The Real Adventure by Henry Kitchell Webster (pdf to ebook reader txt) 📕

taking the little part he had given her and playing it for all it was worth, defiant of Rodney's feelings and of the scandal of the Lake Shore Drive--and going back to her three-dollar room this afternoon, out of a job and without even a glimmering chance of finding another.

"Take your time," he said. "I don't want to be a brute about it, but look here! Try to see it my way for a minute. Here are my employers, the owners of this piece. They're putting thousands of dollars into the production of it. They've hired me to make that production a success. Well, I don't know about other games, but this game's a battle. If we win, it will be because we put every bit of steam and every bit of confidence we've got into it and _make_ it win. That goes for me, and for the principals, and right down through to the last girl in the chorus. Every night there'll be a new audience out there that you will have to fight--shake up out of the grouch they get when they pay for their tickets; persuade to laugh and loosen up and come and play with you.

"Will you be able to do your share, do you suppose, if you're slinking around, afraid of being recognized? We don't care whether your pussy-cat friends get their fur rubbed the wrong way or not. The only thing we care about is putting this show across. Well, if you feel the way we do about it, if you can make it the one thing you do care about, too--why, come along. Let the pussy-cats go ..." He finished with a snap of his fingers.

"The only one that really matters isn't a pussy-cat," said Rose, with a reluctant wide smile, "and--he'd agree with you altogether, if he didn't know you were talking to me. And I'm really very much obliged to you."

"You will come along then?"

"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