you get the best of the McMinns in the bargain.
+Don't give in, Mr. Murray, easy. Take my tip. I'm
+from the stables, you know. (<i>He laughs knowingly.</i>)</p>
+
+<p><span class="smcap">Mary.</span> Here's Andy now (<i>she looks out through the
+window</i>), and Alick's with him. (<i>She opens the door,</i> <span class="smcap">Andy
+McMinn</span> <i>and</i> <span class="smcap">McCready</span> <i>enter.</i> <span class="smcap">McCready</span> <i>glances at</i>
+<span class="smcap">Mary</span> <i>and</i> <span class="smcap">Mackenzie</span>, <i>and goes over sulkily to the fireplace.</i>
+<span class="smcap">Andy</span> <i>advances awkwardly towards</i> <span class="smcap">Daniel.</span>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>genially</i>). Good afternoon, Andy.</p>
+
+<p><span class="smcap">Andy.</span> Good afternoon. (<i>He looks at</i> <span class="smcap">Mackenzie,</span>
+<i>who nods curtly.</i>) I suppose you know I've power to settle
+the case.</p>
+
+<p><span class="smcap">Daniel.</span> Well, you wrote the letter, and so, in point
+of law, I think it is you who should look after all this
+unfortunate business. Believe me, Andy, I sympathise
+with you. I do indeed. (<span class="smcap">Mary</span> <i>and</i> <span class="smcap">Mackenzie</span> <i>become
+absorbed in conversation near the table.</i> <span class="smcap">Alick McCready</span>
+<i>stands at the fireplace looking at them and unable to conceal
+his jealousy, makes sundry odd noises to distract</i> <span class="smcap">Mary's</span>
+<i>attention. She pretends not to hear him.</i>) I have your
+letter here. (<i>He searches in his pocket and produces it.</i>)
+Yes. One thousand pounds. Do you not think that
+a trifle high?</p>
+
+<p><span class="smcap">Andy.</span> Well. You know we could have as easily
+claimed two thousand, but we didn't like to break you
+altogether; so we just said that a thousand would come
+pretty near it.</p>
+
+<p><span class="smcap">Mackenzie.</span> Mr. Daniel, may I look at the bellows?</p>
+
+<p><span class="smcap">Mary.</span> Uncle Dan, I'm sure you won't object. (<i>She
+makes a gesture as if asking him to assent.</i>)</p>
+
+<p><span class="smcap">Daniel</span> (<i>looking hard at her, and then seeming to understand
+what she is about</i>). Yes. Yes. I'll thrash out the
+matter here with Andy. (<span class="smcap">Mackenzie</span> <i>goes across into the
+workshop, followed by</i> <span class="smcap">Mary.</span> <span class="smcap">McCready</span> <i>sits down
+disconsolately at the fireplace and begins to smoke his pipe<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span>
+moodily.</i>) A thousand pounds is impossible. Absolutely
+out of the question.</p>
+
+<p><span class="smcap">McCready</span> (<i>to himself</i>). Ach. She only torments me.</p>
+
+<p><span class="smcap">Daniel</span> (<i>looking over wonderingly</i>). Eh? People behave
+strangely sometimes, Andy. Very strangely. (<span class="smcap">McCready</span>
+<i>makes no response, but sits with his back to the two of them.</i>)
+Just a moment, Andy. What about a wee drink. Eh,
+Andy?</p>
+
+<p><span class="smcap">Andy.</span> Aye. Well, I wouldn't mind at all, Daniel.</p>
+
+<p><span class="smcap">Daniel.</span> Just to show there's no ill-feeling over this
+unfortunate business. (<i>He goes to the clock, opens the
+panel door and takes out a bottle of whiskey, gets glasses
+from the dresser and pours out a small portion of whiskey
+into each.</i>) Good health, Andy.</p>
+
+<p><span class="smcap">Andy.</span> Good health, Daniel. (<i>They drink.</i>)</p>
+
+<p><span class="smcap">Daniel.</span> Now to go on with our business. I don't
+think, in the first case, that this was an affaire de
+coeur, as the Frenchmen say.</p>
+
+<p><span class="smcap">Andy.</span> Eh?</p>
+
+<p><span class="smcap">Daniel.</span> You don't understand French? Of course
+not. No. It wasn't a love affair, I mean. I don't think
+Sarah was in love with John, was she?</p>
+
+<p><span class="smcap">Andy</span> (<i>hesitatingly</i>). Well&mdash;indeed, now, I don't know
+that she was.</p>
+
+<p><span class="smcap">Daniel.</span> No. We're all aware of that. He was just
+what we'd call a likely man. That's all.</p>
+
+<p><span class="smcap">Andy.</span> Aye. He would have been a good match for
+her.</p>
+
+<p><span class="smcap">Daniel.</span> Yes. Quite so, Andy. He would have been
+a good match for her. (<i>He makes notes in a pocket book.</i>)
+Nothing like notes, Andy. Now, so much for the love
+part of the business. They never exchanged letters?</p>
+
+<p><span class="smcap">Andy.</span> No. No letters.</p>
+
+<p><span class="smcap">Daniel</span> (<i>writing</i>). No letters. Of course in a breach
+of promise letters are a great help. A great help. I'm
+very glad, however, just for your sister's sake, that she
+never wrote any to John. Imagine them reading out the<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+love letters in the open court, and all the servant boys
+gaping and laughing.</p>
+
+<p><span class="smcap">Andy.</span> It's not nice, right enough. It's one thing I
+wouldn't like.</p>
+
+<p><span class="smcap">Daniel.</span> No. It's one thing we would not like. Well.
+No love. No letters. Next thing. He never courted her?</p>
+
+<p><span class="smcap">Andy.</span> Well, he came over and sat in the house a few
+nights.</p>
+
+<p><span class="smcap">Daniel.</span> Yes. No doubt. But hadn't he always
+some message on business to transact with you? Loan
+of a plough or a horse, or something like that?</p>
+
+<p><span class="smcap">Andy</span> (<i>uneasily</i>). That's so, of course.</p>
+
+<p><span class="smcap">Daniel.</span> Ah, yes. That's so, of course.</p>
+
+<p><span class="smcap">Andy.</span> But I seen him with his arm round her the
+night of the social at the school house.</p>
+
+<p><span class="smcap">Daniel.</span> Andy. That's a wee failing of John's. I
+often warned him about doing that sort of thing indiscriminately.
+A bit of a ladies' man, John, in his way.
+I saw him do the same nonsense four or five times that
+night with other girls. John likes to think himself a
+bit of a gay dog, you know. It's not right&mdash;I don't think
+myself it's a bit proper to put your arm round a girl's
+waist on every occasion, but sometimes it's quite allowable.
+A night like a social, for instance.</p>
+
+<p><span class="smcap">Andy.</span> Aye. Of course a social's different.</p>
+
+<p><span class="smcap">Daniel.</span> Aye, Andy, a social's different. Well, now.
+No love, no letters, no courting, no photographs
+exchanged? (<i>He looks at</i> <span class="smcap">Andy</span> <i>inquiringly</i>). No photographs
+exchanged? (<i>He notes it down.</i>) No ring?
+In fact, Andy, no nothing.</p>
+
+<p><span class="smcap">Andy.</span> But he proposed to her right enough.</p>
+
+<p><span class="smcap">Daniel.</span> Who said so?</p>
+
+<p><span class="smcap">Andy</span> (<i>astonished</i>). What? Do you mean to deny
+he didn't?</p>
+
+<p><span class="smcap">Daniel.</span> My dear Andy, I don't know. There was no
+one there but the two, I suppose, when he asked her&mdash;if
+he did ask her. There's only her word for it.</p>
+
+<p><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></p><p><span class="smcap">Andy.</span> He wouldn't deny it himself?</p>
+
+<p><span class="smcap">Daniel.</span> Well. That depends on whether he really asked
+her to marry him of course. And it's likely enough
+that John would be inclined to deny it if his memory was at
+all bad&mdash;it is a bad memory he has, you know. He forgets
+often to return your ploughs and that sort of thing.</p>
+
+<p><span class="smcap">Andy</span> (<i>blankly</i>). Aye. He has a bad memory.</p>
+
+<p><span class="smcap">Daniel.</span> Yes. Just so. And the fact that a verdict
+of one thousand pounds would hang on it would hardly
+make it any better. Would it? You've a bad case
+against us, Andy. A rotten case! In fact, looking over
+the whole thing carefully, do you really believe you'd
+make even a ten pound note out of us?</p>
+
+<p><span class="smcap">Andy</span> (<i>despairingly</i>). I wish Sarah had come and settled
+the case herself.</p>
+
+<p><span class="smcap">Daniel.</span> Ah, no. You've a better head, Andy, for
+seeing the sensible side of a thing, far better. (<span class="smcap">Mary</span>
+<i>comes out of the workshop smiling gaily.</i>) Well?</p>
+
+<p><span class="smcap">Mary.</span> Uncle Dan, he's delighted with it.</p>
+
+<p><span class="smcap">Andy.</span> What with? The bellows?</p>
+
+<p><span class="smcap">Mary.</span> Yes. Go in, Andy, till you see it.</p>
+
+<p><span class="smcap">Andy.</span> Is it true, Daniel, you were offered two
+thousand for it?</p>
+
+<p><span class="smcap">Daniel.</span> We'll just go in and have a look at it. (<span class="smcap">Andy</span>
+<i>and he go into workshop.</i>)</p>
+
+<p><span class="smcap">Mary</span> (<i>looking across at</i> <span class="smcap">Alick</span>). What's the matter?</p>
+
+<p><span class="smcap">Alick.</span> Nothing. I'm going home. (<i>He goes across
+to the yard door.</i>)</p>
+
+<p><span class="smcap">Mary.</span> Alick!</p>
+
+<p><span class="smcap">McCready.</span> Goodbye.</p>
+
+<p><span class="smcap">Mary.</span> And I was going to go to all the trouble of
+baking a big plum cake for you, you big ungrateful thing.</p>
+
+<p><span class="smcap">McCready</span> (<i>stopping at the door</i>). I know what your
+plum cakes would be like. (<i>He opens the door and stops
+again before going out.</i>)</p>
+
+<p><span class="smcap">Mary.</span> Well, get that big, ugly Maggie Murphy to
+bake them for you then.</p>
+
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span></p><p><span class="smcap">McCready</span> (<i>looking out through door and then coming
+inside again</i>). I say, here's Kate and your father coming
+and a load of flour.</p>
+
+<p><span class="smcap">Mary</span> (<i>in a frightened voice</i>). Kate and father?</p>
+
+<p><span class="smcap">McCready.</span> He seems to be in a bit of a temper.</p>
+
+<p><span class="smcap">Mary</span> (<i>in a frightened voice</i>). He's caught her with the
+flour!</p>
+
+<p><span class="smcap">McCready</span> (<i>laughing</i>). Flour? Aye&mdash;she's carrying
+about three stone of it! Boys, but that would make a
+powerful pudding!</p>
+
+<p><span class="smcap">Mary.</span> It was to have been the nicest one I could
+have baked.</p>
+
+<p><span class="smcap">McCready</span> (<i>coming in and going over to her</i>). Mary.</p>
+
+<p><span class="smcap">Mary.</span> What?</p>
+
+<p><span class="smcap">McCready.</span> You wouldn't come to my house where
+there would be no stint of flour or raisins or anything
+else, and I'd eat all you cooked for me no matter if I was
+dying after it.</p>
+
+<p><span class="smcap">Mary.</span> Go to your house!</p>
+
+<p><span class="smcap">Alick.</span> Aye. Look here, wee girl. I got this&mdash;&mdash;(<i>He
+fumbles and produces a ring.</i>) Let me put that on
+your wee finger, won't you?</p>
+
+<p><span class="smcap">Mary.</span> Oh, Alick, what a lovely wee ring. (<i>She allows
+him to put it on her finger, and is shyly kissing him when</i>
+<span class="smcap">John</span> <i>enters, followed by</i> <span class="smcap">Kate,</span> <i>who is trying vainly to
+stop a leak in the bag of flour which she is carrying.</i> <span class="smcap">Kate</span>
+<i>goes to the dresser and places the bag on it.</i>)</p>
+
+<p><span class="smcap">John</span> (<i>severely to</i> <span class="smcap">Mary</span>). Mary. Did you send her
+for more flour?</p>
+
+<p><span class="smcap">Mary</span> (<i>meekly</i>). Yes, father.</p>
+
+<p><span class="smcap">John.</span> And didn't I leave word there was no more to be
+got without my orders? (<span class="smcap">Mary</span> <i>hangs her head.</i>) It's
+lamentable the waste in this house! I was just looking at
+the pass book last night, and you'd think this house was
+a bakery to see the amount of flour comes into it.</p>
+
+<p><span class="smcap">Mary</span> (<i>submissively</i>). I'm sorry, father.</p>
+
+<p><span class="smcap">John.</span> When I was out on the road, I seen a trail of<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+flour leading up our loaning, and says I to myself, Jeminy'
+father, are they getting some more! So I followed up the
+mark and just caught up on her coming through the gate.</p>
+
+<p><span class="smcap">Mary</span> (<i>a little defiantly</i>). It's paid for, Kate, anyway.
+Isn't it?</p>
+
+<p><span class="smcap">Kate.</span> It is, Miss. (<i>She busies herself putting the flour
+into a box, and then slips out during the next speech.</i>)</p>
+
+<p><span class="smcap">John.</span> Eh? Who give you the money?</p>
+
+<p><span class="smcap">Mary</span> (<i>going over to her father and whispering</i>). Uncle
+Dan is in there, father, with Andy McMinn and Mr.
+Mackenzie, the Scotch engineer, looking at his bellows.</p>
+
+<p><span class="smcap">John</span> (<i>amazed</i>). Eh? Andy McMinn? Is Dan
+settling the case?</p>
+
+<p><span class="smcap">Mary.</span> I believe he'll do it yet.</p>
+
+<p><span class="smcap">John</span> (<i>admiringly</i>). He has a great head on him, Daniel.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>coming out of workshop and going over
+to</i> <span class="smcap">Mary</span>). Mary, I'm sorry. That bellows is such an
+absolutely rotten thing&mdash;so useless and so absolutely
+rotten that I can't&mdash;(<i>He sees</i> <span class="smcap">John.</span>) How are you, Mr.
+Murray?</p>
+
+<p><span class="smcap">John.</span> Fine day.</p>
+
+<p><span class="smcap">Mary</span> (<i>appealingly</i>). Mr. Mackenzie, what did you say
+to Andy about it?</p>
+
+<p><span class="smcap">Mackenzie.</span> What did I say? Oh, ma perjured
+conscience&mdash;I said it was a grand thing. (<span class="smcap">Daniel</span> <i>and</i>
+<span class="smcap">Andy McMinn</span> <i>come in from workshop.</i>)</p>
+
+<p><span class="smcap">Andy</span> (<i>nervously</i>). Brave day, John.</p>
+
+<p><span class="smcap">John.</span> Aye. It is.</p>
+
+<p><span class="smcap">Andy.</span> Sarah gave me power to settle the case.</p>
+
+<p><span class="smcap">John.</span> I'm glad to hear it.</p>
+
+<p><span class="smcap">Mackenzie.</span> I tell you what it is, Mr. Daniel Murray.
+It's a good thing that&mdash;a right good thing, and I'll make
+you an offer for it.</p>
+
+<p><span class="smcap">Andy</span> (<i>eagerly</i>). What's it worth?</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>with a look at</i> <span class="smcap">Mary</span>). It's worth&mdash;it's
+worth more than all the damages your sister will get
+from Mr. Murray.</p>
+
+<p><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span></p><p><span class="smcap">Daniel</span> (<i>suddenly</i>). I tell you what it is, Andy, and
+believe me when I tell you, I'm sacrificing a great deal.
+I'll make a deal with you. Instead of a lump sum cash
+down, I'll hand over all the rights and royalties of that
+same bellows to you to settle the case.</p>
+
+<p><span class="smcap">Andy</span> (<i>dubiously</i>). I&mdash;I don't know.</p>
+
+<p><span class="smcap">Daniel.</span> You will have all the expense of the law, the
+bad name that your sister will be having over the head
+of being in a breach of promise, and all the expenses of
+solicitors and lawyers. Then, after that, trying to get
+the money out of us, and, mind you, we will fight you
+to the last ditch. Won't we, John?</p>
+
+<p><span class="smcap">John.</span> Aye.</p>
+
+<p><span class="smcap">Daniel.</span> There now. What do you say, Mr.
+Mackenzie?</p>
+
+<p><span class="smcap">Mackenzie.</span> I tell you what it is, Mr. Murray. I'll
+make you an offer for&mdash;&mdash;</p>
+
+<p><span class="smcap">Andy</span> (<i>hastily</i>). I'll take your offer, Daniel.</p>
+
+<p><span class="smcap">Daniel.</span> One second. I drew up a wee agreement
+for you to sign, and I'll fetch the bellows. (<i>He goes into
+the workshop.</i>)</p>
+
+<p><span class="smcap">Andy.</span> I don't like signing my name to agreements
+or things like that unless I'm quite certain they're all
+right, Mr. Mackenzie.</p>
+
+<p><span class="smcap">Mackenzie</span> (<i>with a sly look at</i> <span class="smcap">Mary</span>). Well, if you have
+any compunction about signing, I'll do it myself.</p>
+
+<p><span class="smcap">Mary.</span> I think Uncle Dan's a fool to throw away the
+thing that way. I do indeed. (<span class="smcap">Daniel</span> <i>comes out with
+the parcel and the pen, ink and paper.</i>)</p>
+
+<p><span class="smcap">Daniel.</span> Just sign your name to that, Andy. It's a
+sort of agreement to settle the case&mdash;you can read it
+for yourself. (<i>He hands a sheet of paper to</i> <span class="smcap">Andy</span> <i>with the
+pen.</i>) It's to show that the whole thing is fixed up to
+the satisfaction of everybody. (<span class="smcap">Andy</span> <i>looks at it and then
+signs.</i>) Ah. Good! Now, Alick, and you, Mr.
