CHAPTER IV

THE GIRL WITH THE BAD VOICE

The Girl Up-stairs had quite a miscellaneous lot of plot; indeed a plot

fancier might have detected nearly all the famous strains in its

lineage. Its foci were Sylvia Huntington, the beautiful

multi-millionairess, and Richard Benham, nephew of Minim, the Cosmetic

King and head of the Talcum Trust. Sylvia, tired of being sought for her

wealth, and yearning to be loved for herself alone, has run away to

Bohemia and installed herself in an attic over a studio occupied by two

penniless artists, one a poet, the other a musician. Only they aren't

penniless any more, having leaped to wealth and fame with an immensely

successful musical comedy they have just written. And, like Nanki Poo,

the musician isn't really a musician, but is the talented, rebellious

nephew of the Cosmetic King, none other than Dick Benham himself, a

truant from his tyrannical uncle's determination to make him into a

rouge and talcum salesman. He falls in love with Sylvia, not knowing her

as Sylvia, of course, but only as the girl up-stairs, a poor little

wretch to whom in the goodness of his heart, he is giving singing

lessons. And she falls in love with him, knowing him neither as Dick

Benham, nor as the successful composer (because his authorship of the

musical comedy has been kept a secret from her), but only as a poor

struggling musician. Poor Dick's affections are temporarily led astray

by the mercenary seductions of the leading lady in his opera, who has

learned the secret of his true identity and vast wealth, and means to

marry him under the cloak of disinterested affection. He gets bad advice

from his poet friend, too, who has dishonorable designs on the girl

up-stairs and so warns Dick against throwing himself away on a nobody,

of, possibly, doubtful virtue. It is, of course, essential to Sylvia

that Dick should ask her to marry him before he learns who she really

is, in order that she may be sure it isn't for her wealth that he is

seeking her.

This was the general lie of the land, though the thing was complicated,

of course, by minor intrigues, as for instance in the first act, when

Minim, the uncle, came to inquire of the successful composer what his

terms would be for introducing a song into his opera, extolling the

merits of Minim's newest brand of liquid face-powder. Then there was the

comic detective, whom Sylvia's frantic father had given the job of

finding her, and who, considering that he was the typical idiot

detective of musical comedy, came unaccountably close to doing it.

Then in the second act, there was the confusion produced by the fact

that Dick and his poet friend gave a midnight party on the roof, unaware

of the fact that Sylvia made it a practise, during these hot nights, to

crawl out from her attic, on to this same roof and sleep there. And on

this particular night, she had invited her six bachelor-girl friends,

who were in her confidence, to come and share its hospitalities with

her. The mutual misunderstandings, by this time piled mountain high,

were projected into the third act by the not entirely unprecedented

device of a mask ball in the palatial Fifth Avenue mansion of Sylvia's

father, in celebration of her return home--a ball whose invitation list

was precisely coincident, even down to the detective, with the persons

who had appeared in the first two acts. One minute before the last

curtain, Dick and Sylvia manage to thread their way out of the tangle of

scandal and misconception, and satisfy each other as to the

disinterested quality of their mutual adoration, falling into each

other's arms just as the curtain starts down.

It was not, of course, until after a good many rehearsals that Rose

could have given a connected account of it like that. They worked for

three hours on this first occasion, merely getting through the first

act--a miserable three hours, too, for Rose, owing to a little

misfortune that befell her right at the beginning.

The glow of determination Galbraith had inspired her with, to put her

own shoulder to the wheel and do her very topmost best, for the one

great desideratum, the success of the show, had kept her studying her

little handful of lines long after she supposed she knew them perfectly.

They weren't very satisfactory lines to study--just the smallest of

conversational small change, little ejaculations of delight or dismay,

acquiescence or dissent. But the trouble with them was, they were, for

the most part, exactly the last expressions that a smart young woman of

the type she was supposed to represent would use.

