“Bueno, we came home. On the steamer, Soper treated me like a father, but never let me talk to a man. Either he or the dueña was at my heels all the time. He is a coarse-looking man, but I really liked him because he had been so good to me, and there was something very attractive about him. When we reached New York the dueña left us. She said she was going straight to Philadelphia to her home. Soper and I got in another cab and drove to an apartment on Broadway. I did not know until the next day that it was his apartment. That was in the evening. The next morning, while I was at a late breakfast, he sent me a note, saying that he would call in an hour and have a business talk with me. I was practising my scales when he came in, and he clapped his hands and offered me a chair. He drew one up for himself, and then said in a perfectly business-like voice:—
“‘When I ran across you I knew that you only needed training to become a queen of opera bouffe, and to make a fortune for some one besides yourself. I also saw that you were going to become a beautiful woman. I made up my mind that I would own both the woman and the artist. Don’t look like a little tigress—still, I’m glad you can look that way,—you may be able to do Carmen yet. Don’t misunderstand me. I am not a villain, merely a practical man with an eye to beauty. I have no idea of letting you get under the influence of any other man,—not even if you weren’t so pretty. Let me console you by telling you that for the sort of woman you are there is no escape. You were made to drive men mad, and for the comic opera stage. That sort of combination might as well get down to business as early in the game as possible: it saves time.
“‘Had I never discovered you, you would have drifted from company to company, gone the pace with nothing to show for it, and worn out your youth at one-night stands. I saved you from a terrible fate. You know the rest. You know what you owe me. You have developed even beyond my hopes, but—mark you this—I have not advertised you in any way. You are as unknown as on the day you left California. If you mount the high horse and say: ”Sir, you are a villain. Go to, go to!“ I shall merely turn you loose without your trunks. You may imagine that with your voice and beauty you could get an engagement anywhere. So you could—without advertising, without an opera, and without a theatre of your own. Every existing troupe has its own prima donna; you would have to take a second or third rate part,—and unquestionably in a travelling troupe. There is no place for you in New York but the one I propose to create. Lillian Russell practically owns the Casino, and will, unless all signs fail, for many years. She would not tolerate you on the same stage five minutes; neither would any prima donna who had any influence with her manager,—and they mostly have. Your career would be exactly what it would have been if I had not met you,—full of hardships and change and racing about the country; arriving at six in the evening, singing at eight, leave the next morning at four, get what sleep you could on the train. That’s about the size of it. You’d be painting inside of a year, if not wearing plumpers. And what you’re mad at now, you’d be looking upon as a matter of course then, and grateful for the admiration.
“‘Moreover, no success is worth a tinker’s dam that ain’t made in New York,—I think I wrote you that on an average of once a month. If you show that you have horse sense, and will sign a contract with me for five years, I’ll make you the rage in New York inside of two months. Now it is success or failure: you can take your choice. I’ll be here to-morrow at ten.’ And he was gone before I could speak.
“Bueno, after I had gotten over being fearfully mad I sat down and thought it all over. I knew that all he said was true. I had heard too much in Paris. He had kept writing me that virtue paid in an actress to keep me straight, but I had heard the opposite about nine hundred times. Bueno, I was in a trap. I had made up my mind to succeed. I had even worked for it,—and you know how much that meant with me. I made up my mind that succeed I would, no matter what the price. It is one of two things in this world,—success or failure,—and if you fail nobody cares a hang about your virtue.
“You know I never was sentimental nor romantic. Soper had made a plain business proposition in a practical way that I liked. If he had gone on like a stage lover it would have been much harder. And after all I would be no worse than a society girl who sells herself to a rich husband. So, after turning it over for twenty-four hours—or all the time I was awake—I concluded not to be a fool, but La Rosita, Queen of Opera Bouffe. When he called I merely shrugged my shoulders and said ‘Bueno.’ He laughed, and said I would certainly succeed in this world; that the beautiful woman with the cool calculating brain always got there. So—here I am. What do you think of it?”
During this recital her voice had not for one instant broken nor hardened. She told her story in the soft sweet languid voice of Spain; she might have been relating an idyl of which she was the Juliet and Soper the Romeo.
Patience stared at her with wide eyes and dry lips.
“And you have never regretted it?” she asked; “you don’t care?”
Rosita raised her beautiful brows. “Regret? Well, no, I should say not. Have I not realised my dreams and ambition? Am I not rich and famous and happy instead of a scrambling nobody? Regret?—No—rather. What is more, I know how to save. A good many of us have learned that lesson. When I have lost voice and youth I shall be rich,—rich. We do not end in a garret, like in the old days. And I do not drink, and I rest a great deal—it will be a long time before I go off. Besides, there are the beauty doctors—Oh, no, I am not regretting. And Soper is getting tired of me, I am happy to say.”