+Mackenzie, just witness it and the date. (<i>They both
+sign.</i>) And now, Andy, there's your bellows. (<span class="smcap">Andy</span><span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+<i>looks at it, and then takes it under his arm.</i>) And may
+you have the best of luck with it. (<span class="smcap">Andy</span> <i>looks wonderingly
+at the parcel in his arms and moves slowly towards the door.</i>)</p>
+
+<p><span class="smcap">Mackenzie.</span> Noo, my reward, Miss Murray&mdash;Mary
+rather. (<i>He goes forward and she stretches out her hand for
+him to shake, when he notices the ring, and stops short.</i>)</p>
+
+<p><span class="smcap">John.</span> I hope you're satisfied, Andy.</p>
+
+<p><span class="smcap">Andy.</span> I'm just wondering, Mr. Mackenzie, do you
+think&mdash;&mdash;</p>
+
+<p><span class="smcap">Mackenzie.</span> I think nothing for a year. I'll&mdash;I'll&mdash;I'm
+for Scotland in the morning. (<i>He goes out morosely
+through the door.</i>)</p>
+
+<p><span class="smcap">Daniel.</span> There, Andy. There's company home for
+you, and good luck to you. It's a sad heart I'll have this
+night.</p>
+
+<p><span class="smcap">Andy.</span> I'm wondering what Sarah would say&mdash;(<i>He
+goes to the door.</i>) Ach! She couldn't do better herself.
+No courting.</p>
+
+<p><span class="smcap">Daniel.</span> No. No courting.</p>
+
+<p><span class="smcap">Andy.</span> And no love and no letters.</p>
+
+<p><span class="smcap">Daniel.</span> No. No love and no letters.</p>
+
+<p><span class="smcap">Andy.</span> And no ring nor nothing, and a thousand
+pound bellows.</p>
+
+<p><span class="smcap">Daniel.</span> Yes, Andy. And a thousand pound bellows.
+(<i>He wanders out abstractedly.</i> <span class="smcap">Daniel</span> <i>follows him to the
+door and shouts after him</i>)&mdash;Goodbye, Andy. And may
+you have the best of luck with it.</p>
+
+<p><span class="smcap">Andy</span> (<i>without</i>). Thank ye, Daniel. Goodbye. (<span class="smcap">Daniel</span>
+<i>closes the door after him and looks sadly but triumphantly
+across at</i> <span class="smcap">John.</span> <span class="smcap">Alick</span> <i>and</i> <span class="smcap">Mary</span> <i>go to the window
+together and look out after</i> <span class="smcap">Andy.</span>)</p>
+
+<p><span class="smcap">Daniel.</span> Well, John?</p>
+
+<p><span class="smcap">John</span> (<i>with a sigh of intense relief and gratitude</i>). Dan,
+I've said it before, and I'll say it again, you've a great
+head on you, Daniel.</p>
+
+<p class="center">(<span class="smcap">Curtain.</span>)</p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK THE DRONE***</p>
+<p>******* This file should be named 20176-h.txt or 20176-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br />
+<a href="http://www.gutenberg.org/dirs/2/0/1/7/20176">http://www.gutenberg.org/2/0/1/7/20176</a></p>
+<p>Updated editions will replace the previous one--the old editions
+will be renamed.</p>
+
+<p>Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.</p>
+
+
+
+<pre>
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+<a href="http://www.gutenberg.org/license">http://www.gutenberg.org/license)</a>.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://www.gutenberg.org/about/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://www.gutenberg.org/fundraising/pglaf
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+<a href="http://www.gutenberg.org">http://www.gutenberg.org</a>
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+<a href="http://www.gutenberg.org/dirs/etext06/">http://www.gutenberg.org/dirs/etext06/</a>
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+http://www.gutenberg.org/dirs/1/0/2/3/10234
+
+or filename 24689 would be found at:
+http://www.gutenberg.org/dirs/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+<a href="http://www.gutenberg.org/dirs/GUTINDEX.ALL">http://www.gutenberg.org/dirs/GUTINDEX.ALL</a>
+
+*** END: FULL LICENSE ***
+</pre>
+</body>
+</html>
diff --git a/20176.txt b/20176.txt
new file mode 100644
index 0000000..29b879b
--- /dev/null
+++ b/20176.txt
@@ -0,0 +1,3522 @@
+The Project Gutenberg eBook, The Drone, by Rutherford Mayne
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: The Drone
+       A Play in Three Acts
+
+
+Author: Rutherford Mayne
+
+
+
+Release Date: December 23, 2006  [eBook #20176]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK THE DRONE***
+
+
+E-text prepared by Audrey Longhurst, Diane Monico, and the Project
+Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net/c/)
+
+
+
+THE DRONE
+
+A Play in Three Acts
+
+by
+
+RUTHERFORD MAYNE
+
+
+
+
+
+
+
+Luce & Co.
+Boston
+Copyright, 1912. Samuel Waddell.
+
+
+
+
+TO
+
+SEVEEN
+
+
+
+
+CHARACTERS
+
+
+JOHN MURRAY, _A farmer._
+DANIEL MURRAY, _His brother._
+MARY MURRAY, _John's daughter._
+ANDREW MCMINN, _A farmer._
+SARAH MCMINN, _His sister._
+DONAL MACKENZIE, _A Scotch engineer._
+SAM BROWN, _A labourer in John Murray's employment._
+KATE, _A servant girl in John Murray's employment._
+ALICK MCCREADY, _A young farmer._
+
+_The action takes place throughout in the kitchen of John Murray in
+the County of Down._
+
+TIME ... _The present day._
+
+
+
+
+The Drone
+
+_A COMEDY IN THREE ACTS_
+
+ACT I.
+
+
+SCENE: _The farm kitchen of John Murray. It is large and spacious,
+with a wide open fire-place to the right. At the back is one door
+leading to the parlour and other rooms in the house, also a large
+window overlooking the yard outside. To the left of this window is the
+door leading into the yard, and near the door an old-fashioned
+grandfather's clock. Opposite to the fire-place on the left side is
+another door leading into Daniel Murray's workshop, and beside this
+door is a large dresser with crockery, &c. At the back beneath the
+window is a table near which_ KATE, _the servant, a slatternly dressed
+girl of some thirty years of age or more, is seated. She is carefully
+examining some cakes of soda bread, and has a bucket beside her into
+which she throws the rejected pieces._
+
+
+KATE. That one's stale. It would break your teeth to eat it. (_She
+throws the cake into the bucket._) And the mice have nibbled that one.
+And there's another as bad. (_She throws both pieces into the
+bucket._)
+
+(BROWN, _the servant man, opens the door from yard and enters. He is
+elderly, and with a pessimistic expression of face, relieved somewhat
+by the sly humour that is in his eyes. He walks slowly to the centre
+of the kitchen, looks at_ KATE, _and then turns his eyes, with a
+disgusted shake of the head, towards the dresser as if searching for
+something._)
+
+BROWN. Well! Well! Pigs get fat and men get lean in this house.
+
+KATE. It's you again, is it? And what are you looking now?
+
+BROWN. I'm looking a spanner for the boss. The feedboard to the
+threshing machine got jammed just when halfway through the first
+stack, and he is in a lamentable temper.
+
+KATE (_uneasily_). Is he? (_She starts hurriedly to clear up the
+table._)
+
+BROWN (_watching her slyly to see what effect his words have_). And
+he's been grumbling all morning about the way things is going on in
+this house. Bread and things wasted and destroyed altogether.
+
+KATE. Well, it's all Miss Mary's fault. I told her about this bread
+yesterday forenoon, and she never took any heed to me.
+
+BROWN. Miss Mary? (_With a deprecatory shake of his head._) What does
+a slip of a girl like that know about housekeeping and her not home a
+half-year yet from the boarding-school in the big town, and with no
+mother nor nobody to train her. (_He stares in a puzzled way at the
+dresser._) I don't see that spanner at all. Did you see it, Kate?
+
+KATE. No. I've more to do than look for spanners.
+
+BROWN (_gazing reproachfully at her and then shaking his head_). It's
+a nice house, right enough. (_Lowering his voice._) And I suppose old
+Mr. Dan is never up yet. I was told by Johnny McAndless, he was
+terribly full last night at McArn's publichouse and talking--ach--the
+greatest blethers about this new invention of his.
+
+KATE. Do you say so?
+
+BROWN. Aye. No wonder he's taking a lie this morning. (_He peeps into
+the door of the workshop._) He's not in his wee workshop?
+
+KATE. No. Miss Mary is just after taking up his breakfast to him.
+
+BROWN. Some people get living easy in this world. (_He gives a last
+look at the dresser._) Well divil a spanner can I see. I'll tell the
+master that. (_He goes out again through the yard door, and as he does
+so,_ MARY MURRAY _comes through the door from the inner rooms,
+carrying a tray with teacups, &c., on it. She is a pretty, vivacious
+girl about eighteen years of age._)
+
+MARY. Who was that?
+
+KATE. It's the servant man looking for a spanner for your father, Miss
+Mary. There's something gone wrong with the threshing machine.
+
+MARY (_taking the tray to the table and starting to get ready to wash
+up the cups_). I do believe sometimes that Uncle Dan's a lazy man.
+
+KATE (_assisting her at the washing and stopping as if astonished at
+the statement_). And is it only now you're after finding that out!
+Sure the whole countryside knowed it this years and years.
+
+MARY (_sharply_). The whole countryside has no business to talk about
+what doesn't concern it.
+
+KATE. Oh, well, people are bound to talk, Miss.
+
+MARY. But then Uncle Dan is awfully clever. He's got the whole brains
+of the Murrays, so father says, and then, besides that, he is a grand
+talker.
+
+KATE. Aye. He can talk plenty. Sure Sarah McMinn, that lives up the
+Cut, says its a shame the way he's going on this twenty years and
+more, never doing a hand's turn from morning to night, and she says
+she wonders your poor father stands him and his nonsense.
+
+MARY. Who said that?
+
+KATE. Sarah McMinn told Johnny McAndless that yesterday.
+
+MARY. Sarah McMinn? Pooh! That hard, mean, old thing. No. I believe in
+Uncle Dan and so does father. He'll make a name for himself yet.
+
+KATE. Well, it's getting near time he done it.
+
+MARY. And that Sarah McMinn they say just keeps her brother in
+starvation, and she just says nasty things like that about Uncle Dan
+because he doesn't like her.
+
+KATE. Aye. He never did like people as seen through him, not but she
+is a mean old skin-a-louse. (_The voice of_ DANIEL MURRAY _is heard
+calling from within._) He's up, Miss.
+
+MARY. Are you up, uncle?
+
+(DAN MURRAY _opens the door from the inner apartments and comes into
+the kitchen. He is carelessly dressed and sleepy-looking as if just
+out of bed, wears a muffler and glasses, and appears to be some fifty
+years of age._)
+
+DANIEL. Yes. Did the _Whig_ come yet?
+
+MARY. Yes. I put it in your workshop.
+
+DANIEL (_glancing at the clock_). Bless my heart, it's half-past one!
+
+MARY (_reproachfully_). It is, indeed, uncle.
+
+DANIEL. Well! Well! Time goes round, Mary. Time goes round. (_Kate
+picks up the bucket and goes out by the yard door._) Where's your
+father? (_He crosses over to the workshop door._)
+
+MARY. He's out working with Sam Brown at the threshing all morning
+since seven o'clock.
+
+DANIEL. Well! Well! A very industrious man is John Murray. Very. But
+lacking in brains, my dear--lacking in brains. Kind, good-hearted,
+easy-going, but--ah! well, one can't help these things. (_He goes
+towards the workshop._) Where did you say the _Whig_ was, Mary?
+
+MARY. It's in your workshop. (_He crosses over to go there._)
+
+MARY. You were very late coming in last night, uncle.
+
+DANIEL. Eh? (_He goes in, gets the paper, comes out again._)
+
+MARY. I heard you coming in, and the clock was just after striking
+two. (_He sits down and opens paper._)
+
+DANIEL. Well--I met a few friends last night. Appreciative friends I
+could talk to, and I was explaining that new idea of mine that I've
+been working at so long--that new idea for a fan-bellows. It's a great
+thing. Oh yes. It should be. I sat up quite a while last night,
+thinking it over, and I believe I've got more ideas about it--better
+ones.
+
+MARY. Do you think you'll make money off it, uncle?
+
+DANIEL. Mary--if it comes off--if I can get someone to take it up, I
+believe 'twill make our fortune, I do.
+
+MARY. Oh, uncle, it would be lovely if you did, and I would just die
+to see that nasty McMinn woman's face when she hears about you making
+such a hit.
+
+DANIEL. McMinn? Has that woman been sneering about me again? That's
+one woman, Mary, I can't stand. I can never do myself justice
+explaining ideas in company when that woman is present.
+
+MARY. Never mind her, uncle. (_Coming close beside him._) Do you mind
+the time last time, uncle, when you went up to Belfast for a week to
+see about that patent for--what's this the patent was, uncle?
+
+DANIEL (_uncomfortably_). Last time? Aye? Why?
+
+MARY. Yes. Don't you remember you said you knew of an awfully nice boy
+that you met, and you were going to bring him down here.
+
+DANIEL. Upon my soul, I had clean forgotten. Yes, yes. I think I did
+say something about a young fellow I met.
+
+MARY. Was he nice, uncle?
+
+DANIEL (_becoming absorbed in the newspaper_). Eh? I think so. Oh. He
+was--very nice chap.
+
+MARY. Well, you said he was coming here to see me, and he never turned
+up yet.
+
+DANIEL. Did I? Very possibly. I suppose he must have forgotten.
+
+MARY (_walking away to the left and then back again pouting_). I'm
+sick of the boys here. There's only Alick McCready that's anyway
+passable. When will you see him again, uncle?
+
+DANIEL. Well--possibly, when I go up to town again. Very soon,
+perhaps. That is if your father, Mary, can spare the money.
+
+MARY (_thoughtfully_). I don't know, uncle. You see that would be five
+times now, and somehow you never seem to get anything done. That's
+what he said, mind you, uncle.
+
+DANIEL (_mournfully_). Well! Well! To think of me toiling and moiling
+away in that workshop of mine, day after day, and week after week, and
+year after year--and there's all the thanks you get for it.
+
+MARY. Uncle?
+
+DANIEL (_somewhat irritably as he gets engrossed reading_). Well?
+
+MARY. Look, if you went up to Belfast again soon, won't you see that
+boy? I wonder what he's like. (_She gets close beside her uncle and
+nestles beside him._) Is he dark or fair?
+
+DANIEL. Yes, yes. I think so.
+
+MARY. Dark?
+
+DANIEL. Yes. I believe he is dark.
+
+MARY. And tall?
+
+DANIEL (_trying vainly to read in spite of the interruptions_). Very
+tall.
+
+MARY. Oh, how nice! And uncle, is he good-looking?
+
+DANIEL. Very. Fine looking fellow.
+
+MARY. That's grand; and uncle, is he well to do?
+
+DANIEL. He has every appearance of it.
+
+MARY. Oh you dear old uncle! (_She nestles closer to him._) But maybe
+he wouldn't look at me when he has a whole lot of town girls to go
+with.
+
+DANIEL. My dear niece, you don't know what a very good-looking young
+lady you are, and besides he saw your photograph.
+
+MARY. Which photograph?
+
+DANIEL (_perplexed_). Which photograph? Your own of course!
+
+MARY. The one I got taken at Lurgan?
+
+DANIEL. Yes. I think so.
+
+MARY. Oh uncle! That horrid thing! Why didn't you show him the one I
+got taken at Newcastle?
+
+DANIEL. My mistake. Very sorry, indeed, Mary, I assure you. But I tell
+you what, I'll take the album with me next time. Will that do?
+
+MARY (_laughing_). There. Now you're only joking. (_Suddenly._) What
+do you do all the time you stay in Belfast, uncle?
+
+DANIEL (_uneasily_). Um--um----Business, my dear girl, business. See
+engineers and all that sort of thing, and talk things over. It takes
+time, you know, Mary, time.
+
+MARY. You've been an awful long time inventing, uncle, haven't you?
+
+DANIEL. Well, you know, Mary dear--time--it takes time. You can't rush
+an inventor.
+
+MARY. Well look, uncle. You know I can just wheedle father round my
+wee finger, can't I?
+
+DANIEL. You can indeed.
+
+MARY. Well, look: if you promise to bring down this boy you are
+talking about, I'll get father to give you enough to have two weeks in
+Belfast. There. It's a bargain.
+
+DANIEL. Um--well--he may not be there you know.
+
+MARY (_disappointed_). O uncle!
+
+DANIEL. You see he travels a lot and he may be away. He may be in
+London. In fact I think--yes. He said he would be going to London.
+
+MARY. Then why not go to London?
+
+DANIEL (_starting up and speaking as if struck with delight at the
+possibility_). Eh? I never thought of that! (_He collapses again._)
+But no. Your father, Mary. He would never give me the money. No.
+
+MARY. But you're more likely to meet people there who'd take it up,
+aren't you, uncle?
+
+DANIEL. It's _the place_ for an inventor to go, Mary. _The place._
+(_Pauses._) But I'm afraid when John hears about it----(_he becomes
+very dubious and shakes his head_).
+
+MARY. Well, look here, uncle. Do you mind the last time when he would
+not give you money to go up to Belfast about your patent.
+
+DANIEL (_sadly_). I do.
+
+MARY. You remember you got a letter a few days after asking you to
+come up at once and you had to go then. Hadn't you?
+
+DANIEL. I had.
+
+MARY. Well, couldn't we do the same this time?
+
+DANIEL (_looking at her uneasily_). Eh?
+
+MARY. Couldn't we get someone to send a letter. (_Pausing and
+thinking, then suddenly_). Oh, the very thing! You know that silly
+Alick McCready that comes running after me. Well, look, I'll get him
+to send a letter.
+
+DANIEL. No good, my dear. I did it before----I mean letters on plain
+notepaper don't carry much weight. No.
+
+MARY. What about----oh, I know! Uncle, a telegram!
+
+DANIEL. Great idea! It is in soul!
+
+MARY. And we'll put something on it like "come to London at once to
+see about the patent," or something like that. And he'd have to let
+you go then.