So, remembering what Galbraith had said about everybody down to the last

chorus-man doing the best he knew for the success of the show, Rose

sought him out, for a minute, just before the rehearsal began, and asked

if she might change two of her lines a little.

Galbraith grinned at her, turned and beckoned to the baby-faced man in

spectacles who stood a dozen paces away. "Oh, Mr. Mills!" he called.

"Can you come over here a minute?"

"He's the author," Galbraith then explained to Rose, "and we can't

change this book of his without his permission."

Then, "This is Miss Dane of the sextette," he said to Mills, "and she

tells me she'd like to make one or two changes in her lines."

It didn't need a sensitive ear to detect a note of mockery in this

speech, though Galbraith's face was perfectly solemn. But the face of

the author went a delicate pink all over, and his round eyes stared. "My

God!" he said.

The exclamation was explosive enough to catch the ear of an extremely

pretty young woman who stood near by with her hands in her pockets. She

wore a Burberry raglan and an entirely untrimmed soft felt hat, and she

came over unceremoniously and joined the group.

"Miss Devereux," said the author, with hard-fetched irony, "here's a

chorus-girl in perfect agreement with you. She's got about six lines to

say, and she wants to change two of them."

"What are your changes, Dane?" Galbraith asked.

Queerly enough, the curt seriousness of his speech was immensely

grateful to her--suggested that she perhaps hadn't been, wholly anyhow,

the object of his derision before.

"I only thought," said Rose, "that if instead of saying, 'My gracious,

Sylvia!' I said, 'Sylvia, _dear_!' or something like that, it would

sound a little more natural. And if I said, 'I _do_ wish, Sylvia'

instead of, 'I wish to goodness, Sylvia ...'"

She had said it all straight to the author.

"I suppose," he said, sneering very hard, "that your own personal

knowledge of the way society women talk is what leads you to believe

that your phrases are better than mine?"

"Yes," said Rose, serenely matter-of-fact, "it is."

Sarcasm is an uncertain sort of pop-gun. You never can tell from which

end it's going to go off.

"I don't know," said Miss Devereux, turning now a deadly smile on him,

"whether Miss--what's-her-name--agrees with me or not. But, do you know,

I agree with her."

"Oh, I don't care a _damn_!" said Mr. Harold Mills. "Go as far as you

like. I don't recognize the piece now. What it'll be when you--butchers

get through with it ...!" He flung out his hands and stalked away.

"Go find Mr. Quan," said Galbraith to Rose, "and tell him to mark those

changes of yours in the book. Tell him I said so."

It was, though, a pretty unsatisfactory victory. Everybody was grinning;

for the tale spread fast, and while Rose knew it wasn't primarily at

her, her sensations were those of a perfectly serious, well-meaning

child, in adult company, who, in all innocence has just made a remark

which, for some reason incomprehensible to him, has convulsed one member

of it with fury, and the others with laughter. More or less she could

imagine where the joke lay. Harold had evidently been quarreling with

pretty much all of the principals, over more or less necessary changes

in his precious text, until everybody was rather on edge about it,

loaded and primed for all sorts of explosions; when, cheerfully along

came Rose, a perfectly green young chorus-girl, unsuspectingly carrying

the match for the mine, or the straw for the camel, whichever way you

wanted to put it.

She wouldn't have minded the way she had blundered into the focus of

public attention, if, in other particulars, the rehearsal had been

going well with her. Unluckily, though, she started off wrong foot

foremost in the very first of their numbers, with a mistake that snarled

up everything and brought down an explosion of wrath from Galbraith.

Even if she'd been trying, he groaned, to make mistakes, he didn't see

how she'd managed that one. But the real nightmare didn't begin till the

first of her scenes with Sylvia, where she had to talk.

