Gina was one of those delightful people who believe in impulse rather than in consideration. What she had proposed to the manager was an impulse of the moment; it simply didn’t bear thinking about. She could hear the complaints, loud and cruel, of that brute which she had undertaken to tame—she heard scream and roar; stamp of nailed feet; fury of blow against blow; temper against temper; the fall of glass; the wail of the victim, the howl of the aggressor. But now, through the clamour, there came to her, faint and sweet and far away, the ecstatic wail of _La Maxixe_, swelling insistently as the curtain swung up. The first bars settled her fears. The music stole into her blood and possessed every nerve and tissue of her eager little body. It was in her feet and her hands and her heart. The stage manager gave her a gentle shove. “Get on, Kiddie. You got a rotten rough house. Good luck.” With a toss of her yellow head and a stamp of impetuous feet she dashed on. Along the stage she charged, in animal grace and bravery, once, twice, with loose heel dancing, and noted with approval that the clamour was a little less in volume and that many faces were turned to the stage to look at this small figure, immature yet cunningly finished. With as much clatter as her furious little shoes would produce, she ran to the back-cloth. The dust rose in answering clouds and was blown into the auditorium, where it mingled with the opiate haze and was duly swallowed by the gaping ones. The music surged over the footlights in a compelling flood. The _chef d’orchestre_ had caught the idea, and she could see that he was helping her. The fiddles tossed it to her in a tempest of bows, the brass and wood-wind blared it in a tornado, the drum insisted on it, and, like a breaker, it seemed to rise up to her. Before her opened a cavern of purple, stung with sharp lamps in the distant dusks. It swayed and growled and seemed to open a horrid mouth. But between her and it, she thanked her Heavenly Father, was the music, a little pool of dream, flinging its spray upon her. The stage seemed drenched in it and, seizing the tactful moment, she raced down to the footlights and flung herself into it, caressing and caressed by it, shaking, as it were, little showers of sound from her delighted limbs. Every phrase of its wistful message was reflected in that marvellously expressive form, rosy and slender and taut. You would have said that each pulse of her body was singing for joy of it, and when her light voice picked up the melody with: “Oh, meet me in the Val-ley The hap-py Val-ley,” interpolated with back-chat to the front rows of the stalls, there was a movement towards repose and attention to this appealing picture. “Come on, Charl, while there’s a chance, case there’s a fire.” “No; ’alf a mo’, Perce. Ain’t no fire. I’m going to watch this. Looks like being funny. Got some pluck, y’know, that youngster.”