+
+DANIEL. Mary, you're really a cleverer girl than your father thinks.
+(_Musingly._) Two weeks in London.
+
+MARY. And don't forget the nice boy, uncle, when you go.
+
+DANIEL. I'll do my best to get hold of him.
+
+MARY. No. I want a good definite promise. Promise, uncle.
+
+DANIEL. Well, really you know, my dear, he----
+
+MARY. Uncle, promise.
+
+DANIEL. Um----well, I promise.
+
+MARY. You're a dear old thing. You see, uncle, I don't want to marry
+Alick McCready or Jim McDowell or any of those boys, unless there's
+nobody else.
+
+DANIEL. Quite right, my dear, quite right. Two weeks in London.
+Splendid! But it's time I was going into my workshop. (_He rises and
+takes the paper with him._) I must really try and do something this
+morning. (_Exit by workshop door._)
+
+MARY (_calling after him_). You won't forget, uncle? Will you?
+
+DANIEL. No, certainly not.
+
+MARY. I do hope uncle brings that nice boy. Dark--tall--well set
+up--well to do.
+
+(KATE _comes in again through the yard door, and looks at_ MARY, _who
+is gazing vacantly into space._)
+
+KATE. Well? What notion have you got now?
+
+MARY. Oh! just think, Kate! How would you like a boy who was dark and
+tall, and well set up and well to do?
+
+KATE. I'd just leap at him.
+
+MARY (_laughing_). Agh! I don't think he'll ever come, Kate!
+
+KATE. I think you've plenty on hand to manage. (BROWN _opens the yard
+door and resumes his old-position from which he stares at the
+dresser_). You're back again, are you?
+
+BROWN. Aye.
+
+KATE. What ails you now?
+
+BROWN. I'm looking the spanner.
+
+MARY. The spanner?
+
+BROWN. The spanner, Miss Mary. It's for turning the nuts like.
+
+KATE. Have you never got it yet?
+
+BROWN. Do you think I've got eyes in the back of my head? Underneath
+the seat, beside the salt-box, on the right near the wee crock in the
+left hand corner. (_He makes a movement to open one of the drawers of
+the dresser._)
+
+KATE. Will you get out of that, ignorance. It's not there.
+
+BROWN (_with an appealing look at_ MARY). Maybe its in the parlour?
+
+MARY. Well, I'll take a look round. (_She goes through the door to
+living rooms._)
+
+BROWN (_mysteriously_). Did you hear the news?
+
+KATE. No. (_Very much interested._) What?
+
+BROWN. Ach! You women never know anything.
+
+KATE. What's the news? Somebody killed?
+
+BROWN. No. More serious.
+
+KATE (_alarmed_). God bless me! What is it?
+
+BROWN. Andy McMinn has a sister.
+
+KATE (_disappointed_). Ach!
+
+BROWN. And she's trying to get a man.
+
+KATE. Well. I knowed that this years.
+
+BROWN. And Mr. John Murray is a widow man.
+
+KATE. You mean to be telling me that Mr. John has a notion of that old
+thing? Go long with you!
+
+BROWN. Did you ever hear tell of a widow man that never got married
+again.
+
+KATE. Plenty. Don't come in here talking blethers.
+
+BROWN. Whist. There's more in what I'm telling you than you think. And
+I'll hold you to a shilling that Sarah McMinn will be Mrs. John Murray
+before one month.
+
+KATE. Who told you?
+
+BROWN. Ach. You've no more head than a yellow yorling. Where has Mr.
+John been going to these wheen of nights?
+
+KATE (_thinking_). Andy McMinns!
+
+BROWN. Aye. Do you think it is to see old Andy? And sure he's been
+talking to me all morning about the way the house is being kept. No
+hand to save the waste; bread and things destroyed; hens laying away;
+eggs ate up by the dozen and chickens lost and one thing and another.
+And hinting about what money a good saving woman would bring him. And
+Mr. Daniel----
+
+KATE. Sh----he's in there working.
+
+BROWN. Working? Ah, God save us! Him working! The last man that seen
+Mr. Dan working is in his grave this twenty years. (_He goes over next
+workshop door._) I'll just peep in at him through the keyhole. (_He
+goes over and does so, and then beckons_ KATE _over. She peeps in and
+grins. As they are thus occupied_ ALICK MCCREADY _opens the door and
+stands gazing at them. He is a type of the young well-to-do farmer,
+respectably dressed and good-looking._)
+
+ALICK. Well! Well! Some people earn their money easy!
+
+BROWN. Aye. In soul. Just look in there to see it. (MCCREADY _looks in
+and bursts into a loud hearty laugh._ BROWN _hurriedly goes out by the
+yard door and_ KATE _by door to inner rooms._)
+
+DANIEL (_opening door and standing there, perplexed looking_). What's
+the matter?
+
+ALICK. Ah. I was just laughing at a wee joke, Mr. Murray.
+
+DANIEL. It must have been very funny.
+
+ALICK. Aye. It was. (_Coming close to_ DANIEL, _who walks slowly to
+the middle of the kitchen._) I say. Were you at McArn's publichouse
+last night?
+
+DANIEL (_looking round cautiously to see that no one else can hear
+him_). Well, just a minute or two. Why?
+
+ALICK. There was someone there told Andy McMinn this morning, I
+believe, that you'd been talking of a great invention altogether, and
+he was that much curious to see it that him and his sister Sarah are
+coming over this day to have a look at it.
+
+DANIEL. Who? Sarah McMinn?
+
+ALICK. Aye. She's very anxious to see it, I believe.
+
+DANIEL. Um. Rather awkward this. She's not a woman that, plainly
+speaking, I care very much to talk about my ideas to.
+
+ALICK. But have you got something struck out?
+
+DANIEL. McCready, come here. (ALICK _goes closer to him._) It is
+really a great idea. Splendid. But I've a great deal of trouble over
+it. In fact I've been thinking out details of a particular gear all
+morning.
+
+ALICK. Aye. (_He looks at_ DANIEL _and then endeavours to restrain
+unsuccessfully a burst of laughter._)
+
+DANIEL (_angrily_). You were always an ignorant hound anyway and be
+d----d to you. (_He turns to go towards his workshop._)
+
+ALICK. Ah, Mr. Murray, I beg your pardon. It's another thing
+altogether I'm thinking about. I just wanted a talk with you this
+morning. You have a nice wee girl for a niece, Mr. Murray.
+
+DANIEL (_somewhat mollified_). Well?
+
+ALICK (_bashfully_). And I was wondering if you could put in a good
+word for me now and again with her.
+
+DANIEL. Now, look here, Alick. We can all work nice and comfortably
+together, can't we?
+
+ALICK. Aye.
+
+DANIEL. Well, if you behave yourself like a man with some manners, and
+not like an ignorant clodhopper, I can do a great deal for you.
+
+ALICK. Thank you, sir. You know, Mr. Murray, I have as nice a wee
+farm, and as good stock on it as well, as any man in the county, and
+if I'm lucky enough to get that niece of yours, you'll always be
+welcome to come and pass a day or two and have a chat.
+
+DANIEL. I think you and I will get along all right, Alick. There's one
+or two little things I need badly sometimes in this house. I mean I
+want help often, you know, Alick, to carry my points with John; points
+about going to see people and that sort of thing, and it's really very
+hard to manage John on points like that, unless we resort to certain
+means to convince him they are absolutely necessary.
+
+ALICK (_uneasily_). Yes. I sort of follow you.
+
+DANIEL. You know what I mean. John's a little dense, you know. He
+can't see the point of an argument very well unless you sort of knock
+him down with it. Now, if a thing is fair and reasonable, and a man is
+so dense that he can't see it, you are quite justified--at least, I
+take it so--to manufacture a way--it doesn't matter how--so long as
+you make that dense man accept the thing, whatever it is, as right. Do
+you follow me?
+
+ALICK. I'm just beginning to see a kind of way.
+
+MARY (_appearing at door from inner rooms_). I can't see that thing
+anywhere. (_She suddenly sees_ ALICK.) Oh Alick! You here!
+
+ALICK. Yes. It's a nice morning, and you're looking beautiful!
+
+MARY. Oh, bother. (_She seems to suddenly recollect something._) Oh, I
+say! uncle! You remember? Uncle!
+
+DANIEL (_somewhat perplexed_). Eh?
+
+MARY (_motioning towards_ ALICK). Telegram to come to London.
+
+DANIEL. Ah----Oh, yes, yes.
+
+MARY. Let's go into your workshop and tell Alick what we want. Come
+on.
+
+ALICK. I'll do anything in the world you want.
+
+(_They all go into the workshop. As they disappear,_ JOHN MURRAY,
+_sweating and angry looking, comes through from the yard followed by_
+BROWN. JOHN _is a tall, stout man, with a rather dour countenance and
+somewhat stolid expression. He is a year or so the elder of Dan in
+age. He goes to the dresser, puts his hand on the top shelf, takes
+down a spanner and throws it down angrily on the table._)
+
+JOHN. There. There you are, you stupid-looking, good for nothing,
+dunder-headed, Italian idiot you.
+
+BROWN. You're something terrible cross this morning.
+
+JOHN. (_heatedly_). Is it any wonder? Away out at once now and put her
+to rights and quick about it. (BROWN _meekly goes out._) The like of
+servant men nowadays, I never seen in my mortal days. A concern of
+ignorant bauchles, every one of them.
+
+DANIEL (_opening door of workshop and peeping out. He sees_ JOHN _and
+goes over to him with a genial air_). Good morning John.
+
+JOHN (_snappishly_). Morning.
+
+DANIEL. John, what do you think, I believe I have just come on to a
+great idea about----
+
+JOHN. Ach! You and your great ideas! Here you've been blundering and
+blethering and talking these fifteen years and more, and I've never
+seen anything come of them yet.
+
+DANIEL (_soothingly_). I know, John, I know. But I'm handicapped you
+know. Bad place to work in and all the rest of it: but you've been
+kind to me, John. Keeping a brother and helping him after he has lost
+all his money isn't a common thing with many men, but John a day will
+come sometime, and you'll get it all back. (_Impressively_). Every
+penny. Aye, and twice over.
+
+JOHN (_softening_). Thank you, Daniel.
+
+DANIEL. You will, John, you will. But don't cast up things like that
+about the time I've been. It hurts me. A thing like this takes time to
+mature, you know, John. The great and chief thing for an inventor is
+time. Look at Palissy, the great French potter, who found out how to
+make porcelain glaze. Why he worked for years and years at his
+invention. And there was the man who found out how to make steam drive
+engines. Look at the years those men spent--and no one begrudged them.
+
+JOHN. I suppose that now.
+
+DANIEL. Certainly, John, nothing surer. And look at the fortunes those
+men made. But the great difficulty is trying to get someone to take up
+your patent. You see these men had the eyes of the world fixed on
+them. People knew all about them, and had their hands stretched out
+ready to grab what they invented. (_Pathetically_). I----I'm just a
+poor unknown man struggling in a wee dark corner.
+
+JOHN (_touched_). Never mind, Danny. You'll make the name of the
+Murray's known yet, maybe.
+
+DANIEL. I'll do my best, John. But mind you it would take me to be
+pushing on this thing that I have found out and bringing it before
+people to notice. You see I've got it all ready now except for a few
+small details.
+
+JOHN (_much interested_). Have you now? I would like you sometime to
+explain it to me, Daniel. I didn't quite get on to it the last time
+you were telling me about it.
+
+DANIEL. Some time again. Oh yes. But John--I'll have to go to some of
+the towns soon to see people about it. The bigger the town the better
+the chance, and John (_impressively_)--London's the place.
+
+JOHN (_aghast_). London! In all the name of the world, yon place!
+Would Belfast not do you?
+
+DANIEL. No. I don't like Belfast. They're a mangy, stick-in-the-mud,
+follow-in-the-old-ruts crowd. Never strike out anything new. It's a
+case of London or nothing.
+
+JOHN (_dubiously_). It will be a terrible expense this London
+visiting.
+
+DANIEL. It'll be worth it.
+
+JOHN. Now, Danny, I would like to oblige you, but what do you think it
+would cost me?
+
+DANIEL. Well, I could live cheap you know, John, and do without meals
+an odd day, and go steerage and third class, and that sort of thing. I
+would say about fifteen pounds roughly. That would let me stay more
+than a week.
+
+JOHN. Fifteen pounds! God bless me, Daniel, would you break me? No,
+no, I couldn't afford to give you that much.
+
+DANIEL. Maybe ten would do it. I could sleep out under the arches an
+odd night or two, and----
+
+JOHN. No, no. I'll not have that. A Murray aye had a bed to go to and
+a sup to eat. (_After a contemplative pause._) Here, I'll give you
+three pounds and you can go to Belfast.
+
+DANIEL. I don't care much about Belfast. You know I have been there
+five times now, and I have never got anyone to look into the thing at
+all proper.
+
+JOHN. You're too backward, Daniel, when it comes to the like of that.
+But ten pounds! No, I would like you to get on in the world right
+enough, Daniel, but I couldn't afford it. You know the way this house
+is being kept; it's lamentable. Tea and sugar and flour and things.
+Man, I'm just after paying off ten pounds to the McAfees for one thing
+and another, and it only a running account for two months. If I had a
+good housekeeper now, maybe things would alter for the better.
+
+MARY (_coming out from the workshop followed by_ ALICK). O Uncle Dan!
+He says he'll go at once and get it----(_She stops short in confusion on
+seeing her father._)
+
+ALICK. How are you, Mr. Murray?
+
+JOHN. O! bravely. What's the news with you?
+
+ALICK. I was just looking over some of them ideas of Daniel's, about
+the new fan bellows.
+
+JOHN. Aye. Now what do you think of it?
+
+ALICK (_warned by_ DANIEL _who nudges him_). They're great altogether.
+
+JOHN. Do you think there will be any sale for it at all?
+
+ALICK. I think so. (_He perceives_ DANIEL _motioning assent._) I
+believe there would be indeed.
+
+JOHN. Man, I wish I had the head of some of you young fellows to
+understand the working of them machinery and things. (DANIEL _goes
+back into the workshop._) I've the worst head in the world for
+understanding about them sort of things. There's Daniel, a great head
+on him, Daniel.
+
+ALICK (_slyly_). He has, right enough!
+
+JOHN (_proudly_). One of the best. When he was a wee fellow, dang the
+one could beat him at making boats or drawing pictures, or explaining
+extraordinary things to you. None. Not one. A great head on him,
+Daniel. He'll do something yet.
+
+ALICK. Did you know Andy McMinn's for coming over to see you this day,
+Mr. Murray?
+
+JOHN (_eagerly_). This day? When? Are you sure?
+
+ALICK. Aye, so he said. About two o'clock or so. Someone told him
+about Daniel's great new idea, and he's very curious to hear about it.
+
+MARY. He's always poking his nose into people's business.
+
+JOHN. Whist. Andy McMinn's a very decent man. Tell me (_rather
+bashfully_), was Sarah to come with him?
+
+MARY (_alarmed_). O holy prophets! I hope not.
+
+ALICK. Aye. She's coming too. She wanted to see it as well as Andy.
+
+JOHN. Aye. Certainly, and she's welcome too. Mary, you can get the
+house ready, and the table set, and a nice tea for them when they
+come, and I can go and get tidied up a wee bit. (_He goes off through
+door into inner rooms._)
+
+ALICK (_leaning against the table and looking across at_ MARY, _who is
+sitting at the opposite end._) You're as nice a wee girl as ever I----
+
+MARY. You're an awful fool. Hurry, Alick, like a decent man and get
+that telegram sent.
+
+ALICK. That uncle of yours, Mary, heth he's as canny a keoghboy as
+I've seen. Its the queer tears he'll be taking to himself in London if
+I know anything.
+
+MARY. Hold your tongue. You've no business to talk about Uncle Dan
+that way. He could give you tons as far as brains go anyway.
+
+ALICK. I believe that. (_He goes to yard door, then turns back._) I
+say, Mary. What name will I put on that telegram? "Come to London at
+once about patent. Intend purchasing." Hadn't we better have a name?
+
+MARY. Yes. I'll just ask uncle. (_She knocks at door of workshop._)
+Uncle!
+
+DANIEL (_without_). Yes.
+
+MARY. What name will we put to that telegram?
+
+DANIEL (_without_). Oh, it's not particular. Wilson or Smith, or
+Brown, or Gregg.
+
+ALICK. I'll put Gregg on it.
+
+DANIEL. Do well.
+
+ALICK. Did you see the fluster that your father got into, Mary, when
+he heard that Sarah McMinn was coming over?
+
+MARY (_alarmed_). What?
+
+ALICK.. Did you not see how he rushed off to tidy himself up when he
+heard Sarah McMinn was coming over?
+
+MARY (_seating herself on chair to right of table_). Nonsense. Father
+wouldn't think of that woman.
+
+ALICK. All right. But I think I know something more than you.
+
+MARY (_anxiously_). What? Tell me.
+
+ALICK. Come on and leave me down the loaning a pace, and I'll tell
+you.
+
+MARY (_glancing at him, and then coquettishly turning her back to him
+as he leans against the table_). Oh, I can't. Those people are coming
+over, and that McMinn woman will be looking at everything and telling
+you how to do things in front of father, and all the rest of it.
+
+ALICK (_entreatingly_). Leave me down the loaning a pace till I tell
+you the news.
+
+MARY (_teasingly_). No.
+
+ALICK. Come on.
+
+MARY. No. (ALICK _moves sadly towards the door._ MARY _looks round,
+and then laughingly skips past him out through the yard door, and he
+follows her._)
+
+JOHN (_coming through door from inner rooms partly dressed, with a
+towel in his hands, evidently making much preparation to clean
+himself_). Daniel! (_Loudly and crossly._) Daniel!
+
+DANIEL (_peeping out from workshop door_). Well!
+
+JOHN. Tidy yourself up a wee bit, man, Andy McMinn and Sarah's coming
+over to see you.
+
+DANIEL (_somewhat taken back_). Me?