She'd said her lines over about a thousand times apiece, and practised

their inflection and phrasing in as many ways as she could think of, but

she had neglected to memorize her cues. Not altogether, of course; she

thought she'd learned them, but they were terribly scanty little cues

anyway, just a single word, usually, and never more than two, and

nothing short of absolutely automatic memorization was any good. So she

sat serene through a five-second stage wait while Quan frantically spun

the pages of his book to find the place--he ought to have been following

of course, but he'd yielded to the temptation of trying to do something

else at the same time and had got lost--and then dry-throated, incapable

of a sound for a couple of seconds more--hours they seemed--after she

had been identified as the culprit who had failed to come in on a cue.

The sight of the author out in the hall invoking his gods to witness

that this girl who had presumed to change his lines, was an idiot

incapable of articulate speech, brought her out of her daze. But even

then she couldn't get anything quite right. There seemed to be no golden

mean between the bellow of a fireman and a tone which Galbraith assured

her wouldn't be audible three rows back. And when they came to one of

the lines she'd been allowed to change, in her panic over the thing, she

mixed the two versions impartially together into a sputter of words that

meant nothing at all, whereupon the author, out at the back of the hall,

laughed maniacally.

She would have gone on stuttering at it until she got it straight, if

Galbraith hadn't put her out of her misery by striding over, snatching

the book from Quan, and reading the line himself. She hadn't anything

more to say in the first act, and she managed to get through the rest of

the song numbers without disaster, if equally without confidence or

dash. She felt as limp as if she had been boiled and put through the

clothes-wringer. And when, as he dismissed the rehearsal Galbraith told

her to wait a minute, she expected nothing less than ignominious

reduction to the ranks.

"That matter of putting your voice over, Dane," he said, to her

amazement quite casually, "is just a question of thinking where you want

it to go. If you'll imagine a target against the back wall over there,

and will your voice to hit it, whatever direction you're speaking in,

and however softly you speak, you will be heard. If you forget the

target and think you're talking to the person on the stage you're

supposed to be talking to, you won't be heard. Say your lines over to me

now, without raising your voice or looking out there. But keep the

target in mind."

Rose said all the lines she had in the whole three acts. It didn't take

a minute. He nodded curtly. "You've got the idea." He added, just as she

turned away, "You were quite right to suggest those changes. They're an

improvement."

That rehearsal marked the nadir of Rose's career at the Globe. From then

on, she was steadily in the ascendent, not only in John Galbraith's good

graces, which was all of course that mattered. She won, it appeared, a

sort of tolerant esteem from some of the principals, and even the owners

themselves spoke to her pleasantly.

They entertained her vastly, now that a confidence in her ability to do

her own part left her leisure to look around a bit. The contrast between

the two leading women, Patricia Devereux, who played the title part, and

little Anabel Astor, who played the mercenary seductress, was a piquant

source of speculation. As far as speech and manners went, Miss Devereux

might have been a born citizen of the world Rose had been naturalized

into by her marriage with Rodney; in fact, she reminded her rather

strikingly of Harriet. She was cool, brusk, hard finished, and, as was

evident from Galbraith's manifest satisfaction with her, thoroughly

workmanly and competent. Yet she never seemed really to work in

rehearsal. She gave no more than a bare outline of what she was going to

do. But the outline, in all its salient angles, was perfectly

indicated. She rehearsed in her ordinary street clothes, with her hat

on, and as often as not, with a wrist-bag in one hand. She neither

danced, sang, nor acted. But she had her part letter perfect before any

of the other principals. She never missed a cue, and though she sang off

the top of her voice, and let the confines of a very scant little tailor

skirt mark the limits of her dancing, she sang her songs in perfect

tempo and always made it completely clear to Galbraith and the musical

director, just how much of the stage in every direction, her dances were

going to occupy and precisely the _tempi_ at which they were to be

executed. In a word, if her work had no more emotional value than a

mechanical drawing, it did have the precision of one.

Rose mightn't have appreciated tins, had she not seen and admired Miss

Devereux from the front in a production she and Rodney had been two or

three times to see the season before.

