MADAME BAIL. No, nothing, only--as I rather suspected what was going on
in here--and was afraid--of a quarrel--I met her as she was going out,
and I--spoke to her.
LAMBLIN [_taking her hands--joyfully_]. I thank you! [_They are both
embarrassed for a moment, then sit down._] Ah, good. Well, and Marthe?
MADAME BAIL [_pointing to Marthe who enters_]. There she is. What did I
tell you? [_Marthe enters without saying a word. She brings her work,
Madame Bail takes up hers, and sits next her. A pause. Madame Bail
speaks to Marthe._] What a pretty design! Where did you find the
pattern?
MARTHE. I just picked it up at the store.
MADAME BAIL. It's charming. I must get one like it.
LAMBLIN [_ill at ease_]. May I see it, little one? [_Marthe unrolls the
embroidery for him and shows it._] Oh, it's perfectly lovely! We men
would be hard put to it to make anything half as beautiful! [_He laughs
awkwardly, and pours out some cognac, in full sight of Marthe._]
MARTHE [_quickly_]. That's ridiculous, Alfred. [_Then she says slowly,
as she lowers her eyes._] You'll make yourself ill!
LAMBLIN [_in perfect contentment_]. How charming she is!
[_Curtain._]
FRANÇOISE' LUCK
A COMEDY
BY GEORGES DE PORTO-RICHE
(La Chance de Françoise.)
TRANSLATED BY BARRETT H. CLARK.
Copyright, 1917, by Stewart & Kidd Company.
All rights reserved.
PERSONS REPRESENTED
MARCEL DESROCHES.
GUÉRIN.
JEAN.
FRANÇOISE.
MADELEINE.
SCENE: _Auteuil_.
TIME: _Present_.
Presented for the first time December 10,1888, in Paris, at the
Théâtre Libre.
FRANÇOISE' LUCK is reprinted from "Four Plays of the Free Theatre,"
translated by Barrett H. Clark by permission of Messrs. Stewart & Kidd
Company, Cincinnati, Ohio.
FRANÇOISE' LUCK
A COMEDY BY GEORGES DE PORTO-RICHE
[_A studio. At the back is a door opening upon a garden; doors to
the right and left; likewise a small inconspicuous door to the
left. There are a few pictures on easels. The table is littered
with papers, books, weapons, bric-a-brac. Chairs and sofas. It is
eleven o'clock in the morning._]
Public-domain text, read in full here on John Shaqi.
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