+
+JOHN. Aye. They want to see about the new invention. You can have the
+collar I wore last Sunday, and put on your new coat that you got in
+Belfast. (DANIEL _goes back into the workshop._) I wonder what tie
+would be the better one? Yon green or the red one that Mary gave me
+last Christmas. Aye. (_Seeing no sign of_ DANIEL.) D----n! Is he
+making no shapes to dress himself. Daniel!
+
+DANIEL (_without_). Aye.
+
+JOHN (_loudly_). Daniel!
+
+DANIEL (_again appearing at door_). Well!
+
+JOHN (_impatiently_). Come on and get on you.
+
+DANIEL. Ach. This is always the way. Just when a man has got the whole
+thing worked out and the plans of the apparatus just on the point of
+completion he has to stop.
+
+JOHN. Never mind, Danny. You can do it again the night or the morrow
+morning. I want you to look decent. Come on and get on you.
+
+DANIEL (_beginning to regard his brother with a sudden interest and
+suspicion_). Who did you say was coming?
+
+JOHN (_at door to rooms_). Andy and Sarah McMinn. (He goes out.)
+
+DANIEL (_suddenly realising the import of the preparations going on._)
+McMinn. Mc----. (_He stops short, and then in a horrified voice._)
+Surely to God he hasn't a notion of that woman? (_Calling
+tremulously._) John! John!
+
+JOHN (_at door_). Hurry up, man.
+
+DANIEL (_appealingly_). John. Tell me, John. You haven't----you're not
+going to----you haven't a notion of that woman?
+
+JOHN (_hesitatingly_). Well, Daniel, you see the house needs some one
+to look after it proper, and I thought----well--maybe--that Sarah
+would be just as nice and saving a woman as I could get, but I thought
+I would keep it a bit secret, don't you know, because I don't know yet
+if she'd have me or not. And she could talk to you better nor I could
+about machinery and things that would interest you, for she has an
+agency for sewing machines, and knows something about that sort of
+thing, and you'd get on great with each other. Now, hurry and get on
+you. (_He goes out by door into rooms._)
+
+DANIEL (_looking after him in a helpless manner, and sinking into a
+chair_). If--if she'd have him! O great God! If that woman comes to
+this house, I--I'm a ruined man.
+
+(CURTAIN.)
+
+
+
+
+ACT II.
+
+
+_The same scene some hours later. The curtain rises to discover_ KATE
+_seated near table at back enjoying a cup of tea which she has made,
+and is drinking with relish._
+
+
+KATE. I suppose they'll be wanting jam and sugar for the tea--aye--and
+some of them scones Miss Mary cooked yesterday, not but you couldn't
+eat them, and a pat or two of butter. (_She finishes off the remains
+of the tea._) Now, that's a nice girl for you! Here's company coming
+till the house and tea and things a wanting, and she goes and leaves
+all to go strolling down the loaning with that fool of a McCready.
+
+(BROWN _opens the yard door and comes in. He replaces the spanner on
+the top shelf and then turns and looks at_ KATE.)
+
+KATE. Well?
+
+BROWN. Well, yourself?
+
+KATE. Do you see any sign of them McMinns yet?
+
+BROWN. Aye. I see the trap coming over the Cattle Hill. There was
+three in it, as far as I could make out.
+
+KATE. Who be to be the third party I wonder? Is it their servant man?
+
+BROWN. Do you think old Andy McMinn's servant man gets leave to drive
+them about of an afternoon like the clergy's? Talk sense, woman.
+
+KATE. Maybe it's yon Scotch body I heard was stopping with them.
+
+BROWN. Aye. Yon Mackenzie. Ach, man, but yon creature would scunder
+you.
+
+KATE. Aye.
+
+BROWN. Ach! Cracking jokes and laughing that hearty at them, and I'm
+danged if a bat with one eye shut could make out what he was laughing
+at. (_Listening._) Here they are. I hear the wheels coming up the
+loaning. I'll have to go and put up the horse for them I suppose. (_He
+goes out by yard door._)
+
+KATE. I wonder if the master seen them coming. (_She rapidly clears
+the table and then goes over to door into room._) I better tell him.
+(_She knocks at the door._)
+
+JOHN (_without_). Aye. (_He comes and opens the door, dressed in his
+best suit of clothes._) What's the matter?
+
+KATE. They're just come, sir.
+
+JOHN (_excitedly_). Are they? (_Comes into kitchen._) Is my tie right,
+Kate? And my clothes--is there any dirt on the back of them?
+
+KATE (_inspecting him critically_). You'll do grand. I never seen you
+looking better.
+
+JOHN. Where's Mary? Why isn't she here?
+
+KATE. She went out about something. She'll be back in a minute.
+
+JOHN. Right enough, it would do her all the good in the world to have
+a sensible woman looking after her. She just gets her own way a deal
+too much in this house. (_He goes to window and looks out._) Aye. Here
+they are! Tell Daniel to hurry. (KATE _goes off by door to rooms._)
+Sarah's looking bravely. Man, that woman could save me thirty, aye
+forty, pounds a year if she was here. (_Suddenly._) Ach! Is Daniel
+never ready yet? (_Calls._) Daniel! (_Louder._) Daniel!
+
+DANIEL (_without_). Aye.
+
+JOHN. Hurry, man. They've come. (JOHN _goes to yard door and goes
+out._)
+
+DANIEL (_in an exasperated voice_). Ach!
+
+(JOHN _comes in followed by_ ANDREW MCMINN, _an elderly non-descript
+sort of man, followed by_ SARAH, _a sour faced spinster of uncertain
+age. In the rear is_ DONAL MACKENZIE. _He is wearing a tourist costume
+of Norfolk jacket and knickers, and is a keen faced, hard, angular
+looking personage._)
+
+JOHN. Yous are all welcome. Every one of you. You Andy and Sarah, and
+Mr. Mackenzie. The Scotch is aye welcome, Mr. Mackenzie.
+
+MACKENZIE. Aye. That's what I said the last time I was in Ballyannis,
+and was verra thirsty, and went into a beer-shop to get a dram--Black
+and White it was. Verra guid. (_He laughs loudly at his own joke._)
+
+SARAH. We brought Mr. Mackenzie along with us to see your brother,
+John. You see he's an engineer and knows a good deal about machinery
+and plans and things.
+
+MACKENZIE. Aye. There's not much about machinery that I dinna ken, Mr.
+Murray, from a forty thousand horse power quadruple expansion doon to
+a freewheel bicycle. (_Proudly._) I hae done spells work at all of
+them, you ken.
+
+ANDY. I suppose Daniel's at home. Is he?
+
+JOHN. Daniel? Oh aye, Daniel's at home. He's just tidying himself up a
+wee bit.
+
+MACKENZIE. A wee bit paint and powder gangs a lang gait to make up
+defects, as you ken yourself, Miss McMinn. (_He laughs loudly._)
+That's a guid one.
+
+ANDY (_looking slyly at Sarah_). He's up out of bed then?
+
+JOHN (_innocently_). Oh aye. He sits up late of nights working out
+things. (_He points to the door of workshop._) That's his workshop.
+
+MACKENZIE. He works then?
+
+JOHN. Aye. He works in there. (_Andy goes over and goes into
+workshop._)
+
+MACKENZIE. Because it doesna follow always, as I have discovered in my
+experience, that because a man has a workshop, he works. (_He laughs,
+evidently much pleased at his own humour._)
+
+ANDY (_looking out again through door_). There's nothing much to see
+in this place except a lot of dirty papers.
+
+JOHN. That's the plans of the bellows he's working at.
+
+MACKENZIE (_going over to workshop_). Come out, Mr. McMinn, till I
+examine. (_Andy comes out and he passes in._) Eh. This is the plan of
+the great bellows. (_He laughs loudly._)
+
+ANDY. Is he making much headway with it, John?
+
+JOHN. Indeed, now, I think he's doing bravely at it. He's keeping very
+close at it this day or two.
+
+ANDY. There's a terrible amount of newspapers lying in there. Has he
+no other plans and drawings except what's there?
+
+JOHN. Oh aye. He has plenty of plans and drawings somewhere, for I
+seen them once or twice.
+
+MACKENZIE (_coming out_). I can't say much about that contrivance.
+(_He laughs._) And, I say. Look here. He does more than draw bellows.
+He draws corks as well. (_He produces a bottle of whiskey almost
+empty._)
+
+JOHN. Ah, well. He's not a great transgressor either in the matter of
+a bottle. No, no.
+
+ANDY. And the smell of smoke in the place!
+
+SARAH. John, I think Daniel smokes far too much.
+
+ANDY. He should be dressed by now.
+
+JOHN. Aye. Oh, aye. He should right enough. He's a wee bit backward
+before women, you know, Sarah. (_Calls._) Daniel! (_He goes over and
+opens door into rooms._) Daniel!
+
+DANIEL (_without_). Yes. (_He appears at the door struggling vainly
+with his collar._)
+
+JOHN. Why didn't you come long ago. What kept you?
+
+DANIEL. Your collar. (_He looks across at_ ANDY _and_ SARAH, _who have
+seated themselves at the back._) How do you do, Andy and Sarah? You're
+very welcome. (_He looks at_ MACKENZIE, _who stares curiously at
+him._)
+
+ANDY. This is a friend of ours, Daniel, that happened to be stopping
+with us last summer at Newcastle in the same house, and he came over
+for his holidays to us this time. We brought him over to see you. They
+calls him Mackenzie.
+
+DANIEL (_crossing over to the left and taking a seat near the door of
+the workshop._) How do you do?
+
+MACKENZIE (_patronisingly_). I'm glad to see you at last, Mr. Murray,
+for I've heard a good deal about you.
+
+SARAH. You see, Daniel, Mr. Mackenzie is an engineer in one of the
+great Scotch engineering yards. (DANIEL'S _face expresses his dismay,
+which he hurriedly tries to hide._) What place was it you were in, Mr.
+Mackenzie?
+
+MACKENZIE. I served six years in the engine and fitting shops with
+Messrs. Ferguson, Hartie & Macpherson, and was two years shop foreman
+afterwards to Dennison, McLachlan & Co., and now I'm senior partner
+with the firm of Stephenson & Mackenzie. If ever you're up in Greenock
+direction, and want to see how we do it, just ask for Donal Mackenzie,
+and they'll show you the place. (_Proudly._) We're the sole makers of
+the Mackenzie piston, if ever you heard of it.
+
+DANIEL (_uneasily_). I'm sorry to say I haven't.
+
+MACKENZIE. And you call yourself an engineer and you don't know about
+Donal Mackenzie's patent reciprocating piston.
+
+JOHN (_apologetically_). You see we be a bit out of the world here,
+Mr. Mackenzie.
+
+DANIEL. Yes. Now that's one point. One great point that always tells
+against me. (_Getting courageous._) It really needs a man to be
+continually visiting the great engineering centres--Greenock, London--
+
+MACKENZIE (_scornfully_). London's not an engineering centre--Glasgow,
+Hartlepool, Newcastle----
+
+DANIEL. Well, all those places. He could keep himself posted up in all
+the newest ideas then, and inventions.
+
+MACKENZIE. But a man can keep himself to the fore if he reads the
+technical journals and follows their articles. What technical papers
+do you get? Do you ever get the Scottish Engineers' Monthly Handbook,
+price sixpence monthly? I'm the writer on the inventors' column. My
+articles are signed Fergus McLachlan. Perhaps you've read them?
+
+DANIEL. I think--um--I'm not quite sure that I have.
+
+MACKENZIE. You remember one I wrote on the new compressed air drills
+last July?
+
+DANIEL (_looking across at_ JOHN, _who is standing with his back to
+the fireplace_). I don't think I do.
+
+JOHN. No. We don't get them sort of papers. I did buy one or two like
+them for Daniel, but he told me he would just as soon have the _Whig_,
+for there was just as much information in it.
+
+MACKENZIE (_laughing_). O spirit of Burns! Just as much
+information--well, so much for that. Now, about this new patent, this
+new fan bellows that I hear you're working at, Mr. Murray.
+
+DANIEL. What about it?
+
+ANDY. We both seen the drawings in there, Daniel, but I don't think
+either of us made much of it. Could you not explain it to him, Daniel.
+Give him an idea what you mean to do with it.
+
+JOHN. Aye. Now's your chance, Daniel. You were talking of some
+difficulty or other. Maybe this gentleman could help you with it.
+
+DANIEL (_shifting uneasily, and looking appealingly at_ JOHN). Well.
+There's no great hurry. A little later on in the evening. (_He looks
+at_ SARAH.) I'm thinking about Miss McMinn. I don't think this
+conversation would be very interesting to her.
+
+SARAH. Oh, indeed now, Mr. Murray, I just love to know about it. A
+good fan bellows would be the great thing for yon fireplace of ours,
+Andy.
+
+ANDY. Aye. Soul, it would that.
+
+DANIEL (_uncomfortably_). No. Not just yet, John. A bit later on. I'm
+shy, John, you know. A bit backward before company.
+
+JOHN. You're a man to talk about going to see people in London.
+
+SARAH. What? Was he going to London?
+
+JOHN. Aye. He was talking about going to London, and I was half-minded
+to let him go.
+
+ANDY (_who exchanges meaning glances with_ SARAH). Boys, that would
+cost a wheen of pounds!
+
+MACKENZIE. Who wull you go to see in London?
+
+DANIEL (_evasively_). Oh--engineers and patent agents and people that
+would take an interest in that sort of thing.
+
+MACKENZIE. Have you anyone to go to in particular?
+
+DANIEL. Oh, yes.
+
+SARAH. It will cost a great deal of money, Daniel. Seven or eight
+pounds anyway. Won't it, Mr. Mackenzie?
+
+MACKENZIE. It would, and more.
+
+JOHN (_looking at_ SARAH _with evident admiration_). Man, that's a
+saving woman. She can count the pounds. (_Suddenly_). Daniel, away out
+and show Andy and Mr. Mackenzie the thresher, and get used to the
+company, and then you can come in and explain the thing to them. I
+want Sarah to stay here and help me to make the tea. That fool of a
+Mary is away again somewhere.
+
+ANDY (_after a sly glance at_ SARAH). Aye. Come on, Daniel, and
+explain it to us. I hear there's a new kind of feedboard on her.
+
+MACKENZIE. How is she driven, Mr. Murray?
+
+DANIEL (_uncomfortably_). How is she what?
+
+MACKENZIE. How is she worked--steam, horse, or water power, which?
+
+JOHN (_motioning_ DANIEL _to go, which the latter does very
+unwillingly_). Go on out and you can show them, Daniel. (DANIEL, ANDY,
+_and_ MACKENZIE _go out through yard door._) He's backward, you know,
+Sarah, oh, aye--backward; but a great head. A great head on him,
+Daniel.
+
+SARAH. I suppose he is clever in his way.
+
+JOHN (_seating himself close beside her and talking with innocent
+enthusiasm_). Ah, boys, Sarah, I mind when he went to serve his time
+with McArthurs, of Ballygrainey, he was as clever a boy as come out of
+the ten townlands. And then he set up for himself, you know, and lost
+all, and then he come here. He's doing his best, poor creature, till
+pay me for what kindness I showed him, by trying to invent things that
+he says would maybe pay off, some time or other, all he owes to me.
+
+SARAH (_cynically_). Poor Daniel! And he lost all his money?
+
+JOHN. Aye. Every ha'penny; and he took a hundred pounds off me as
+well. And now, poor soul, he hasn't a shilling, barring an odd pound
+or two I give him once or twice a month.
+
+SARAH. Well! Well! And he's been a long time this way?
+
+JOHN. Aye. (_Reflectively._) I suppose it's coming on now to twenty
+years.
+
+SARAH. It's a wonder he wouldn't make some shapes to try and get a
+situation somewhere.
+
+JOHN. Ach, well, you know, when Annie, the wife, died and left Mary a
+wee bit of a wain, I was lonesome, and Daniel was always a right
+heartsome fellow, and I never asked him about going when he came here.
+
+SARAH. He must be rather an expense to you. Pocket money for tobacco,
+and whenever he goes out a night to McArn's, its a treat all round to
+who is in at the time. And his clothes and boots, and let alone that,
+his going to see people about patents and things up to Belfast three
+or four times in the year. If he was in a situation and doing for
+himself, you could save a bit of money.
+
+JOHN (_pensively_). Aye. Heth and I never thought much of that, Sarah.
+I could right enough. I'll think over that now. (_He looks at her, and
+then begins in a bashful manner._) You weren't at Ballyannis School
+fete, Sarah?
+
+SARAH. No. But I heard you were there. Why?
+
+JOHN (_coming still closer_). I was expecting to see you.
+
+SARAH (_contemptuously_). I don't believe in young girls going to them
+things.
+
+JOHN (_gazing at her in astonishment_). But God bless me, they
+wouldn't call you young! (SARAH _turns up her nose disgustedly._) I
+missed you. Man, I was looking for you all roads.
+
+SARAH. I'm not a fool sort of young girl that you can just pass an
+idle hour or two with, John Murray, mind that.
+
+JOHN. I never thought that of you, Sarah.
+
+SARAH. Some people think that.
+
+JOHN (_astonished_). No.
+
+SARAH. They do. There's Andy just after warning me this morning about
+making a fool of myself.
+
+JOHN (_puzzled_). But you never done that, Sarah.
+
+SARAH. Well, he was just after giving me advice about going round
+flirting with Tom, Dick and Harry.
+
+JOHN. Ah no. You never done that. Sure I knowed you this years and
+years, and you never had a boy to my knowing.
+
+SARAH (_offended_). Well I had, plenty. Only I just wouldn't take
+them. I refused more than three offers in my time.
+
+JOHN (_incredulously_). Well! Well! And you wouldn't have them!
+
+SARAH. No.
+
+JOHN. Why now?
+
+SARAH (_looking at him meaningly_). Well--I liked somebody else
+better.
+
+JOHN (_piqued_). Did he--the somebody--did he never ask you?
+
+SARAH. He might yet, maybe.
+
+JOHN (_hopelessly to himself_). I wonder would it be any use then me
+asking her.
+
+SARAH. And I'm beginning to think he is a long time thinking about it.
+(_Knocking at the door._)
+
+JOHN (_angrily_). Ach! Who's that?