Little Anabel Astor presented as striking a contrast to all this as it

would be possible to imagine. She, too, had attained a good deal of

celebrity in the musical-comedy world--was to be one of the features of

the cast. She'd come up from the ranks of the chorus. She'd been one of

the ponies, years ago, in some of George M. Cohan's productions, and she

was still just a chorus-girl. But a chorus-girl raised to the third, or

fourth, or, if you like, the _n_th power. She had an electric grin, and

a perfectly boundless vitality, which she spent as freely on rehearsals

as on performances. She always dressed for rehearsals just as the chorus

did, in a middy-blouse and bloomers, and she worked as hard as they did,

and even more ungrudgingly.

She was a pretty little thing, with nothing very feminine about

her--even her voice had a harsh boyish quality--and she never looked

prettier to Rose than when, her face flushed with an hour's honest toil,

she would wipe the copious sweat of it off with her sleeve, and panting,

look up with a smile at John Galbraith and an expectant expression,

waiting for his next command, which reminded Rose of the look of a

terrier alert for the stick his master means to throw for him. Her

speech was unaffectedly that of a Milwaukee Avenue gamin, and it served

adequately and admirably as a vehicle for the expression of her emotions

and ideas.

She formed her likes and dislikes with a complete disregard of the

social or professional importance of the objects of them. She took an

immediate liking to Rose; gave her some valuable hints on dancing, took

to calling her "dearie" before the end of the second rehearsal and, with

her arm around her, confided to her in terms of blood-curdling

profanity, her opinion of Stewart Lester, the tenor, who played the part

of Dick Benham in the piece.

The queer thing was that she and Patricia were on the best of terms.

They didn't compete, that was it, Rose supposed, and they were both good

enough cosmopolites to bridge across the antipodal distances between

their respective traditions and environments. Patricia hated the tenor

as bitterly as Anabel. And, in her own way, she was as pleasantly

friendly to Rose. There were no endearments or caresses, naturally, but

her brusk nods of greeting and farewell seemed to have real good feeling

behind them.

The men principals--this was rather a surprise to Rose--weren't nearly

so pleasant nor so friendly. Most of them professed to be totally

unaware of her existence and the one or two who showed an

awareness--Freddy France, who played the comic detective, was chief of

these offenders--did it in a way that brought the fighting blood into

her cheeks.

My astronomical figure for the expression of Rose's rise in her

profession is, in one important particular, misleading. There was

nothing precalculable about it, as there is about the solemn swing of

the stars. The impetus and direction of Rose's career derived from two

incidents that might just as well not have happened--two of the flukiest

of small chances.

The first of these chances concerned itself with Olga Larson and her bad

voice. Olga, as I think I have told you, was one of the sextette. And,

oddly enough, she owed her membership in this little group of quasi

principals, to her voice and nothing else. Because it was a bad voice

only when she talked. When she sang, it had a gorgeous thrilling ring to

it that made Patricia Devereux, when she heard it, clench her hands and

narrow her eyes. She'd never been taught what to do with it, but then,

for what Galbraith wanted of her she needed no teaching. Her ear was

infallible; let her hear a tune once and she could reproduce it

accurately, squarely up to time, squarely, always, in the middle of the

pitch. When she opened her rather dainty-looking mouth and sang, she

could give you across the footlights the impression that at least four

first-class sopranos were going uncommon strong. She hadn't a salient or

commonplace enough sort of beauty to have singled her out from the

chorus and she was no better a dancer than passable. But none of the

girls who would be picked out by a committee of automobile salesmen as

the prettiest and the best dancers in the chorus could sing a note, and

the sextette would have been dumb without her voice.

It was natural enough that Patricia didn't like it. She owed her own

position as a leading light-opera soprano to the cultivation to its

highest possible perfection of a distinctly second-rate voice, to a

precise knowledge of its limitations and to a most scrupulous economy in

its effects. Inevitably, then, the raw splendors that Olga Larson

dispensed so prodigally gave Patricia the creeps.

