names of several men who taught fancy dancing, and who prepared
aspirants for the vaudeville stage, and having obtained from them their
prices and their opinion as to how long a time would be required to give
the finishing touches to a dancer already accomplished in the art, they
directed their steps to the Hotel Salisbury.

"'From the Seventh Story to the Stage,'" said Travers. "She will make
very good newspaper paragraphs, won't she? 'The New American Dancer,
endorsed by Celestine Terrell, Letty Chamberlain, and Cortlandt Van
Bibber.' And we could get her outside engagements to dance at studios
and evening parties after her regular performance, couldn't we?" he
continued. "She ought to ask from fifty to a hundred dollars a night.
With her regular salary that would average about three hundred and fifty
a week. She is probably making three dollars a week now, and eats in the
servants' hall."

"And then we will send her abroad," interrupted Van Bibber, taking up
the tale, "and she will do the music halls in London. If she plays three
halls a night, say one on the Surrey Side, and Islington, and a smart
West End hall like the Empire or the Alhambra, at fifteen guineas a
turn, that would bring her in five hundred and twenty-five dollars a
week. And then she would go to the Folies Bergère in Paris, and finally
to Petersburg and Milan, and then come back to dance in the Grand Opera
season, under Gus Harris, with a great international reputation, and
hung with flowers and medals and diamond sun-bursts and things."

"Rather," said Travers, shaking his head enthusiastically. "And after
that we must invent a new dance for her, with colored lights and
mechanical snaps and things, and have it patented; and finally she will
get her picture on soda-cracker boxes and cigarette advertisements, and