+
+BROWN (_opening yard door and looking in_). Me, sir. Mr. Dan wants to
+know could you not come out a minute, and show the gentlemen what way
+you can stop the feedboard working.
+
+JOHN. Don't you know yourself, you stupid headed lump you. Away back
+at once. (BROWN _hurriedly closes the door after an inquiring glance
+at the pair._) That's them servant men for you. He knowed rightly what
+way it worked, only he was just curious. (_Savagely._) He's a stupid
+creature, anyway.
+
+SARAH. I think all men is stupid. They never see things at all.
+
+JOHN. Now, Sarah, sure women are just as bad. There's Mary. She's
+bright enough someways, but others--ach----
+
+SARAH. Mary needs someone--a woman--to look after her. Somebody that
+knows how to manage a house and save money. She's lost running about
+here. Now, I had a young girl with me once was a wild useless thing
+when she came, and when she left me six months after, there wasn't a
+better trained, nor as meek a child in the whole country.
+
+JOHN. And you can manage a house, Sarah, and well, too. Can't you?
+
+SARAH. I ran the house for Andy there twenty years and more, and I
+never once had to ask him for a pound. And what's more, I put some
+into the bank every quarter.
+
+JOHN. Did you now? (_He looks at her in wondering admiration._)
+
+SARAH. Yes. And I cleared five pounds on butter last half year.
+
+JOHN (_with growing wonder_). Did you?
+
+SARAH. And made a profit of ten pounds on eggs alone this year
+already.
+
+JOHN (_unable to contain himself any longer_). Sarah, will you marry
+me?
+
+SARAH (_coyly_). Oh, John, this is very sudden. (_Knocking at yard
+door._) I will. I will. Will you tell them when they come in?
+
+JOHN (_now that the ordeal has been passed, feeling somewhat
+uncomfortable_). Well, I would rather you waited a few days, and then
+we could let them know, canny, don't you know, Sarah. Break the news
+soft, so to speak. Eh?
+
+SARAH (_disappointedly_). Well, if you want it particular that way
+I--(_knocking_).
+
+JOHN (_going to door_). Aye, I'd rather you did. (_He goes to the door
+and opens it and_ MARY _comes in._)
+
+MARY. I peeped through the window and I thought, perhaps, it would be
+better to knock first. It's a nice evening Miss McMinn. (_She takes
+off her hat and flings it carelessly on a chair._) Where's Uncle Dan?
+I want to see him.
+
+JOHN. He'll be in soon enough. He's out showing Andy and Mackenzie the
+thresher.
+
+MARY (_laughing_). Uncle Dan! What does he know about----(_she stops
+short, remembering that_ SARAH _is present._) Mr. Mackenzie?
+
+SARAH. Yes. He's a gentleman, a friend of ours, engaged in the
+engineering business, who has a large place of his own in Scotland,
+and we brought him over here to see your Uncle Dan about the invention
+he's working at.
+
+JOHN. You stop here, Mary, with Sarah, and get the tea ready. You
+should have been in the house when company was coming. Where were you?
+
+MARY. Oh, just down the loaning.
+
+JOHN. Who with?
+
+MARY. Alick McCready.
+
+JOHN (_sternly_). Aye. You're gay fond of tralloping about with the
+boys.
+
+SARAH. He's not just the sort of young man I would like to see in your
+company, Mary.
+
+MARY (_impertinently_). It's none of your business whose company I was
+in.
+
+JOHN (_disapprovingly_). Now, Mary, remember your manners in front of
+your elders, and mind you must always show Miss McMinn particular
+respect. (_Impressively_). Particular respect. (_Going towards yard
+door._) And you can show Sarah what you have in the house, and do what
+she bids you. Them's my orders. (_He goes out._)
+
+SARAH (_looking disapprovingly at_ MARY). I wonder a girl like you has
+no more sense than to go gallivanting about at this time of day with
+boys, making talk for the whole country side.
+
+MARY (_sharply_). I don't have to run after them to other people's
+houses anyway.
+
+SARAH. And that is no way to be leaving down your hat. (_She picks it
+up and looks at it._) Is that your Sunday one?
+
+MARY (_snatching it out of her hand_). Just find out for yourself.
+
+SARAH. Now, you should take and put it away carefully. There's no need
+to waste money that way, wearing things out.
+
+MARY (_with rising temper_). Do you know it's _my_ hat? Not yours. And
+I can do what I like with it. (_She throws it down and stamps on it._)
+I can tramp on it if I want to.
+
+SARAH (_smiling grimly_). Oh, well, tramp away. It's no wonder your
+father complained of waste and this sort of conduct going on.
+
+(KATE _comes in through door from rooms._)
+
+MARY. Have you got the tea things ready, Kate?
+
+KATE. Yes, Miss.
+
+MARY. I suppose we better wet the tea.
+
+SARAH (_looking at the fire_). Have you the kettle on?
+
+MARY. Can't you see for yourself it's not on.
+
+SARAH. Here, girl (_to_ KATE), fill the kettle and put it on. (KATE
+_looks at_ MARY, _and with a shrug of her shoulders, obeys the
+orders._) Where's the tea till I show you how to measure?
+
+MARY (_in a mocking voice_). Kate, get Miss McMinn the tea cannister
+till she shows you how to measure. (KATE _goes to the dresser and
+brings the teapot and cannister over to_ SARAH _at the table._)
+
+SARAH. But it's _you_ I want to show. (MARY _pays no attention, but
+sits down idly drumming her fingers on the table._) There now--pay
+particular attention to this. (_She takes the cannister from_ KATE,
+_opens it and ladles out the tea with a spoon into the teapot._) One
+spoonful for your father and uncle, one for my brother and Mr.
+Mackenzie, one for yourself and me, and half-a-one for Kate.
+
+MARY. Do you see that, Kate?
+
+KATE. Yes, Miss.
+
+MARY (_mockingly_). Now the next thing, I suppose, is to weigh out the
+sugar.
+
+SARAH. No. You always ask the company first do they take sugar before
+you pour out the tea.
+
+MARY. No; not in good society. You put it on the saucers.
+
+SARAH. Put some in the bowl, Kate, and never heed her.
+
+MARY (_almost tearfully_). You've no business to say that, Kate! Who's
+your mistress here?
+
+KATE (_very promptly_). You, Miss.
+
+MARY. Then do what I tell you. Put on the tablecloth, and lay the cups
+and saucers, and make everything ready, and take no orders except from
+me.
+
+SARAH. Very well. I'll learn her manners when I come to this house.
+(_To_ MARY) I want to see the china.
+
+MARY. Well, go into the next room and look for it.
+
+SARAH (_going towards door to rooms_). You better mind what your
+father told you. (_She goes in._)
+
+MARY (_making a face after her_). You nasty old thing. (DANIEL
+_appears at the door from yard. He is nervous and worried looking. He
+goes and sits down near the fireplace, wearily._) Uncle Dan. (_She
+goes over close beside him._) Wasn't it good of Alick? He went away to
+Ballyannis Post Office to get that telegram sent.
+
+DANIEL. A very decent fellow, Alick. (_Gratefully._) Very obliging.
+
+MARY (_confidingly_). Do you know, uncle, when he went off to send
+that telegram I was nearly calling him back. I don't care so very much
+now whether I see that boy you were telling me about or not. Is he--do
+you think, uncle--is he much nicer than Alick?
+
+DANIEL. Nicer? (_He looks at his niece, and then begins to divine the
+way her feelings lie._) Well, of course we have all our opinions on
+these things you know, Mary, but Alick--well, after all there's many a
+worse fellow than Alick, isn't there? (MARY _does not answer, but puts
+her head close to her uncle._) Ah, yes.
+
+MARY (_suddenly_). Uncle! Do you know what has happened? I heard
+father proposing to Miss McMinn!
+
+DANIEL (_groaning_). Oh my! I knew it would happen! I knew it would
+happen! When? Where?
+
+MARY. In here. I wanted to slip in quietly after leaving Alick down
+the loaning when I overheard the voices. It was father and Miss
+McMinn. She was telling him how she had saved five pounds on butter
+last half year, and ten pounds on eggs this year, and then father
+asked her to marry him. I knocked at the door out of divilment, and
+she just pitched herself at him. I--I'm not going to stay in the house
+with that woman. I'd sooner marry Alick McCready.
+
+DANIEL (_despairingly_). I would myself. I daren't--I couldn't face
+the look of that woman in the mornings.
+
+MARY. It's all right for you to talk, uncle. You'll be working away at
+your inventions, and that sort of thing, and will have nothing much to
+do with her, but I'd be under her thumb all the time. And I hate her,
+and I know she hates me. (_Tearfully._) And then the way father talks
+about her being such a fine housekeeper, and about the waste that goes
+on in this house, it nearly makes me cry, just because I have been a
+bit careless maybe. But I could manage a house every bit as well as
+she could, and I'd show father that if I only got another chance.
+Couldn't I uncle?
+
+DANIEL (_soothingly_). And far better, Mary. Far better.
+
+MARY. And you could do far more at your invention if you only got a
+chance. Couldn't you, uncle?
+
+DANIEL. No doubt about it, Mary. None. I never got much of a chance
+here.
+
+MARY. I wonder could we both try to get another chance. (_Suddenly,
+with animation._) Uncle!
+
+DANIEL. Well?
+
+MARY. Aren't you going to explain that fan bellows thing you've been
+working at to them when they come in? (DANIEL _nods sadly._) Well,
+look. That Scotchman--he understands things like that, and that's just
+the reason why that nasty woman brought him over. Just to trip you and
+show you up, and she thinks she'll make father see through you. But
+just you rise to the occasion and astonish them. Eh, uncle?
+
+DANIEL (_uneasily_). Um--well, I don't know. That Scotchman's rather a
+dense sort of fellow. Very hard to get on with somehow.
+
+MARY. Now, Uncle Dan, it's our last chance. Let us beat that woman
+somehow or other.
+
+DANIEL. It's all very well, Mary, to talk that way. (_Suddenly._) I
+wonder is there a book on machinery in the house?
+
+MARY. Machinery? Let me think. Yes, I do believe KATE was reading some
+book yesterday about things, and there was something about machinery
+in it.
+
+DANIEL. For Heaven's sake, Mary, get it.
+
+MARY (_calling_). Kate! Are you there, Kate? (KATE _comes in from
+inner rooms._) Where's that book you were reading last night, Kate?
+
+KATE (_surprised_). For dear's sake, Miss! Yon dirty old thing? The
+one with the big talk between the old fellow and the son about
+everything in the world you could think of?
+
+MARY. Yes, yes. Uncle Dan wants it. (KATE _fetches a tattered volume
+from the dresser and hands it to_ DANIEL. DANIEL _opens it, and reads
+while the two girls peer over his shoulder._)
+
+DANIEL (_reading slowly_). "The Child's Educator. A series of
+conversations between Charles and his father regarding the natural
+philosophy, as revealed to us, by the Very Reverend Ezekiel
+Johnston."
+
+KATE. (_much interested_). Aye. Just go on till you see Mr. Dan. Its
+the queerest conversation between an old lad and his son ever you
+heard tell of.
+
+DANIEL (_reading_). Ah! "The simple forms of machines. The lever, the
+wedge, the inclined plane--Father--and here we come to further consider
+the application of this principle, my dear Charles, to what is known
+as the differential wheel and axle. Um Charles--Father--Charles.
+Father." (_He looks up despairingly at_ MARY.) No good, my dear. Out
+of date. (_He, however, resumes reading the book carefully._)
+
+KATE (_nudging_ MARY, _and pointing to door into rooms_). She's going
+into all the cupboards and drawers, and looking at everything. (_She
+turns to go back and opens the door to pass through._) I never seen
+such a woman.
+
+MARY (_raising her voice so as to let_ SARAH _hear her_). Just keep an
+eye on her, Kate, and see she doesn't take anything.
+
+DANIEL. I might get something out of this. Atmosphere. Pressure.
+
+MARY. Uncle Dan. (_He pays no attention, but is absorbed in the
+book_). Uncle Dan, I'm going down the loaning a pace. Alick said he
+might be back, and I think--(_she sees he is not listening, and slips
+back to look over his shoulder._)
+
+DANIEL (_reading_). Charles. And now my dear father, after discussing
+in such clear and lucid terms the use of the barometer, and how it is
+constructed, could you tell me or explain the meaning of the word
+"pneumatic."
+
+MARY (_going towards yard door_). Good luck, Uncle Danny. I'm away.
+(_She goes out._)
+
+DANIEL. There's not much here about bellows. (_Hopelessly._) I wish I
+had made up this subject a little better. (KATE _comes in evidently
+much perturbed and angry._)
+
+KATE. The divil take her and them remarks of hers. Who gave her the
+right to go searching that way, I wonder? Where's the silver kept, and
+was it locked, and how many spoons was there, and why weren't they
+better polished; and part of the china broke.
+
+SARAH (_coming to door and speaking. As soon as_ DANIEL _hears her
+voice he hurriedly retreats across to the workshop._) Where do you
+keep the knives and forks?
+
+KATE. You don't want forks for the tea.
+
+SARAH. I want to count them.
+
+Kate (_in amazement_). Oh, God save us! You'd think there was a pross
+on the house! (_She follows_ SARAH _in through door_ MACKENZIE _comes
+in, followed by_ JOHN, _then_ ANDY.)
+
+MACKENZIE. And it was a great idea, you know. The steam passed through
+the condenser, and the exhaust was never open to the atmosphere.
+
+JOHN (_evidently much impressed, and repeating the word in a wondering
+manner_) Aye. The exhaust!
+
+MACKENZIE. Aye. The exhaust. But now I'm verra anxious to hear your
+brother explaining what he's made out about the bellows. Its the small
+things like that you ken that a man makes a fortune of, not the big
+ones.
+
+JOHN (_impressed_). Do you think that now?
+
+MACKENZIE. You know I take a particular interest in bellows myself. I
+tried my hand a good while working out a new kind of bellows, and I
+flatter myself that I know something about the subject.
+
+JOHN. Aye. (_Looking round._) Where's Daniel? Daniel! Are you there,
+Daniel? (DANIEL _comes out and stands near the door._) You could maybe
+bring them plans out you're working at and explain it to them now,
+Daniel. Eh? And wait, Sarah wants to hear it too. (_Calling._) Are you
+there, Sarah?
+
+DANIEL (_seating himself sadly_). Aye. She's in there somewhere taking
+stock.
+
+JOHN (_going next door to rooms_). Are you there, dear? (SARAH _comes
+out._) Daniel's going to explain the thing to us, and you wanted to
+hear about it. Didn't you?
+
+SARAH. I'm just dying to know all about it. (_She seats herself to the
+right at back._ ANDY _sits on one side of the table and_ MACKENZIE
+_at the other, expectantly, while_ JOHN _goes over to the fireplace
+almost opposite his brother._) You know, Mr. Daniel, that's one thing
+we want very bad in our house--a good fan bellows.
+
+DANIEL. They are very useful, very.
+
+JOHN. Aye. They are that. (_To_ SARAH). He has a good head on him,
+Daniel. Eh? (_To_ DANIEL.) Now go on and make it very plain so that
+every one can follow you. Bring out the plans and show us.
+
+DANIEL (_uneasily._) I can explain it better without them. (_After a
+pause._) Well, I suppose this subject of bellows would come under the
+heading of pneumatics in natural philosophy.
+
+JOHN. Oh, now, don't be going off that way. Could you not make it
+plainer nor that?
+
+DANIEL (_appealingly_). Well. Could I be much plainer, Mr. Mackenzie?
+
+MACKENZIE (_cynically_). I'm here to discuss fan bellows, not
+pneumatics.
+
+DANIEL (_sotto voce_). D----n him. (_He pulls himself together._)
+Well. Then I suppose the first thing is--well--to know what is a
+bellows.
+
+ANDY. Aye. Man, Daniel, you start off just the same as the clergy.
+That's the way they always goes on expounding things to you.
+
+SARAH (_severely_). Don't be interrupting, Andy.
+
+MACKENZIE (_sneeringly_). Well, I think everyone here knows what a
+bellows is.
+
+DANIEL. Everyone here? Do you, John?
+
+JOHN. Aye. I would like, Daniel, to hear right what a bellows is. I
+mean I can see the thing blowing up a fire when you use it, any man
+could see that--but its the workings of it. What's the arrangements
+and internal works of the bellows now, Daniel?
+
+DANIEL. Well, you push the handles together in an ordinary bellows
+and--and the air--blows out. (_Seeing that this statement is received
+coldly._) Now, why does it blow out?
+
+JOHN (_disappointedly_). Because it's pushed out of course. There's no
+sense in asking that sort of a question.
+
+DANIEL. Well, there's a flap on the bellows--a thing that moves up and
+down. Well, that flap has all to do with pushing the air.
+
+JOHN. Maybe this scientifican business is uninteresting to you, Sarah,
+is it?
+
+DANIEL (_brightening up at the suggestion_). I'm sure it is. Perhaps
+we better stop.
+
+SARAH (_smiling grimly_). Oh, not at all. I want to hear more.
+
+MACKENZIE. You're wasting a lot of my time, Mr. Murray. I came here to
+hear about a fan bellows.
+
+DANIEL (_confusedly_). Oh, yes. Yes. Certainly. Fan bellows. There's a
+difference between a fan bellows and an ordinary bellows.
+
+MARY (_opening door from yard and coming in_). Oh, Uncle Dan, are you
+explaining it to them. Did I miss much of it?
+
+MACKENZIE. I don't think it matters much what time you come in during
+this.
+
+JOHN (_impatiently_). Go on, Daniel.
+
+DANIEL. It's very hard for me to go on with these constant
+interruptions. Well, I was just saying there was a difference between
+a fan bellows and an ordinary bellows.
+
+MACKENZIE. Now, what is a fan bellows yourself, Mr. Murray?
+
+DANIEL (_hopelessly_). A fan bellows? Ah. Why now is it called a fan
+bellows?
+
+MACKENZIE (_roughly_). Don't be asking me my own questions.
+
+DANIEL (_with a despairing effort_). Well, now we will take it for
+granted it is because there must be something of the nature of a fan
+about a fan bellows. It is because there are fans inside the casing.