Inevitably, too, without any conscious malice about it, she made up her

clear, hard little mind the moment she heard Olga talk, that she was

utterly impossible for the sextette. "Really, my dear man," she told

Galbraith after the first rehearsal, "you'll have to find some one else.

American audiences will stand a good deal, I know, in the way of

atrocious speech, but positively she'll be hooted. They'll all sound

frightful enough, especially because that Dane girl, if that's her name,

talks like a lady, but this one ...!" She gave a cruelly adequate little

imitation of Olga's delivery of one of her lines. "Like some one who

doesn't know how, trying to play the slide trombone," she commented.

Galbraith couldn't pretend that she exaggerated the horrors of it, but

explained why the girl was indispensable. The explanation didn't please

Patricia any too well, either.

"Sing!" she cried hotly. "But she sings detestably!"

"No doubt," Galbraith admitted, "but she makes a great big noise always

on the right note, and that's what that bunch of penny whistlers can't

do without. Give her a little time," he concluded diplomatically, "and

I'll try to teach her."

"It can't be taught," said Patricia. "That's too much even for you."

So it happened that when Rose came out of her own nightmare, got her

breath and found leisure to look around, she found some one else whose

troubles weren't so transitory. The little scene in the first act,

between Sylvia and the sextette, was held up again and again, endlessly,

it seemed to Rose,--and what must it have seemed to the poor

victim?--while Galbraith bellowed Larson's lines after her, sometimes in

grotesque imitation of her own inflections, sometimes in what was meant

as a pattern for her to follow. The girl whose ear was so wonderfully

sensitive to pitch and rhythm, was simply deaf, it seemed, to the

subtleties of inflection. She reduced Galbraith to helpless wrath, in

her panic, by mistaking now and again, his imitations for his models.

The chorus tittered; the spectators suffocated their guffaws as well as

they could. Patricia grew more and more acutely and infuriatingly ironic

all the while.

Evidently Galbraith didn't mean to be a brute about it. He began every

one of these tussles to improve her reading of a line, with a gentleness

that would have done credit to a kinder-gartener. But, after three

attempts, each more ominously gentle and deliberate than the last, his

temper would suddenly fly all to pieces. "--No--no--no!" he would roar

at her, and the similes his exasperation would supply him with, for a

description of what her speech was like, were as numerous as the acids

in a chemical laboratory; and they all bit and burned just as hard.

Rose looked on with rather tepid feelings. She sympathized with

Galbraith on the whole. The poor man was doing his best; and the girl,

queerly, didn't seem to care. She confronted him in a sort of stockish

stupidity, saying her lines, when he told her to try again, with the

same frightful whang he was doing his best to correct, so that he was

justified, Rose felt, in accusing her of not trying, or even listening

to him.

It was in the dressing-room one night, after one of these rehearsals,

that she caught a different view of the situation. She sat down on a

bench to unlace her shoes and looked straight into Olga Larson's face--a

face sunken with a despair that turned Rose cold all over. The tearless

tragic eyes were staring, without recognition, straight into Rose's own.

It must be with faces like this that people mounted the rails on the

high bridge in Lincoln Park, intent on leaving a world that had become

intolerable. Packed in all around her in the inadequate dressing-room,

the other girls were chattering, squealing, scrambling into their

clothes, as unaware of her tense motionless figure, as if it had been a

mere inanimate lump. She couldn't have been more alone if she had been

sitting out on the rock of Juan Fernandez.

Rose invented various pretexts to delay her own dressing until the other

girls were gone. She could no more have abandoned that hopeless creature

there, than she could have left a person drowning. When they had the

room to themselves, she sat down on the bench beside her.

"You're all right," she said, feeling rather embarrassed and inadequate

and not knowing just how to begin. "I'm going to help you."

"It's always like this," the girl said. "It's no use. He'll put me back

in the chorus again."

"Not if I can help it," Rose said. "But the first thing to do is to put

on your clothes. Then we'll go out and get something to eat."

