] -- Well, isn't
it a queer thing she can't keep herself two days without looking
on my face?
TIMMY -- [jeeringly.] -- Looking on your face is it? And she
after going by with her head turned the way you'd see a priest
going where there'd be a drunken man in the side ditch talking
with a girl. (Martin Doul gets up and goes to corner of forge,
and looks out left.) Come back here and don't mind her at all.
Come back here, I'm saying, you've no call to be spying behind
her since she went off, and left you, in place of breaking her
heart, trying to keep you in the decency of clothes and food.
MARTIN DOUL -- [crying out indignantly.] -- You know rightly,
Timmy, it was myself drove her away.
TIMMY. That's a lie you're telling, yet it's little I care which
one of you was driving the other, and let you walk back here, I'm
saying, to your work.
MARTIN DOUL -- [turning round.] -- I'm coming, surely.
[He stops and looks out right, going a step or two towards
centre.]
TIMMY. On what is it you're gaping, Martin Doul?
MARTIN DOUL. There's a person walking above. . . . It's Molly
Byrne, I'm thinking, coming down with her can.
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