+And the handle being turned causes these--eh--fans to turn round too.
+And then the air comes out with a rush.
+
+JOHN. Aye. It must be the fans that pushes it out.
+
+DANIEL. Exactly. Well, now, the difficulty we find here is--(_he
+pauses_).
+
+ANDY. Aye.
+
+JOHN. Go on, Daniel.
+
+DANIEL. You want a constant draught blowing. That's number one.
+Then--well--the other. You see, if we took some of these fans.
+
+MACKENZIE. Yes.
+
+DANIEL (_in a floundering way_). And put them in a tight-fitting case,
+and put more of them inside, and understood exactly what their size
+was, we could arrange for the way that--
+
+JOHN (_in a puzzled way to_ SARAH). I can only follow Daniel a short
+way too. (_Repeating slowly._) Put them in a tight-fitting case--
+
+BROWN (_appearing at yard door with a telegram in his hand, and
+speaking with suppressed excitement_). A telegram for Mr. Daniel.
+
+DANIEL (_with a gasp of relief_). Ah! (_He tears it open and proudly
+reads it out aloud._) "Come to London at once to explain patent. Want
+to purchase. Gregg."
+
+(BROWN _goes out again._)
+
+MACKENZIE. Who? Gregg?
+
+DANIEL. I suppose I better go, John?
+
+JOHN. Let's see the telegram. (_He goes over to_ DANIEL, _who hands it
+to him._)
+
+MACKENZIE. If you go to London, it'll take you to explain yourself a
+bit better, Mr. Murray.
+
+JOHN (_who has resumed his place at the fire, and is looking carefully
+at the telegram_). That will mean how many pounds, Daniel, did you
+say?
+
+DANIEL (_promptly_). Fifteen, John. (MARY _goes out by door to
+rooms._)
+
+MACKENZIE. Who is Gregg?
+
+DANIEL. Gregg? Ah. He's a man lives in London. Engineer.
+
+JOHN (_dubiously_). Well, I suppose you--(_he pauses, then hands the
+telegram to_ SARAH, _who stretches out her hand for it._)
+
+MARY (_at door_). Tea's ready. (_She stands aside to let the company
+past._)
+
+SARAH. We didn't hear all about the bellows.
+
+ANDY (_contemptuously_). No, nor you never will. (_He rises and goes
+through the door._)
+
+MACKENZIE (_rising and stretching himself wearily_). Any more, Mr.
+Murray?
+
+DANIEL. I refuse to discuss the matter any further in public. (_He
+goes off across to tea._)
+
+MACKENZIE (_going over to John and looking at him knowingly_). Do you
+know what it is, Mr. Murray? Your brother's nothing short of an
+impostor.
+
+JOHN (_much offended_). Don't dare to say that of a Murray.
+
+MACKENZIE (_shrugging his shoulders_). Well, I'm going for some tea.
+(_Exit._)
+
+SARAH. John, I've something to say to you again about Daniel, but the
+company's waiting. (_She goes out to the tea room._)
+
+JOHN (_sitting down moodily_). Aye.
+
+MARY. Are you not coming, father?
+
+JOHN. Aye.
+
+MARY. Father! Surely you aren't going to marry that woman?
+
+JOHN. Don't talk of Sarah that ways. I am!
+
+MARY. Well, if you are, I'm going to say yes to Alick McCready. I
+don't want to yet awhile, but I'm not going to stay on here if that
+nasty woman comes. (_She kneels close beside her father and puts her
+arms round his neck._) Oh, father, if you only give me another chance,
+I could show you I could keep house every bit as well as that woman.
+(DANIEL _appears at the door. He slips across to the workshop
+unobserved._) Give me another chance, father. Don't marry her at all.
+Let me stay with you--won't you?
+
+JOHN. You're too late. She's trothed to me now.
+
+MARY. Pooh. I'd think nothing of that. (DANIEL _comes out of the
+workshop with a bag._) Uncle Dan! What's the matter?
+
+DANIEL. Mary, I can't eat and sit beside that Scotchman. (_He notices_
+JOHN _is absorbed in deep thought, and motions_ MARY _to slip out. She
+does so, and he looks observingly at_ JOHN, _and then goes to the
+table, and makes a noise with the bag on the table._ JOHN _watches him
+a moment or two in amazed silence._)
+
+JOHN. What are you doing, Daniel?
+
+DANIEL. Just making a few preparations.
+
+JOHN. Ah, but look here. I haven't settled about London yet, Daniel.
+
+DANIEL. Oh, London, John. (_Deprecatingly._) Let that pass. I won't
+worry you about that. (_Broken heartedly._) I'm leaving your house,
+John.
+
+JOHN (_astonished_). What?
+
+DANIEL. You've been kind, John. Very kind. We always pulled well
+together, and never had much cross words with one another, but--well,
+circumstances are altered now.
+
+JOHN. You mean because I'm going to marry Sarah.
+
+DANIEL. Exactly. That puts an end to our long and pleasant sojourn
+here together. I'll have to go.
+
+JOHN (_affected_). Oh easy, Daniel. Ah, now, Sarah always liked you.
+She thinks a deal of you, and I'm sure she'd miss you out of the house
+as much as myself.
+
+DANIEL. John, I know better. She wants me out of this, and I would
+only be a source of unhappiness. I wouldn't like to cause you sorrow.
+She doesn't believe in me. She brought that Scotchman over to try and
+show me up. You all think he did. You think I mugged the thing. You
+don't believe in me now yourself. (_He puts a few articles of
+clothing, &c., into the bag._)
+
+JOHN (_awkwardly_). Aye. Well--to tell you the truth, Daniel, you did
+not make much of a hand at explaining, you----
+
+DANIEL (_pathetically_). I thought so. Look here. One word. (_He
+draws_ JOHN _aside._) Do you think Mackenzie invented that patent
+reciprocating piston that he's so proud of?
+
+JOHN (_looking at him in amazement_). What?
+
+DANIEL (_impressively_). Well. I know something about that. He stole
+it off another man, and took all the profits. I knew that. Do you
+think I'm going to give away the product of my brains explaining it to
+a man like that! No fear, John. (_He turns again to the bag._) I'm
+taking details of my bellows, and my coat, and a few socks, and the
+pound you gave me yesterday, and I'm going to face the world alone.
+
+JOHN (_moved_). No, no. You'll not leave me, Daniel. Ah, no. I never
+meant that.
+
+DANIEL. If she's coming here I'll have to go, and may as well now.
+
+SARAH (_without_). John Murray!
+
+DANIEL (_retreating slowly to the workshop_). I'm going to get that
+other coat you gave me. It's better than this one for seeing people
+in. (_He goes into workshop as_ SARAH _comes out into the kitchen. She
+is evidently displeased._)
+
+SARAH. Hurry up, John. The company's waiting on you, and I don't know
+what's keeping you. Unless it was that brother of yours, more shame to
+him.
+
+JOHN. Aye. Daniel kept me. (_Looking at her._) He's talking of
+leaving. You wouldn't have that, Sarah, would you?
+
+SARAH (_sharply_). Leaving, is he? And a right good riddance say I.
+What has he done but ate up all your substance.
+
+JOHN (_astonished_). You wouldn't put him out, Sarah?
+
+SARAH (_snappishly_). I just wouldn't have him about the place. An
+idle, good for nothing, useless, old pull a cork.
+
+JOHN. Do you not like him, Sarah? (_Somewhat disapprovingly._) You
+told me you thought a good deal of him before.
+
+SARAH. Aye. Until I seen through him. Him and his letters and
+telegrams. Just look at that. (_She shows him the telegram._) It comes
+from Ballyannis.
+
+JOHN (_scratching his head in puzzled wonder_). I don't understand
+that.
+
+SARAH. He just put up some one to send it. Young McCready or someone.
+You couldn't watch a man like that. No. If I come here, out he goes.
+You expects me to come and save you money and the like of that old
+bauchle eating up the profits. (_She goes towards the door into tea
+room._) Come into your tea at once. (_Exit._)
+
+JOHN. By me sang he was right. (DANIEL _comes out and starts brushing
+his coat loudly to attract_ JOHN'S _attention, and then goes across
+towards him and holds out his hand._)
+
+DANIEL. I'll say good-bye, John. Maybe I'll never see you again. (_He
+appears much affected._)
+
+JOHN (_touched_). Ach. Take your time. I don't see the sense of this
+hurrying. Stop a week or two, man. I'll be lonesome without you. We
+had many a good crack in the evenings, Daniel.
+
+DANIEL. We had, John. And I suppose now that you'll be married I'll
+have to go, but many a time I'll be sitting lonely and thinking of
+them.
+
+JOHN. Aye. You were always the best of company, and heartsome. You
+were, Daniel.
+
+DANIEL. Well, I did my best, John, to keep--(_he half breaks
+down_)--to keep up a good heart.
+
+JOHN. You did. I wouldn't like to lose you, Daniel. (_He looks at the
+telegram in his hand._) But Daniel. This telegram. It comes from
+Ballyannis.
+
+DANIEL (_taken aback, but recovering his self possession._)
+Ballyannis? Ballyannis? Ah, of course. Sure Gregg, that London man, he
+was to go through Ballyannis to-day. He's on a visit, you know,
+somewhere this way. It's him I'm going to look for now.
+
+JOHN. Was that the way of it? (_With rising anger at the thought of
+the way in which his brother has been treated._) And she was for
+making you out an impostor and for putting you out. I didn't like
+them talking of a Murray the way they done.
+
+DANIEL (_with sudden hope_). Are you engaged to that McMinn woman,
+John?
+
+JOHN. Aye. I spoke the word the day.
+
+DANIEL. Was there anybody there when you asked her?
+
+JOHN. There was no one.
+
+DANIEL. Did you write her letters?
+
+JOHN. No. Not a line.
+
+DANIEL. And did you visit and court much at the home?
+
+JOHN. No. I always seen Andy on business and stopped to have a word or
+two with her.
+
+DANIEL (_appealingly_). Then, John, John, it's not too late yet.
+(_Desperately._) Give me--ah, give wee Mary another chance.
+
+SARAH (_at door_). Come in, John, at once. Your tea's cold waiting,
+and it's no way to entertain company that.
+
+JOHN (_angrily_). D----n her. Daniel! Out of this home you will not
+go. I'd rather have your crack of a winter night as two hundred pounds
+in the bank and yon woman. (_He reaches out his hand._) I'll break the
+match. (_The two men shake hands._)
+
+(CURTAIN.)
+
+
+
+
+ACT III
+
+
+_The same scene two weeks later._ BROWN _comes in by yard door holding
+letters in his hand, which he examines curiously at intervals._
+
+
+BROWN (_shouting loudly_). Miss Mary! Are you there, Miss Mary?
+
+KATE (_coming in from parlour_). Hi there. Stop that shouting. D'ye
+want to wake the dead?
+
+BROWN. I want to give these letters to Miss Mary. Where is she?
+
+KATE. Who're they for? Let's look at them.
+
+BROWN. Not for you anyway. (_Loudly._) Miss Mary.
+
+KATE. Ach quit deaving me with your shouting.
+
+MARY (_coming in_). What's the matter? Oh! Letters! Any for me, Sam?
+
+BROWN. Aye. There's a post card for you, Miss Mary, and a registered
+letter for Mr. John. The posty says he'll call on the road back for
+the account when you sign it. (_He hands the post card to_ MARY _and
+looks carefully at the letter._) It's like the MCMINN writing that.
+(_He looks at_ MARY, _who is reading and re-reading the post card with
+a puzzled expression._) Isn't Mr. Dan to be home to-day from Belfast,
+Miss Mary?
+
+MARY. Eh?
+
+BROWN. Isn't Mr. Dan expected home to-day from Belfast?
+
+MARY. Yes.
+
+BROWN. I wonder did he get the bellows sold? There was great talking
+about him last night in McArn's. Some said he had sold it and made a
+fortune. (_He breaks off abruptly on seeing that_ MARY _pays no
+attention to him, and then peers over to see what she is reading._)
+Post cards is interesting things. Picture post cards is.
+
+KATE. Here. Away out and get them purtas dug for the dinner. We're
+tired hearing your gabble.
+
+BROWN (_retreating to door and eyeing_ KATE _meaningly_). The master
+was complaining again to me yesterday evening about the dinner he got.
+There's no mistake he likes his meat like myself, and right enough it
+was bad yesterday. I was chowing haws all evening to keep off the
+hunger.
+
+KATE. Go on you out of this.
+
+BROWN. That's all the news this morning. (_He makes a grimace at_ KATE
+_and goes out into the yard._)
+
+MARY. I can't understand this post card. (KATE _goes over and looks at
+it along with_ MARY.)
+
+    "O wad that God the gift wad gie us,
+     To see oorselves as ithers see us."
+
+What does that mean? "How's the uncle?" It's some cheeky person
+anyway--"from D.M." Who could that be?
+
+KATE. It's not McCready, Miss, is it?
+
+MARY. No. That's not his writing.
+
+KATE. Och, Miss Mary! Do you see the picture of the Highland man
+dancing, and under it--"A Mackenzie Clansman." It's thon Scotch fellow
+sent it.
+
+MARY. Just like the way he would do. I met him again one night we were
+over at the doctor's, and he was trying to make up to me all he was
+able.
+
+KATE. Aye. Any word from Mr. Dan about the boy he was to bring you?
+
+MARY. No. I'm not going to bother any more about boys, I'm going to
+keep house from this on properly. But Uncle Dan said something in his
+last letter about a great surprise he had for all of us.
+
+KATE. Surprise enough it will be, and he lands home with a ha'penny in
+his pocket. The last time he come home he borrowed a shilling of me
+and niver paid me back yet. Did he sell the plans of the bellows,
+Miss?
+
+MARY. He didn't say. (JOHN MURRAY _comes through yard door. He has
+evidently been working outside and has left his work in a hurry._)
+Father, there's a letter for you. (_She hands it to him._) A
+registered one too.
+
+JOHN. Aye. So Brown was telling me. Maybe its from thon McAlenan
+fellow that owes me two pound for the heifer. (_He tears it open._
+MARY _and_ KATE _watch him with interest. His face changes as he
+reads, and an expression of dismay comes over it._)
+
+MARY (_coming closer to him_). What's the matter, father?
+
+JOHN (_fidgeting uneasily_). Nothing, child. Nothing. (_He looks at
+the letter again._) Well I'm--(_He stops short on remembering_ MARY
+_is there._) She's a caution.
+
+MARY. Father. Tell me. Is it from the McMinns?
+
+JOHN. Aye. (_Pacing up and down._) I knowed she'd do it. I knowed
+she'd do it.
+
+MARY. What?
+
+JOHN. Sarah's taking an action against me.
+
+MARY. An action?
+
+JOHN. Aye. (_Consulting the letter._) For a thousand pounds.
+
+MARY (_awestruck_). A thousand pounds!
+
+JOHN. Aye. Now the fat's in the fire. She says I promised to marry her
+and broke it off. At least, it's Andy that writes the letter, but it's
+her that put him up to it. I know that too well. (_Reading._) "To Mr.
+John Murray. Dear Sir,--You have acted to my sister in a most
+ungentlemanly way, and done her much wrong, and I have put the case
+intil the hands of Mr. McAllen, the solicitor, who will bring it
+forward at the coming Assizes. If you wish, however, to avoid a
+scandal, we are oped to settle the matter by private arrangement for
+one thousand pounds. Yours truly, Andrew McMinn."
+
+MARY. That's awful, father, isn't it?
+
+JOHN (_going over to fireplace and standing there irresolutely_). Aye.
+It's a terrible mess, right enough.
+
+MARY (_brightening up_). Sure she wouldn't get a thousand off you,
+father?
+
+KATE. There's John McArdle up by Slaney Cross got a hundred pounds
+took off him by wee Miss Black, the school teacher.
+
+JOHN (_uncomfortably_). Aye. Heth now, I just call that to mind. And
+he never got courting her at all, I believe.
+
+KATE. It just served him right. He was always a great man for having
+five or six girls running after him.
+
+JOHN. And she hadn't much of a case against him.
+
+KATE. The school children were standing by when he asked her in a
+joking sort of way would she marry him, and the court took their
+evidence.
+
+JOHN (_hopelessly_). Aye. Men are always terrible hard on other men
+where women are concerned.
+
+KATE. And a good job it is, or half the girls would be at the church
+waiting, and the groom lying at home rueing his bargain. (_She goes
+out by yard door._)
+
+MARY (_going up to her father_). Father, has she a good case against
+you?
+
+JOHN (_after a moment of deep thought_). No. I don't think it.
+
+MARY. Don't worry so much then, father.
+
+JOHN. It's the jury I'm so frightened of. They all come from the
+mountainy district at this Assizes, and there's not a man of them but
+wouldn't put a knife in me, the way I get beating them down in price
+at the fairs.
+
+MARY. I don't think they'd give her fifty pounds when they see her.
+It's only good looking girls would get big sums like a thousand
+pounds.
+
+JOHN. It's all very well, Mary, but she could dress herself to look
+nice enough, the same Sarah, if she liked.
+
+MARY. She could not, indeed.
+
+JOHN. They say, at least Brown was hinting to me, that its yon Scotch
+fellow, Mackenzie, has put up the McMinns to this business. He and
+that connection are as thick as thieves.
+
+MARY. He mightn't be so very fond of them. When a man sends post cards
+to a girl he doesn't know very well, he's got a wee bit of a liking
+for her.
+
+JOHN. What are you talking about? I never sent her any post cards.
+
+MARY. Father, what are you going to do?
+
+JOHN (_despairingly_). I'm d----d if I know.
+
+MARY. Will you defend the case?
+
+JOHN. I don't want to go near the court at all.
+
+MARY. Father! (_Alarmed._) Father! Sure you wouldn't--you couldn't
+think of marrying her after all that row that happened? (JOHN _remains
+silent._) Wouldn't you rather lose a thousand pounds and keep me,
+father? (JOHN _breaks a piece of soda bread morosely and eats it._)
+Wouldn't you, father.
+
+JOHN. Ah! (_He spits out the bread._) Heaven save us, what kind of
+bread's that?