Even that little beginning involved a struggle--a conscious exertion of

all the power Rose possessed. She learned, for the first time, what the

weight of an immense melancholy inertia like that can be. The girl was

like one paralyzed. She was willing enough to talk. She told Rose the

whole story of her life; not as one making confidences to a friend;

rather with the curious detachment of a melancholy spectator discussing

an unfortunate life she had no concern with.

She knew how good her voice was, and, equally, how badly it needed

training. She'd had, always, a passionate desire to sing and a belief in

her possibilities. If she could get a chance, she could succeed. She'd

undergone heartbreaking privations, trying to save money enough out of

her earnings at one form of toil after another, to take lessons. But,

repeatedly, these small savings had, by some disaster, been swept away:

stolen once, by a worthless older brother; absorbed on another occasion

by her mother's fatal illness. Two years ago she had drifted into the

chorus, but had been altogether unlucky in her various ventures. She

wasn't naturally graceful--had been slow learning to dance. Again and

again, she'd been dropped at the end of three or four weeks of rehearsal

(gratuitous of course) and seen another girl put in her place. When this

hadn't happened, the shows she had been in had failed after a few weeks'

life.

When Galbraith had put her into the sextette in _The Girl Up-stairs_, a

hope, just about dead, had been awakened. She'd at last learned to dance

well enough to escape censure and she had seen for herself how

indispensable her singing voice was to the group. And then it had

appeared she'd have to talk! And, inexplicably to herself, her talking

wasn't right. The thing had just been another mirage. It was hopeless.

Galbraith would put her back into the chorus--drop her, likely enough,

altogether.

The thing that at first exasperated Rose and later, as she came vaguely

to understand it, aroused both her pity and her determination, was the

girl's strange, dully fatalistic acquiescence in it all. The sort of

circumstances that in Rose herself set the blood drumming through her

arteries, keyed her will to the very highest pitch, quickened her brain,

made her feel in some inexplicable way, confident and irresistible, laid

on this girl a paralyzing hand. It wasn't her fault that she didn't meet

her difficulties half-way with a vicious, driving offensive--rout them,

demoralize them. It was her tragedy.

"All right," Rose apostrophized them grimly. "This time you're up

against me."

"Look here!" she said to Olga, when the story was told (this was across

the table in the dingy lunch-room where, as Doris Dane, she had had her

first meal, and most of her subsequent ones), "look here, and listen to

what I'm going to tell you. I know what I'm talking about. You're going

to learn to say your lines before to-morrow's rehearsal, so that Mr. ...

So that Galbraith won't stop you once." (This was a trick of speech that

came hard to Rose, but she was gradually learning it.) "We're going up

to my room now, and I'm going to teach you. We've got lots of time.

Rehearsal to-morrow isn't till twelve o'clock. You're going to stay in

the sextette, and when the piece opens, you're going to make a hit."

She hesitated a moment, then added in the same blunt matter-of-fact way,

"You're one of the most beautiful women in Chicago. Did you know that?

Dressed right and with your hair done right, you could make them stare.

Have you finished your coffee? Then come along. Here! Give me your part.

You don't want to lose it."

For the girl, pitiably, almost ludicrously, was staring at Rose in a

sort of somnambulistic daze. She hadn't been hypnotized, but she might

about as well have been, for any real resistance her mind, or her will,

could offer to her new friend's vibrant confidence.

She went with Rose up to the little three-dollar room. Rose put her into

a chair, sat down opposite her, took the first phrase of her first

speech, and said it very slowly, very quietly, half a dozen times. That

was at half past eleven o'clock at night. By midnight, Olga could say

those first three words, if not to Rose's complete satisfaction, at

least a lot better. She went on and finished the sentence. They worked

straight through the night, except that two or three times the girl

broke down; said it was hopeless. She got up once and said that she was

going home, whereupon Rose locked the door and put the key in her

stocking. She sulked once, and for fifteen minutes wouldn't say a word.

