A Chair on the Boulevard Part 19

Without a sign of recognition, taciturn and impa.s.sive, the three young men waited, their eyes bent upon the critic's movements.

By-and-by Labaregue thrust his "copy" into an envelope that was provided. Some moments afterwards one of the young men asked another waiter for the materials to write a letter. The paper he crumpled in his pocket; in the envelope he placed the forged critique.

A quarter of an hour pa.s.sed. Then a youth of about sixteen hurried in and made his way to Labaregue's table. At this instant Lajeunie rose and left. As the youth received the "copy," Tricotrin also sauntered out. When the youth again reached the door, it was just swinging behind Pitou.

The conspirators were now in the right order--Lajeunie pressing forward, Tricotrin keeping pace with the boy, Pitou a few yards in the rear.

The boy proceeded swiftly. It was late, and even the Boulevard showed few pedestrians now; in the side streets the quietude was unbroken.

Tricotrin whipped on his mask at the opening of the pa.s.sage. When the messenger was half-way through it, the attack was made suddenly, with determination.

"Fat one," exclaimed the poet, "I starve--give me five francs!"

"_Comment?_" stammered the youth, jumping; "I haven't five francs, I!"

"Give me all you have--empty your pockets, let me see! If you obey, I shall not harm you; if you resist, you are a dead boy!"

The youth produced, with trepidation, a sou, half a cigarette, a piece of string, a murderous clasp knife, a young lady's photograph, and Labaregue's notice. The next moment the exchange of ma.n.u.scripts had been deftly accomplished.

"Devil take your rubbish," cried the apache; "I want none of it--there!

Be off, or I shall shoot you for wasting my time."

The whole affair had occupied less than a minute; and the three adventurers skipped to Montmartre rejoicing.

And how glorious was their jubilation in the hour when they opened _La Voix_ and read Tricotrin's p.r.o.nouncement over the initials "J.L."! There it was, printed word for word--the leading lady was dismissed with a line, the ingenue received a sneer, and for the rest, the column was a panegyric of the waiting-maid! The triumph of the waiting-maid was unprecedented and supreme. Certainly, when Labaregue saw the paper, he flung round to the office furious.

But _La Voix_ did not desire people to know that it had been taken in; so the matter was hushed up, and Labaregue went about pretending that he actually thought all those fine things of the waiting-maid.

The only misfortune was that when Tricotrin called victoriously upon Claudine, to clasp her in his arms, he found her in hysterics on the sofa--and it transpired that she had not represented the waiting-maid after all. On the contrary, she had at the last moment been promoted to the part of the ingenue, while the waiting-maid had been played by a little actress whom she much disliked.

"It is cruel, it is monstrous, it is heartrending!" gasped Tricotrin, when he grasped the enormity of his failure; "but, light of my life, why should you blame _me_ for this villainy of Labaregue's?"

"I do not know," she said; "however, you bore me, you and your 'influence with the Press.' Get out!"

THE DOLL IN THE PINK SILK DRESS

How can I write the fourth Act with this ridiculous thing posed among my papers? What thing? It is a doll in a pink silk dress--an elaborate doll that walks, and talks, and warbles s.n.a.t.c.hes from the operas. A terrible lot it cost! Why does an old dramatist keep a doll on his study table? I do not keep it there. It came in a box from the Boulevard an hour ago, and I took it from its wrappings to admire its accomplishments again--and ever since it has been reminding me that women are strange beings.

Yes, women are strange, and this toy sets me thinking of one woman in particular: that woman who sued, supplicated for my help, and then, when she had all my interest--Confound the doll; here is the incident, just as it happened!

It happened when all Paris flocked to see my plays and "Paul de Varenne" was a name to conjure with. Fashions change. To-day I am a little out of the running, perhaps; younger men have shot forward. In those days I was still supreme, I was master of the Stage.

Listen! It was a spring morning, and I was lolling at my study window, scenting the lilac in the air. Maximin, my secretary, came in and said:

"Mademoiselle Jeanne Laurent asks if she can see you, monsieur."

"Who is mademoiselle Jeanne Laurent?" I inquired.

"She is an actress begging for an engagement, monsieur."

"I regret that I am exceedingly busy. Tell her to write."

"The lady has already written a thousand times," he mentioned, going.

"'Jeanne Laurent' has been one of the most constant contributors to our waste-paper basket."

"Then tell her that I regret I can do nothing for her. Mon Dieu! is it imagined that I have no other occupation than to interview nonent.i.ties?

By the way, how is it you have bothered me about her, why this unusual emba.s.sy? I suppose she is pretty, hein?"

"Yes, monsieur."

"And young?"

"Yes, monsieur."

I wavered. Let us say my sympathy was stirred. But perhaps the lilac was responsible--lilac and a pretty girl seem to me a natural combination, like coffee and a cigarette. "Send her in!" I said.

I sat at the table and picked up a pen.

"Monsieur de Varenne--" She paused nervously on the threshold.

Maximin was a fool, she was not "pretty"; she was either plain, or beautiful. To my mind, she had beauty, and if she hadn't been an actress come to pester me for a part I should have foreseen a very pleasant quarter of an hour. "I can spare you only a moment, mademoiselle," I said, ruffling blank paper.

"It is most kind of you to spare me that."

I liked her voice too. "Be seated," I said more graciously.

"Monsieur, I have come to implore you to do something for me. I am breaking my heart in the profession for want of a helping hand. Will you be generous and give me a chance?"

"My dear mademoiselle--er--Laurent," I said, "I sympathise with your difficulties, and I thoroughly understand them, but I have no engagement to offer you--I am not a manager."

She smiled bitterly. "You are de Varenne--a word from you would 'make'

me!"

I was wondering what her age was. About eight-and-twenty, I thought, but alternately she looked much younger and much older.

"You exaggerate my influence--like every other artist that I consent to see. Hundreds have sat in that chair and cried that I could 'make'

them. It is all bosh. Be reasonable! I cannot 'make' anybody."

"You could cast me for a part in Paris. You are 'not a manager,' but any manager will engage a woman that you recommend. Oh, I know that hundreds appeal to you, I know that I am only one of a crowd; but, monsieur, think what it means to me! Without help, I shall go on knocking at the stage doors of Paris and never get inside; I shall go on writing to the Paris managers and never get an answer. Without help I shall go on eating my heart out in the provinces till I am old and tired and done for!"

Her earnestness touched me. I had heard the same tale so often that I was sick of hearing it, but this woman's earnestness touched me. If I had had a small part vacant, I would have tried her in it.

"Again," I said, "as a dramatist I fully understand the difficulties of an actress's career; but you, as an actress, do not understand a dramatist's. There is no piece of mine going into rehearsal now, therefore I have no opening for you, myself; and it is impossible for me to write to a manager or a brother author, advising him to entrust a part, even the humblest, to a lady of whose capabilities I know nothing."

"I am not applying for a humble part," she answered quietly.

"Hein?"