+
+MARY (_taking away the bread and putting it behind her back._) Father!
+Ah please, please, don't marry her anyway. Sure you won't?
+
+BROWN (_coming in hastily_). Here's Mr. Dan coming up the loaning,
+sir, that grand looking you'd hardly know him, and a big cigar in his
+mouth.
+
+JOHN. Daniel back?
+
+MARY. Oh, I must go out and meet him. (_She goes out by yard door
+quickly._)
+
+JOHN. Had he his luggage with him?
+
+BROWN. Aye. He has yon big portmanteau of his, and a parcel of
+something or other.
+
+JOHN. Away out and help him then, can't you? (BROWN _goes out._) I
+wonder what kept him in Belfast all this time. I suppose he's spent
+most of the five pounds I gave him. Like enough. I never mind him
+coming back yet with a ha'penny on him. (_He sits down at the
+fireplace and looks again at the letter._) A thousand pounds! And
+there never was a breach of promise case known where they didn't bring
+in a verdict for the woman. Never! (_He becomes absorbed in thought,
+and as he sits ruminating_ MARY _opens the door, carrying a large
+brown paper parcel, followed by_ DANIEL. DANIEL _is dressed fairly
+well, and seems to be in high spirits._ BROWN _follows him carrying a
+portmanteau._)
+
+DANIEL (_brightly_). Home again, John.
+
+JOHN (_morosely_). Aye. It was near time, I think.
+
+DANIEL. Saw quite a number of people this time, John. A great number.
+They were all very much interested. Fine town, Belfast. Growing very
+rapidly. Wonderful place.
+
+MARY. What's in the parcel? (_She looks at it with great curiosity._)
+
+DANIEL. Ah, that--that't the great secret. Mum's the word. All in good
+time, Mary.
+
+BROWN. Will I leave your bag here, Mr. Dan?
+
+DANIEL. Yes. Here's a sixpence for you. (_He hands it to_ BROWN.)
+
+JOHN. You're brave and free-handed with your money. Giving the like of
+that bauchle sixpence. (BROWN, _who is going out through yard door,
+stares back at his master protestingly, and then goes out._) The Lord
+knows but we will be wanting every ha'penny we can scrape together,
+and soon enough.
+
+MARY. I didn't tell Uncle Dan yet, father.
+
+DANIEL (_seating himself near the workshop door_). Has anything
+happened?
+
+MARY. Yes. Sarah McMinn has----
+
+JOHN. Read that letter, Daniel. (_He goes across and hands_ DANIEL
+_the letter, and goes back to the fireplace to watch him._)
+
+DANIEL (_taking out his glasses and solemnly perusing the letter_).
+Um.
+
+JOHN. Well? What do you think of that?
+
+DANIEL (_endeavouring to appear cheerful._) Keep up a stout heart,
+John. You're safe enough.
+
+JOHN. Oh, heth, I'm not so sure of that. Sure you never heard tell of
+a jury yet that didn't give damages against the defendant in a breach
+of promise case. Did you now?
+
+DANIEL. Tuts, man. She has no case.
+
+JOHN. Case or no case it doesn't seem to matter. What sort of case had
+Jennie Black against John McArdle, of Slaney Cross? None. What sort of
+case had Maggie McAndless against old William Boyd? None at all. I was
+at both of them trials and says to Pat McAleenan--"the girl has no
+case at all!" But for all that they brought in a verdict for one
+hundred pounds against McArdle, and they put two hundred against old
+Boyd, and nearly broke the two of them.
+
+DANIEL. It's very awkward this.
+
+JOHN. Did you do anything, Daniel about the bellows?
+
+DANIEL. The bellows? Aye. (_He points at the parcel._) A good deal,
+John. It's all there. But it's all not quite settled yet. A day or two
+more and you'll see. If all goes well I'll have a great surprise for
+you in a day or two.
+
+JOHN (_disgustedly_). Ach! I suppose you spent every ha'penny of the
+money, too, that I gave you?
+
+DANIEL. John. Another surprise for you! Those people I met and went
+to, put me up very cheap for the week. Very cheap. (_He produces some
+money._) Therees one pound ten and sixpence for you.
+
+JOHN. What?
+
+DANIEL. I'll keep the pound to do me to the end of the month and not
+ask you for any more, John, after that. That is if--well--(_He looks
+at the parcel._) That thing there is all right.
+
+JOHN (_pocketing the ten and sixpence after counting it carefully_).
+Daniel. I'm sorry, but there's an account of some thirty shillings I
+owe the McArdles, and I want to pay it the night. So if you don't
+mind--(_He holds out his hand._)
+
+DANIEL (_unwillingly_). Well, I suppose it can't be helped, John. But
+it leaves me just with nothing. However, there you are. (_He hands
+the pound over to him._ SAM BROWN _opens the yard door and peeps in
+cautiously._)
+
+JOHN (_looking at him angrily_). What ails _you_ anyway?
+
+BROWN. If you please sir, the posty wants the account signed for that
+letter.
+
+MARY. Oh, I forgot all about that. (_She picks up the receipt for the
+letter from the table._) I'll sign it for you, father. (_She goes over
+to_ BROWN, _who whispers somethings. She nods._) And I'll give it to
+him myself. (_She goes out following_ BROWN.)
+
+JOHN. It's a serious business, this, about the McMinns.
+
+DANIEL. You're all right, man. Wait a day or two. Take my advice. Do
+nothing in a hurry. Sit down and think it over the way I do when I'm
+working out a new idea. Don't rush things. It will all come right in
+the end. Just you wait and see if it doesn't.
+
+JOHN. Would it not be better to settle before going into the court?
+You know I couldn't stand being pointed out to of a Sunday morning and
+one and another talking--"There's the man that Sarah McMinn took the
+breach of promise case against." No, I couldn't stand that at all. It
+would be a disgrace to the Murrays for ever. I'm wondering now----(_He
+pauses lost in thought._)
+
+DANIEL (_alarmed_). John. Surely you wouldn't--you couldn't think of
+going back on what you said to me. Would you?
+
+JOHN. I wonder, Daniel, would you mind so much after all if I married
+her?
+
+DANIEL (_in an agonised voice_). I couldn't stand it. No, John, I
+couldn't stay. Any other woman but that McMinn.
+
+MARY (_appearing at the door followed by_ ALICK MCCREADY). Come on in,
+Alick.
+
+ALICK. Good morning, Mr. Murray. How are you, Mr. Dan? So you are back
+again? We're all glad to have you back.
+
+DANIEL. Thank you, Alick.
+
+MARY. Father. Alick says he heard Andy McMinn talking yesterday to
+some one at McArdle's shop, and he was telling them all about the
+whole business, and blaming it all on Uncle Dan.
+
+JOHN. And so the people are talking of me already? Now that I come to
+think of it, it was your Uncle Dan, and a brave ha'penny it's going to
+cost me. One thousand pounds.
+
+ALICK. Never mind, Mr. Murray. Maybe Uncle Dan will do something yet.
+What about the bellows? (DAN _makes a horrified movement to stop_
+ALICK _talking, but too late._)
+
+JOHN. Aye. Here, Daniel. I'll make a bargain with you. I'll leave you
+to the settling of the case, and you can find the money yourself to
+pay for it if you want to. And if you can't find the money, I'll marry
+her.
+
+MARY. Father, surely----
+
+JOHN. What? That's enough about it. I would as soon do without the
+marrying if I could. I don't want the woman at all, but I'll marry her
+before she gets a ha'penny off me. So you can settle it among
+yourselves. You can take charge of that letter, Dan, and make the best
+you can of it. (_He goes angrily out by yard door._)
+
+DANIEL. This is a nice mess you put me in for, Alick. What the divil
+made you mention the bellows?
+
+ALICK. I'm sorry, Mr. Dan. I wasn't thinking.
+
+DANIEL. The sooner you start and think a bit the better. If you don't
+help to settle the case--(_he looks angrily at_ ALICK)--well--I've a
+good deal of influence with somebody. (_He looks significantly at_
+MARY, _who is again examining the parcel._)
+
+ALICK. I'll do my best, Mr. Dan, to help you.
+
+MARY. What will we do, Uncle Dan?
+
+DANIEL. I suppose you've no money, Alick?
+
+ALICK. Well, I haven't much ready money, Mr. Dan, but I could lend you
+up to twenty pounds at a pinch.
+
+MARY. Twenty pounds would hardly be enough. Would it, uncle?
+
+ALICK. Better get hold of Andy and ask him.
+
+DANIEL. I don't like going near that woman at all.
+
+MARY. Alick! Could you not slip over and ask Andy to come across? You
+know what the McMinns are like. He'd come over for a shilling if he
+thought he'd get one. Ah, yes. You will, Alick. Won't you?
+
+ALICK. I'll go straight across now if you--if you----
+
+MARY. What?
+
+ALICK. If you'd leave us along the road a bit.
+
+DANIEL. Aye. Do. Mary. Leave him down to the gate anyway. I want to
+stay here and think over things a wee bit. That't the good wee girl.
+(_He gently urges her out with_ ALICK, _then goes over to the table,
+lifts the parcel, and sits down near the fireplace. Feeling the
+parcel._) I'm afraid, Dan Murray, it's all U. P. this time. I'm afraid
+it is. (_Then an idea seems to dawn on him, and he looks at the
+parcel._) Unless--unless--well--I wonder now if I--
+
+(KATE _and_ BROWN _enter through yard door._ BROWN _is carrying a
+bucket filled with washed potatoes._)
+
+KATE. There. Put it down there. You didn't know we wanted that much,
+did you not? You're getting as big an old liar as Mr.--(_She stops
+short on perceiving_ DANIEL.)
+
+BROWN (_looking up and then realising what had made her pause_). Aye.
+Go on. As who do you say, woman?
+
+KATE (_recovering herself_). Just as big an old liar as Andy McMinn.
+
+BROWN. Now, whist. The McMinns were aye decent folk. (_He glances
+across at_ DANIEL, _who apparently is not listening._) They're near
+people, and all that sort of thing, but once they say a thing they
+stick to it.
+
+KATE. They're a lot of mean scrubs, the whole caboosh of them.
+
+DANIEL (_to himself_). I wonder would twenty pounds be any use at
+all?
+
+BROWN (_nudging_ KATE _slyly_). I believe that once Sarah puts a price
+on a thing, like a pig or a sow, or a hen, the divil himself couldn't
+beat her down in the price of it. And Andy, they say, can beat the
+best dealer in the county from here to the Mourne. (DANIEL, _who has
+been listening uneasily, gets up and turns round to look at them._)
+It's the fine cigar that you were smoking, Mr. Daniel, this morning.
+
+DANIEL. Cigar? Yes. Yes.
+
+BROWN. Aye. A fine cigar, sir. There was a grand smell off it. I seen
+you coming up by the McMinns, sir, this morning on the road from the
+station.
+
+DANIEL. Yes. On the road from the station.
+
+BROWN. You didn't see them, but I noticed Andy and Sarah coming out to
+the gate when you had passed them and looking after you a long time.
+
+DANIEL. Is that so?
+
+BROWN. Aye. A long time, sir. I suppose, like myself, they smelled the
+cigar. (DANIEL _at once throws down the cigar in disgust._) Mr. Andy,
+they say, is guy fond of a good cigar, and I understand that he'll be
+for getting a few boxes of them soon, for the sister, they say, is
+coming into a lot of money.
+
+KATE. Ach, you and your cigars! Will you get out of this and quit
+tormenting people? Go on. Out you go.
+
+BROWN (_as if out of curiosity, picks up the cigar and goes out
+slowly_).
+
+DANIEL. He's a very impertinent man that. Very worrisome.
+
+KATE. Ach, never heed him, Mr. Dan! sure no one in this house does.
+You'll be tired after travelling, sir. Will I make you a drop of tea?
+
+DANIEL. It's hard to eat anything, Kate, when I'm worried.
+(_Despairingly._) I don't think there's another man living that has
+the same worries as I have. Something awful! Where's the pen and ink,
+I wonder?
+
+KATE. There's some here on the dresser, Miss Mary was using it
+to-day. (_She takes it over from the dresser to the table._ DANIEL
+_rises and goes over and sits down and begins slowly to write._) Cheer
+up, Mr. Daniel. Sure you sold the plans of the bellows anyway. Didn't
+you, sir? They had word up at the McAleenans the other night that you
+got two thousand for it.
+
+DANIEL (_astonished_). Eh? They said that.
+
+KATE. Aye. To be sure. McAndless told McArdle, and he told Smith the
+postman, and the postman told the McAleenans, and said he had seen
+letters about it. And McAleenan was up in McMinns the other night and
+told them, and I believe you never saw such an astonished crowd of
+people in all their lives.
+
+DANIEL. He told the McMinns that?
+
+KATE. Aye, last night I think it was.
+
+DANIEL. Last night? (_He looks at the letter._) Yesterday was the
+14th, wasn't it? Aye. It was. I wonder did they believe McAleenan?
+
+KATE. I don't think they know right what to make of it. And yon
+Scotchman was there at the time, and mind you, Mr. Dan, they say he
+looked quite serious when he heard it, and said such things as that
+happened many's a time.
+
+DANIEL (_incredulously_). Mackenzie said that?
+
+KATE. Aye. You know, I think it's maybe because he has a wee notion of
+Miss Mary, sir.
+
+DANIEL. It's quite possible. Quite possible. A nice wee girl is Mary.
+Fact, too good for the half of the clodhoppers about these parts. (_He
+takes up the parcel, pen, and ink, and paper, and goes across into the
+workshop._)
+
+KATE (_looking after him_). Poor creature. I'm feared he's for the
+road again if he doesn't worry out some way for himself. And God knows
+he's the one best fitted for it. (MARY _enters._) Well, did you see
+him off comfortably?
+
+MARY. Who?
+
+KATE. Alick McCready.
+
+MARY. Kate. I with you'd mind your own business.
+
+KATE. It's a sore time I have in this house minding my own and every
+other bodies' business.
+
+MARY. Kate. He said I couldn't bake a cake to save my life. I'll just
+show him that I can, and you're not to help me, mind you. I'm going to
+do it all myself.
+
+MARY. Where's the flour?
+
+KATE. There's none in the house, Miss Mary.
+
+MARY. What?
+
+KATE. You mind it was all used up this morning on account of them
+cakes that nearly killed your poor ould da.
+
+MARY. Go down to McArdles, Kate, and get a quarter stone on account.
+
+KATE. Your da told me this morning, Miss Mary, that I wasn't to get
+any more from McArdles or any other place unless he gives me an order
+for it. Do you not mind?
+
+MARY (_dejectedly_). So he did. I had forgotten.
+
+KATE. Aye. Quite so, Miss. (_She sits down contentedly._)
+
+MARY. I wonder is Uncle Dan about?
+
+KATE. Aye. He's in his workshop, Miss.
+
+MARY (going over and knocking at door of workshop). Uncle Dan!
+
+DANIEL (_appearing at door_). Well, Mary?
+
+MARY. Uncle Dan, could you give me sixpence?
+
+DANIEL (_jumbling in his pockets_). Sixpence? Sixpence, Mary? Bless
+your wee heart. Here. Here's a two shilling bit. But Mary, mum's the
+word. Don't tell John I gave it to you.
+
+MARY. No. Thank you, uncle. (DANIEL _goes in again._) There, Kate,
+quick as you can and don't stop to talk to anybody. Sure you won't?
+(_She hands_ KATE _the money and takes up the recipe book._)
+
+KATE. I'm not dirty looking--am I, Miss Mary?
+
+MARY (_absorbed in the book_). No. You'll do grand. Flour, currants.
+
+KATE. Ach! You and your currants. Could you not tell a body was her
+face clean?
+
+MARY. It's lovely. Hurry, Kate. (KATE _shrugs her shoulders
+disgustedly, and goes out by yard door._) Flour, currants----(_She
+goes over to the workshop door and listens_)--raisins--(_A sound as of
+a blast blowing can be heard._ MARY _becomes intensely interested,
+and, throwing aside the book, kneels down and puts her head to the
+keyhole._) He's actually got something to work. (_She peeps in._) He
+has, indeed. (_She laughs, knocks loudly at the door, and then runs to
+the other side of the kitchen._ DANIEL _opens the door and cautiously
+peeps out._) Uncle Danny! Ha! Ha! Uncle Danny! (_Dancing up and down
+in front of the fireplace._) Uncle Dan's a wonderful man! Uncle Dan's
+a wonderful man!
+
+DANIEL (_amazed_). What's all this?
+
+MARY. I'm a cleverer girl than you think, Uncle Dan! I know your great
+surprise. I've found it out. And you've actually got it to work!
+That's splendid, uncle, isn't it? Father will be awful proud when he
+hears about it. And you did it all yourself, uncle?
+
+DANIEL. Well, I took those plans, Mary, to a handy chap, an
+acquaintance of mine, and he made it out according to my design. I'm
+not sure--I think it works all right.
+
+MARY. And did you get it sold, uncle?
+
+DANIEL. No, Mary, but I have hopes--great hopes. (_He wanders up to
+the window apparently searching for the screw driver._)
+
+MARY. Do you think you'd get more than one thousand pounds for it?
+
+DANIEL (_looking out of window and seeing someone approaching_). Don't
+know, Mary. Don't know. Very hard to know these things. Where could
+that screw driver be I wonder?
+
+MARY. I think I saw father working with it last at something in the
+parlour. Will I get it for you, Uncle Dan? (_Knocking at door._)
+
+DANIEL. No. Never mind, Mary. I'll get it myself. There's someone at
+the door. You better open the door, Mary. (_He goes off hurriedly to
+parlour._) (_Knocking at yard door._) Come in. (DONAL MACKENZIE _opens
+the door and comes in._)
+
+MACKENZIE. Fine afternoon, Miss Murray.
+
+MARY (_coldly_). Good day to you.
+
+MACKENZIE. I'm going off to Scotland verra soon, and I thought I would
+call over to see you before I went off. You're no angry, are you?
+
+MARY. No. (MACKENZIE _seats himself at the table._)
+
+MACKENZIE. Did you get a post card?
+
+MARY. I got some silly thing this morning that I tore up.