But by seven o'clock in the morning, when they went back to the

lunch-room and ate an enormous breakfast, Olga's sluggish blood was

fired at last. It was a profane thought, but you _could_ take the Fatal

Sisters by the hair and coerce a change in the pattern they were

weaving.

And Rose, by that time, by the plain brute force of necessity, was a

teacher of phonetics. She'd discovered how she made sounds herself and

had, with the aid of a hand mirror, developed a rough-and-ready

technique for demonstrating how it was done. She remembered, with bitter

regret, a course she had dozed through at the university, dreaming about

the half-back, which, had she only listened to the professor instead,

would be doing her solid service now. Had there been other courses like

that, she wondered vaguely? Had the education she had spent fifteen

years or so on an actual relation to life after all? It was a startling

idea.

She walked Olga out to the park and back at seven-thirty, and at eight

they were up in her room again. They raided the delicatessen at eleven

o'clock, and made an exiguous meal on the plunder. And at twelve, husky

of voice, but indomitable of mind, they, with the others, confronted

Galbraith upon the stage in North End Hall.

"Do you suppose," Olga said during the preliminary bustle of getting

started, "that he's put any one else in my part already?"

It was a fear Rose had entertained, but had avoided suggesting to her

pupil.

"I don't believe so," she said. "If he has, I'll talk to him."

"No, you won't!" said Olga. "I'll talk to him myself."

There was a ring to that decision that did Rose's heart good. It took a

long time to get that northern blood on fire, but when you did, you

could count on its not going cold again overnight.

It got pretty exciting of course, as the scene between Sylvia and the

sextette drew near, and when it came, Rose could hardly manage her own

first line--hung over it a second, indeed, before she could make her

voice work at all, and drew a sharp look of inquiry from Galbraith. But

on Olga's first cue, her line was spoken with no hesitation at all, and

in tone, pitch and inflection, it was almost a phonographic copy of the

voice that had served it for a model.

There was a solid two seconds of silence. For once in her life Patricia

Devereux had missed a cue!

John Galbraith had been an acrobat as well as a dancer, and he was

quick on his feet. He had just turned, unexpectedly, an intellectual

somersault, but he landed cleanly and without a stagger. "Come, Miss

Devereux," he said, "that's your line." And the scene went on.

But when, about four o'clock that afternoon, the rehearsal was over,

Galbraith called Olga out to him and allowed himself a long incredulous

stare at her. "Will you tell me, Larson," he asked, "why in the name of

Heaven, if you could do that, you didn't do it yesterday?"

"I couldn't do it yesterday," she said. "Dana taught me."

"Taught you!" he echoed. "Beginning after last night's rehearsal?...

Dane!" he called to Rose, who had been watching a little anxiously to

see what would happen.

"You've learned it very well indeed," he said with a nod of dismissal to

Olga, as Rose came up. "Don't try to change it. Stick to what you've

got."

Then, to Rosa, "Larson tells me you taught her. How did you do it?"

"Why, I just--taught her," said Rosa. "I showed her how I said each

line, and I kept on showing her until she could do it."

"How long did it take you--all night?"

"All the time there's been since last rehearsal," said Rosa, "except for

three meals."

"Good God!" said Galbraith. "Devereux said it couldn't be done, and I

agreed with her. Well, live and learn. Look here! Will you teach the

others--the other four in the sextette? I'll see you're paid for it."

"Why, yes,--of course," said Rose, hesitating a little.

"Oh, I don't mean overnight," he said, "but mornings--between

rehearsals--whenever you can."

"I wasn't thinking of that," said Rose. "I was just wondering if they'd

want to be taught--I mean, by another chorus-girl, you know."

"They'll want to be taught if they want to keep their jobs," said

Galbraith. And then, to her astonishment, and also perhaps to his, for

the thing was radically out of the etiquette of the occasion, he reached

out and shook hands with her. "I'm very much obliged to you," he said.