"Yes," said Rose, "I'll come."

"No flutters?" questioned Galbraith. "No eleventh-hour repentance?"

"No," said Rose, "I'll see it through."

John Galbraith went away satisfied. Rose had the same power that he had, of making a simple unemphatic statement irresistibly convincing. When she said that she would go through, he knew that unless struck by lightning, she would. But there had been something at once ironic and tender about the girl's smile, when she had spoken of the only one who really mattered, that he couldn't account for. Who was the only one that really mattered, anyway? Her husband? He didn't think it likely. Young women who quarreled with their husbands and ran away from them to go on the stage, wouldn't, as far as his experience went, be likely to smile over them like that. More probably a brother--a younger brother, perhaps, fiercely proud as such a boy would be of such a sister.

She certainly had sand, that girl. He was mighty glad his bluff that he would put her out of the chorus altogether, unless she took the little part in the sextette, had worked. He'd have felt rather a fool if she had called it.

Of course the thing that had got Rose was the echo, through everything John Galbraith had said, of Rodney's own philosophy; his dear, big, lusty, rather remorseless way. And now again, as before when she had left him, it was his view of life that was recoiling upon his own head.

She was really grateful to Galbraith. What had she left Rodney for, except to build a self for herself; to acquire, through whatever pains might be the price of it, a life that didn't derive from him; that was, at the core of it, her own? Yet here, right at the beginning of her pilgrimage, she'd have turned down the by-path of self-sacrifice; have begun ordering her life with reference to Rodney, rather than herself, if John Galbraith hadn't headed her back.

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.