+
+MACKENZIE. I'm sorry. I'm verra fond of you, Mary.
+
+MARY. Miss Murray, please.
+
+MACKENZIE. A girl like you is lost here, you know. Now, if you were a
+Scotch lassie you would have a great time enjoying yourself. In a
+place like Greenock we have a theatre, and we have a music hall and a
+cinematograph show on Saturdays and trains to Glasgow. You could have
+a grand time in Scotland.
+
+MARY. Do you really like me, Mr. Mackenzie?
+
+MACKENZIE. Verra much. Indeed I--
+
+MARY. Well. Look here. I would like you very, very much too, if
+you----
+
+MACKENZIE. If I what, bonnie Mary?
+
+MARY. I'd even let you call me Mary, and write to me if you wanted to,
+if you would do me a favour.
+
+MACKENZIE. What's the favour?
+
+MARY. Uncle Dan has brought home his fan bellows, and it works.
+
+MACKENZIE (_laughs_). The fan bellows! I think he'll never make much
+of a fortune of his fan bellows.
+
+MARY. Do you ever examine new inventions?
+
+MACKENZIE. Aye. I'm a specialist on that, you know. I'm the writer of
+the inventions column in the Scottish----
+
+MARY. Yes. Yes. That's all right. I know. Are all the inventions you
+write about good things?
+
+MACKENZIE. Eh? Ninety-nine per cent. rotten, lassie. Ninety-nine per
+cent. perfectly rotten. People don't invent a reciprocating piston
+that works every day in the week, or a fan bellows either.
+
+MARY. But if you liked the inventor you could do him a good turn all
+the same?
+
+MACKENZIE. Aye. I did that often.
+
+MARY. Then could you do a good turn for Uncle Dan?
+
+MACKENZIE. Give the bellows a boost up. No, Mary. I could nae. I don't
+like to grieve you, but committing perjury--No. I couldn't do it,
+Mary.
+
+MARY (_coming closer_). Yes. You would. You'd do it for me. Won't you?
+
+MACKENZIE. Eh?
+
+MARY. Look. Uncle Dan has his new fan bellows in that workshop. Go in
+and look at it, and if you do like me really, you could tell the
+McMinns that it was good--even if it wasn't quite perfect.
+
+MACKENZIE (_hesitatingly_). Um. I'll consider the question.
+
+(DANIEL _re-enters. He stops short on seeing_ MACKENZIE, _and seems to
+become very uncomfortable._)
+
+MARY. Uncle Dan! Mr. Mackenzie's going to examine your bellows.
+
+DANIEL. I don't allow everybody to go and look at it. No. I refuse.
+It's my property and no one else's.
+
+MARY. Uncle Dan. (_She looks at him meaningly._) Mr. Mackenzie has
+promised to give his opinion on it.
+
+DANIEL. It's not protected yet by patent.
+
+MACKENZIE. Andy McMinn is coming over, Mr. Murray. He has got orders
+from his sister to settle the case for her. Are you going to pay the
+money?
+
+DANIEL. That is a matter of my own deciding. (MARY _goes over to her
+uncle and whispers to him._)
+
+MACKENZIE. Verra well. I may go. (_To_ MARY.) I would have done you
+that good turn, Miss Murray; but there's no enmity between us. And
+(_lowering his voice_)--I hope you get the best of the McMinns in the
+bargain. Don't give in, Mr. Murray, easy. Take my tip. I'm from the
+stables, you know. (_He laughs knowingly._)
+
+MARY. Here's Andy now (_she looks out through the window_), and
+Alick's with him. (_She opens the door,_ ANDY MCMINN _and_ MCCREADY
+_enter._ MCCREADY _glances at_ MARY _and_ MACKENZIE, _and goes over
+sulkily to the fireplace._ ANDY _advances awkwardly towards_ DANIEL.)
+
+DANIEL (_genially_). Good afternoon, Andy.
+
+ANDY. Good afternoon. (_He looks at_ MACKENZIE, _who nods curtly._) I
+suppose you know I've power to settle the case.
+
+DANIEL. Well, you wrote the letter, and so, in point of law, I think
+it is you who should look after all this unfortunate business. Believe
+me, Andy, I sympathise with you. I do indeed. (MARY _and_ MACKENZIE
+_become absorbed in conversation near the table._ ALICK MCCREADY
+_stands at the fireplace looking at them and unable to conceal his
+jealousy, makes sundry odd noises to distract_ MARY'S _attention. She
+pretends not to hear him._) I have your letter here. (_He searches in
+his pocket and produces it._) Yes. One thousand pounds. Do you not
+think that a trifle high?
+
+ANDY. Well. You know we could have as easily claimed two thousand, but
+we didn't like to break you altogether; so we just said that a
+thousand would come pretty near it.
+
+MACKENZIE. Mr. Daniel, may I look at the bellows?
+
+MARY. Uncle Dan, I'm sure you won't object. (_She makes a gesture as
+if asking him to assent._)
+
+DANIEL (_looking hard at her, and then seeming to understand what she
+is about_). Yes. Yes. I'll thrash out the matter here with Andy.
+(MACKENZIE _goes across into the workshop, followed by_ MARY. MCCREADY
+_sits down disconsolately at the fireplace and begins to smoke his
+pipe moodily._) A thousand pounds is impossible. Absolutely out of
+the question.
+
+MCCREADY (_to himself_). Ach. She only torments me.
+
+DANIEL (_looking over wonderingly_). Eh? People behave strangely
+sometimes, Andy. Very strangely. (MCCREADY _makes no response, but
+sits with his back to the two of them._) Just a moment, Andy. What
+about a wee drink. Eh, Andy?
+
+ANDY. Aye. Well, I wouldn't mind at all, Daniel.
+
+DANIEL. Just to show there's no ill-feeling over this unfortunate
+business. (_He goes to the clock, opens the panel door and takes out a
+bottle of whiskey, gets glasses from the dresser and pours out a small
+portion of whiskey into each._) Good health, Andy.
+
+ANDY. Good health, Daniel. (_They drink._)
+
+DANIEL. Now to go on with our business. I don't think, in the first
+case, that this was an affaire de coeur, as the Frenchmen say.
+
+ANDY. Eh?
+
+DANIEL. You don't understand French? Of course not. No. It wasn't a
+love affair, I mean. I don't think Sarah was in love with John, was
+she?
+
+ANDY (_hesitatingly_). Well--indeed, now, I don't know that she was.
+
+DANIEL. No. We're all aware of that. He was just what we'd call a
+likely man. That's all.
+
+ANDY. Aye. He would have been a good match for her.
+
+DANIEL. Yes. Quite so, Andy. He would have been a good match for her.
+(_He makes notes in a pocket book._) Nothing like notes, Andy. Now, so
+much for the love part of the business. They never exchanged letters?
+
+ANDY. No. No letters.
+
+DANIEL (_writing_). No letters. Of course in a breach of promise
+letters are a great help. A great help. I'm very glad, however, just
+for your sister's sake, that she never wrote any to John. Imagine them
+reading out the love letters in the open court, and all the servant
+boys gaping and laughing.
+
+ANDY. It's not nice, right enough. It's one thing I wouldn't like.
+
+DANIEL. No. It's one thing we would not like. Well. No love. No
+letters. Next thing. He never courted her?
+
+ANDY. Well, he came over and sat in the house a few nights.
+
+DANIEL. Yes. No doubt. But hadn't he always some message on business
+to transact with you? Loan of a plough or a horse, or something like
+that?
+
+ANDY (_uneasily_). That's so, of course.
+
+DANIEL. Ah, yes. That's so, of course.
+
+ANDY. But I seen him with his arm round her the night of the social at
+the school house.
+
+DANIEL. Andy. That's a wee failing of John's. I often warned him about
+doing that sort of thing indiscriminately. A bit of a ladies' man,
+John, in his way. I saw him do the same nonsense four or five times
+that night with other girls. John likes to think himself a bit of a
+gay dog, you know. It's not right--I don't think myself it's a bit
+proper to put your arm round a girl's waist on every occasion, but
+sometimes it's quite allowable. A night like a social, for instance.
+
+ANDY. Aye. Of course a social's different.
+
+DANIEL. Aye, Andy, a social's different. Well, now. No love, no
+letters, no courting, no photographs exchanged? (_He looks at_ ANDY
+_inquiringly_). No photographs exchanged? (_He notes it down._) No
+ring? In fact, Andy, no nothing.
+
+ANDY. But he proposed to her right enough.
+
+DANIEL. Who said so?
+
+ANDY (_astonished_). What? Do you mean to deny he didn't?
+
+DANIEL. My dear Andy, I don't know. There was no one there but the
+two, I suppose, when he asked her--if he did ask her. There's only her
+word for it.
+
+ANDY. He wouldn't deny it himself?
+
+DANIEL. Well. That depends on whether he really asked her to marry him
+of course. And it's likely enough that John would be inclined to deny
+it if his memory was at all bad--it is a bad memory he has, you know.
+He forgets often to return your ploughs and that sort of thing.
+
+ANDY (_blankly_). Aye. He has a bad memory.
+
+DANIEL. Yes. Just so. And the fact that a verdict of one thousand
+pounds would hang on it would hardly make it any better. Would it?
+You've a bad case against us, Andy. A rotten case! In fact, looking
+over the whole thing carefully, do you really believe you'd make even
+a ten pound note out of us?
+
+ANDY (_despairingly_). I wish Sarah had come and settled the case
+herself.
+
+DANIEL. Ah, no. You've a better head, Andy, for seeing the sensible
+side of a thing, far better. (MARY _comes out of the workshop smiling
+gaily._) Well?
+
+MARY. Uncle Dan, he's delighted with it.
+
+ANDY. What with? The bellows?
+
+MARY. Yes. Go in, Andy, till you see it.
+
+ANDY. Is it true, Daniel, you were offered two thousand for it?
+
+DANIEL. We'll just go in and have a look at it. (ANDY _and he go into
+workshop._)
+
+MARY (_looking across at_ ALICK). What's the matter?
+
+ALICK. Nothing. I'm going home. (_He goes across to the yard door._)
+
+MARY. Alick!
+
+MCCREADY. Goodbye.
+
+MARY. And I was going to go to all the trouble of baking a big plum
+cake for you, you big ungrateful thing.
+
+MCCREADY (_stopping at the door_). I know what your plum cakes would
+be like. (_He opens the door and stops again before going out._)
+
+MARY. Well, get that big, ugly Maggie Murphy to bake them for you
+then.
+
+MCCREADY (_looking out through door and then coming inside again_). I
+say, here's Kate and your father coming and a load of flour.
+
+MARY (_in a frightened voice_). Kate and father?
+
+MCCREADY. He seems to be in a bit of a temper.
+
+MARY (_in a frightened voice_). He's caught her with the flour!
+
+MCCREADY (_laughing_). Flour? Aye--she's carrying about three stone of
+it! Boys, but that would make a powerful pudding!
+
+MARY. It was to have been the nicest one I could have baked.
+
+MCCREADY (_coming in and going over to her_). Mary.
+
+MARY. What?
+
+MCCREADY. You wouldn't come to my house where there would be no stint
+of flour or raisins or anything else, and I'd eat all you cooked for
+me no matter if I was dying after it.
+
+MARY. Go to your house!
+
+ALICK. Aye. Look here, wee girl. I got this----(_He fumbles and
+produces a ring._) Let me put that on your wee finger, won't you?
+
+MARY. Oh, Alick, what a lovely wee ring. (_She allows him to put it on
+her finger, and is shyly kissing him when_ JOHN _enters, followed by_
+KATE, _who is trying vainly to stop a leak in the bag of flour which
+she is carrying._ KATE _goes to the dresser and places the bag on
+it._)
+
+JOHN (_severely to_ MARY). Mary. Did you send her for more flour?
+
+MARY (_meekly_). Yes, father.
+
+JOHN. And didn't I leave word there was no more to be got without my
+orders? (MARY _hangs her head._) It's lamentable the waste in this
+house! I was just looking at the pass book last night, and you'd think
+this house was a bakery to see the amount of flour comes into it.
+
+MARY (_submissively_). I'm sorry, father.
+
+JOHN. When I was out on the road, I seen a trail of flour leading up
+our loaning, and says I to myself, Jeminy' father, are they getting
+some more! So I followed up the mark and just caught up on her coming
+through the gate.
+
+MARY (_a little defiantly_). It's paid for, Kate, anyway. Isn't it?
+
+KATE. It is, Miss. (_She busies herself putting the flour into a box,
+and then slips out during the next speech._)
+
+JOHN. Eh? Who give you the money?
+
+MARY (_going over to her father and whispering_). Uncle Dan is in
+there, father, with Andy McMinn and Mr. Mackenzie, the Scotch
+engineer, looking at his bellows.
+
+JOHN (_amazed_). Eh? Andy McMinn? Is Dan settling the case?
+
+MARY. I believe he'll do it yet.
+
+JOHN (_admiringly_). He has a great head on him, Daniel.
+
+MACKENZIE (_coming out of workshop and going over to_ MARY). Mary, I'm
+sorry. That bellows is such an absolutely rotten thing--so useless and
+so absolutely rotten that I can't--(_He sees_ JOHN.) How are you, Mr.
+Murray?
+
+JOHN. Fine day.
+
+MARY (_appealingly_). Mr. Mackenzie, what did you say to Andy about
+it?
+
+MACKENZIE. What did I say? Oh, ma perjured conscience--I said it was a
+grand thing. (DANIEL _and_ ANDY MCMINN _come in from workshop._)
+
+ANDY (_nervously_). Brave day, John.
+
+JOHN. Aye. It is.
+
+ANDY. Sarah gave me power to settle the case.
+
+JOHN. I'm glad to hear it.
+
+MACKENZIE. I tell you what it is, Mr. Daniel Murray. It's a good thing
+that--a right good thing, and I'll make you an offer for it.
+
+ANDY (_eagerly_). What's it worth?
+
+MACKENZIE (_with a look at_ MARY). It's worth--it's worth more than
+all the damages your sister will get from Mr. Murray.
+
+DANIEL (_suddenly_). I tell you what it is, Andy, and believe me when
+I tell you, I'm sacrificing a great deal. I'll make a deal with you.
+Instead of a lump sum cash down, I'll hand over all the rights and
+royalties of that same bellows to you to settle the case.
+
+ANDY (_dubiously_). I--I don't know.
+
+DANIEL. You will have all the expense of the law, the bad name that
+your sister will be having over the head of being in a breach of
+promise, and all the expenses of solicitors and lawyers. Then, after
+that, trying to get the money out of us, and, mind you, we will fight
+you to the last ditch. Won't we, John?
+
+JOHN. Aye.
+
+DANIEL. There now. What do you say, Mr. Mackenzie?
+
+MACKENZIE. I tell you what it is, Mr. Murray. I'll make you an offer
+for----
+
+ANDY (_hastily_). I'll take your offer, Daniel.
+
+DANIEL. One second. I drew up a wee agreement for you to sign, and
+I'll fetch the bellows. (_He goes into the workshop._)
+
+ANDY. I don't like signing my name to agreements or things like that
+unless I'm quite certain they're all right, Mr. Mackenzie.
+
+MACKENZIE (_with a sly look at_ MARY). Well, if you have any
+compunction about signing, I'll do it myself.
+
+MARY. I think Uncle Dan's a fool to throw away the thing that way. I
+do indeed. (DANIEL _comes out with the parcel and the pen, ink and
+paper._)
+
+DANIEL. Just sign your name to that, Andy. It's a sort of agreement to
+settle the case--you can read it for yourself. (_He hands a sheet of
+paper to_ ANDY _with the pen._) It's to show that the whole thing is
+fixed up to the satisfaction of everybody. (ANDY _looks at it and then
+signs._) Ah. Good! Now, Alick, and you, Mr. Mackenzie, just witness it
+and the date. (_They both sign._) And now, Andy, there's your bellows.
+(ANDY _looks at it, and then takes it under his arm._) And may you
+have the best of luck with it. (ANDY _looks wonderingly at the parcel
+in his arms and moves slowly towards the door._)
+
+MACKENZIE. Noo, my reward, Miss Murray--Mary rather. (_He goes forward
+and she stretches out her hand for him to shake, when he notices the
+ring, and stops short._)
+
+JOHN. I hope you're satisfied, Andy.
+
+ANDY. I'm just wondering, Mr. Mackenzie, do you think----
+
+MACKENZIE. I think nothing for a year. I'll--I'll--I'm for Scotland in
+the morning. (_He goes out morosely through the door._)
+
+DANIEL. There, Andy. There's company home for you, and good luck to
+you. It's a sad heart I'll have this night.
+
+ANDY. I'm wondering what Sarah would say--(_He goes to the door._)
+Ach! She couldn't do better herself. No courting.
+
+DANIEL. No. No courting.
+
+ANDY. And no love and no letters.
+
+DANIEL. No. No love and no letters.
+
+ANDY. And no ring nor nothing, and a thousand pound bellows.
+
+DANIEL. Yes, Andy. And a thousand pound bellows. (_He wanders out
+abstractedly._ DANIEL _follows him to the door and shouts after
+him_)--Goodbye, Andy. And may you have the best of luck with it.
+
+ANDY (_without_). Thank ye, Daniel. Goodbye. (DANIEL _closes the door
+after him and looks sadly but triumphantly across at_ JOHN. ALICK
+_and_ MARY _go to the window together and look out after_ ANDY.)
+
+DANIEL. Well, John?
+
+JOHN (_with a sigh of intense relief and gratitude_). Dan, I've said
+it before, and I'll say it again, you've a great head on you, Daniel.
+
+(CURTAIN.)
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK THE DRONE***
+
+
+******* This file should be named 20176.txt or 20176.zip *******
+
+
+This and all associated files of various formats will be found in:
+http://www.gutenberg.org/dirs/2/0/1/7/20176
+
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://www.gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://www.gutenberg.org/about/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:
+http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
diff --git a/20176.zip b/20176.zip
new file mode 100644
index 0000000..3f25ad2
--- /dev/null
+++ b/20176.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..0e7f578
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #20176 (https://www.gutenberg.org/ebooks/20176)