LITMIR.BIZ

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he excelled himself in the new piece, the scenario of which would appear to be very much the better of the two.

      After Maure came Pipriac, where four performances were given, two of each of the scenarios that now formed the backbone of the Binet repertoire. In both Scaramouche, who was beginning to find himself, materially improved his performances. So smoothly now did the two pieces run that Scaramouche actually suggested to Binet that after Fougeray, which they were to visit in the following week, they should tempt fortune in a real theatre in the important town of Redon. The notion terrified Binet at first, but coming to think of it, and his ambition being fanned by Andre–Louis, he ended by allowing himself to succumb to the temptation.

      It seemed to Andre–Louis in those days that he had found his real metier, and not only was he beginning to like it, but actually to look forward to a career as actor-author that might indeed lead him in the end to that Mecca of all comedians, the Comedie Francaise. And there were other possibilities. From the writing of skeleton scenarios for improvisers, he might presently pass to writing plays of dialogue, plays in the proper sense of the word, after the manner of Chenier, Eglantine, and Beaumarchais.

      The fact that he dreamed such dreams shows us how very kindly he had taken to the profession into which Chance and M. Binet between them had conspired to thrust him. That he had real talent both as author and as actor I do not doubt, and I am persuaded that had things fallen out differently he would have won for himself a lasting place among French dramatists, and thus fully have realized that dream of his.

      Now, dream though it was, he did not neglect the practical side of it.

      “You realize,” he told M. Binet, “that I have it in my power to make your fortune for you.”

      He and Binet were sitting alone together in the parlour of the inn at Pipriac, drinking a very excellent bottle of Volnay. It was on the night after the fourth and last performance there of “Les Feurberies.” The business in Pipriac had been as excellent as in Maure and Guichen. You will have gathered this from the fact that they drank Volnay.

      “I will concede it, my dear Scaramouche, so that I may hear the sequel.”

      “I am disposed to exercise this power if the inducement is sufficient. You will realize that for fifteen livres a month a man does not sell such exceptional gifts as mine.

      “There is an alternative,” said M. Binet, darkly.

      “There is no alternative. Don’t be a fool, Binet.”

      Binet sat up as if he had been prodded. Members of his company did not take this tone of direct rebuke with him.

      “Anyway, I make you a present of it,” Scaramouche pursued, airily. “Exercise it if you please. Step outside and inform the police that they can lay hands upon one Andre–Louis Moreau. But that will be the end of your fine dreams of going to Redon, and for the first time in your life playing in a real theatre. Without me, you can’t do it, and you know it; and I am not going to Redon or anywhere else, in fact I am not even going to Fougeray, until we have an equitable arrangement.”

      “But what heat!” complained Binet, “and all for what? Why must you assume that I have the soul of a usurer? When our little arrangement was made, I had no idea how could I? — that you would prove as valuable to me as you are? You had but to remind me, my dear Scaramouche. I am a just man. As from to-day you shall have thirty livres a month. See, I double it at once. I am a generous man.”

      “But you are not ambitious. Now listen to me, a moment.”

      And he proceeded to unfold a scheme that filled Binet with a paralyzing terror.

      “After Redon, Nantes,” he said. “Nantes and the Theatre Feydau.”

      M. Binet choked in the act of drinking. The Theatre Feydau was a sort of provincial Comedie Francaise. The great Fleury had played there to an audience as critical as any in France. The very thought of Redon, cherished as it had come to be by M. Binet, gave him at moments a cramp in the stomach, so dangerously ambitious did it seem to him. And Redon was a puppet-show by comparison with Nantes. Yet this raw lad whom he had picked up by chance three weeks ago, and who in that time had blossomed from a country attorney into author and actor, could talk of Nantes and the Theatre Feydau without changing colour.

      “But why not Paris and the Comedie Francaise?” wondered M. Binet, with sarcasm, when at last he had got his breath.

      “That may come later,” says impudence.

      “Eh? You’ve been drinking, my friend.”

      But Andre–Louis detailed the plan that had been forming in his mind. Fougeray should be a training-ground for Redon, and Redon should be a training-ground for Nantes. They would stay in Redon as long as Redon would pay adequately to come and see them, working hard to perfect themselves the while. They would add three or four new players of talent to the company; he would write three or four fresh scenarios, and these should be tested and perfected until the troupe was in possession of at least half a dozen plays upon which they could depend; they would lay out a portion of their profits on better dresses and better scenery, and finally in a couple of months’ time, if all went well, they should be ready to make their real bid for fortune at Nantes. It was quite true that distinction was usually demanded of the companies appearing at the Feydau, but on the other hand Nantes had not seen a troupe of improvisers for a generation and longer. They would be supplying a novelty to which all Nantes should flock provided that the work were really well done, and Scaramouche undertook — pledged himself — that if matters were left in his own hands, his projected revival of the Commedia dell’ Arte in all its glories would exceed whatever expectations the public of Nantes might bring to the theatre.

      “We’ll talk of Paris after Nantes,” he finished, supremely matter-of-fact, “just as we will definitely decide on Nantes after Redon.”

      The persuasiveness that could sway a mob ended by sweeping M. Binet off his feet. The prospect which Scaramouche unfolded, if terrifying, was also intoxicating, and as Scaramouche delivered a crushing answer to each weakening objection in a measure as it was advanced, Binet ended by promising to think the matter over.

      “Redon will point the way,” said Andre–Louis, “and I don’t doubt which way Redon will point.”

      Thus the great adventure of Redon dwindled to insignificance. Instead of a terrifying undertaking in itself, it became merely a rehearsal for something greater. In his momentary exaltation Binet proposed another bottle of Volnay. Scaramouche waited until the cork was drawn before he continued.

      “The thing remains possible,” said he then, holding his glass to the light, and speaking casually, “as long as I am with you.”

      “Agreed, my dear Scaramouche, agreed. Our chance meeting was a fortunate thing for both of us.”

      “For both of us,” said Scaramouche, with stress. “That is as I would have it. So that I do not think you will surrender me just yet to the police.”

      “As if I could think of such a thing! My dear Scaramouche, you amuse yourself. I beg that you will never, never allude to that little joke of mine again.”

      “It is forgotten,” said Andre–Louis. “And now for the remainder of my proposal. If I am to become the architect of your fortunes, if I am to build them as I have planned them, I must also and in the same degree become the architect of my own.”

      “In the same degree?” M. Binet frowned.

      “In the same degree. From to-day, if you please, we will conduct the affairs of this company in a proper manner, and we will keep account-books.”

      “I am an artist,” said M. Binet, with pride. “I am not a merchant.”

      “There is a business side to your art, and that shall be conducted in the business manner. I have thought it all out for you. You shall not be troubled with details that might hinder the due exercise of your art. All that you have to do is to say yes or no to my proposal.”

      “Ah? And the proposal?”

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