De Freyne’s exploitation of his chorus naturally had it roots in commercialism and self-interest. The girls themselves very seldom thanked him for his introductions. They were astute enough to understand that the advantage was at least mutual. Not that De Freyne expected any thanks. It was a trite observation of his that theatrical people were the most ungrateful lot in the world. He himself was a shining illustration of the dictum, but that did not lessen its truth. He got his "turn" from his wealthy stage-door dilettanti. It might be a social one in the shape of admittance to elevated circles; a select club, a shooting party, a cruise on a big yacht. Sometimes it was an invitation by a young and indiscreet member of the peerage to his country house and a photograph in the illustrated papers to proclaim it. De Freyne was very partial to reading beneath the group: "From left to right: The Marquis of Perth, Lady Angela Coniston, Sir Francis Manningtree, Mr. De Freyne...." This was prestige dear to his heart. He toed the line successfully between Society and Bohemianism. Most of the rich rascals and all the rich fools of the world were at his service. But what gave him most satisfaction was to be able to put an important City man under an obligation. It often resulted in special information concerning stocks and shares that brought him large profits. He would have sacrificed any girl’s reputation for a one-fourth per cent. turn of the market, and frequently did so. In this regard he mentally pigeon-holed Maggy. It would not be difficult to find her a partner in the dance to which he should set the Mephistophelean measure. Alexandra he looked at with a cold eye. He wasn’t sure of her. He had nothing to say against her looks, but he had no use for prudish high-steppers. Quick of apprehension where girls were concerned, he put her down in that category. The chorus would bear thinning out a bit. As a matter of policy, De Freyne always engaged more girls than he wanted. For another week rehearsals went on, growing more frequent and longer. The clever stage-manager goes nearer creating silk purses out of sows’ ears than any human being. No one in the early days of rehearsal would associate the pouting, obtuse, wooden young woman with the airy fairy sylphs who ravish the eye on a first night; yet they are one and the same, trained by methods similar to those used in schooling performing animals, by coaxing, bullying and inexhaustible patience. When the chorus were at last up to concert pitch and the principals letter-perfect, the dress rehearsal took place. Maggy was in the front row, looking big and beautiful in a Futurist creation of rose fleshings and black chiffon. The front row girls were very carefully chosen for opulence of figure. Alexandra had been relegated to the back. She was disappointing in tights, which means nothing more than that if a butcher did not approve her an artist might.