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 Rédon."
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.
"Rédon will point the way," said André-Louis, "and I don't doubt which way Rédon will point."
Thus the great adventure of Rédon 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."
