Contemporary One-Act Plays Part 61

LUKE. I ain't got no call to do your killin' fer you. If ye hain't sport enough to do it yerself, I reckon ye kin go on sufferin'.

REVENUE. But I told you why I don't want to do it. One murder more or less means nothing to you. You don't care anything about the hereafter.

LUKE. Mebbe I don't, but there ain't no use my takin' any more chances than I have to. And what's more, mister, from what you been tellin' me I reckon there's a charm on you, and I ain't goin' to take no chances goin' agin charms.

REVENUE. So _you're_ going to go back on me?

LUKE. Yes, siree.

REVENUE. Well, maybe some of the other boys will be willing. I'll wait till they come.

LUKE. The other boys ain't goin' to see you. You're a leavin' this yer place right now--now! It won't do no good. You may as well go peaceable; ye ain't got no right to expect us to bear yer burdens.

REVENUE. d.a.m.n it all! I've spoiled it again.

LUKE. I reckon you better make up yer mind to go on livin'.

REVENUE. That looks like the only way out.

LUKE. Come on, I'll let you ride my horse to town. It's the only one we got, so yu can leave it at Two Gun Jake's, and one o' the boys'll go git it, or I reckon I'll go over myself and see if Jake made a job of it.

REVENUE. I suppose it's no use arguing with you.

LUKE. Not a bit. Come on, you.

REVENUE. Well, I'd like to leave my address so if you ever come to New York you can look me up.

LUKE. 'Tain't likely I'll ever come to New York.

REVENUE. Well, I'll leave it, anyhow. Have you a piece of paper?

LUKE. Paper what you write on? Never had none, mister.

REVENUE. [_Looking about room, sees_ JIM DUNN's _picture on wall, goes to it, takes it down_.] If you don't mind, I'll put it on the back of Jim Dunn's picture. [_Placing picture on table, begins to print._] I'll print it for you, so it'll be easy to read. My address is here, so if you change your mind you can send for me.

LUKE. 'Tain't likely--come on. [_Both go to doorway_--LUKE _extends hand_, REVENUE _takes it_.] Good-by, mister--cheer up ... there's the horse.

REVENUE. Good-by. [_Shaking_ LUKE'S _hand_.

LUKE. Don't be so glum, mister. Lemme hear you laff jist onct before yu go. [REVENUE _begins to laugh weakly_.] Aw, come on, laff out with it hearty. [REVENUE _laughs louder_.] Heartier yit.

[REVENUE _is now shouting his laughter, and is heard laughing until hoof-beats of his horse die down in the distance_.

[LUKE _watches for a moment, then returns to table--takes a drink--picks up picture--turns it around several times before getting it right--then begins to study. In attempting to make out the name he slowly traces in the air with his index finger a capital "J"--then mutters "J-J-J," then describes a letter "I"--mutters "I-I-I," then a letter "M"--muttering "M-M-M, J-I-M--J-I-M--JIM." In the same way describes and mutters D-U-N-N._

LUKE. Jim Dunn! By G.o.d! [_He rushes to corner, grabs shot-gun, runs to doorway, raises gun in direction stranger has gone--looks intently--then slowly lets gun fall to his side, and scans the distance with his hand shadowing his eyes--steps inside--slowly puts gun in corner--seats himself at table._] Jim Dunn!--and he begged me to kill 'im!!

MODESTY

BY

PAUL HERVIEU

_Modesty_ is reprinted by special permission of Barrett H. Clark, the translator of the play from the French, and of Samuel French, publisher, New York City. All rights reserved. For permission to perform, address Samuel French, 28-30 West 38th Street, New York City.

PAUL HERVIEU

Paul Hervieu, one of the foremost of contemporary French dramatists, was born in 1857 at Neuilly, near Paris. Although he prepared for the bar, having pa.s.sed the examination at twenty, and practised his profession for a few years, he soon set to writing short stories and novels which appeared in the early eighties. _The Nippers_, in 1890, established his reputation as a dramatist. The remainder of his life was given to writing for the stage. In 1900 he was elected to the French Academy. He died October 15, 1915.

In addition to _The Nippers_, Hervieu's best-known long plays are _The Pa.s.sing of the Torch_, _The Labyrinth_, and _Know Thyself_.

_Modesty_ is his well-known one-act play. In subtlety of technic and in delicacy of touch it is one of the finest examples of French one-act plays. Its humor and light, graceful satire are noteworthy.

PERSONS IN THE PLAY

HENRIETTE JACQUES ALBERT

MODESTY

TIME: _The present._

SCENE: _A drawing-room. Entrance_, C; _sofa, chairs, writing-desk._ JACQUES _and_ HENRIETTE _enter_ C, _from dinner_. HENRIETTE _in ball costume_, JACQUES _in evening dress. They come down_ C.

HENRIETTE. What is it? Is it so terribly embarra.s.sing?

JACQUES. You can easily guess.

HENRIETTE. You're so long-winded. You make me weary--come to the point.

JACQUES. I'll risk all at a stroke--My dear Henriette, we are cousins. I am unmarried, you--a widow. Will you--will you be my wife?

HENRIETTE. Oh, my dear Jacques, what _are_ you thinking of? We were such good friends! And now you're going to be angry.

JACQUES. Why?

HENRIETTE. Because I'm not going to give you the sort of answer you'd like.

JACQUES. You don't--you don't think I'd make a good husband?