The Drone | Page 7

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