The mingling of awe and an uneasy sense of changed relations which that meeting with Jim had brought to Phoebe was not lessened when she entered the theatre with her father that evening, and even Mr. Hopkins seemed to share her feelings.  The theatre was large, and brilliant in decoration, the seats were well filled with the same heterogeneous mingling she had seen in the dining-room at the Placer Hotel, but in the parquet were some fashionable costumes and cultivated faces.  Mr. Hopkins was not altogether so sure that Jim had been “only gassing.”  But the gorgeous drop curtain, representing an allegory of Californian prosperity and abundance, presently uprolled upon a scene of Western life almost as striking in its glaring unreality.  From a rose-clad English cottage in a subtropical landscape skipped “Rosalie, the Prairie Flower.”  The briefest of skirts, the most unsullied of stockings, the tiniest of slippers, and the few diamonds that glittered on her fair neck and fingers, revealed at once the simple and unpretending daughter of the American backwoodsman.  A tumult of delighted greeting broke from the audience.  The bright color came to the pink, girlish cheeks, gratified vanity danced in her violet eyes, and as she piquantly bowed her acknowledgments, this great breath of praise seemed to transfigure and possess her.  A very young actor who represented the giddy world in a straw hat and with an effeminate manner was alternately petted and girded at by her during the opening exposition of the plot, until the statement that a “dark destiny” obliged her to follow her uncle in an emigrant train across the plains closed the act, apparently extinguished him, and left her the central figure.  So far, she evidently was the favorite.  A singular aversion to her crept into the heart of Phoebe.

But the second act brought an Indian attack upon the emigrant train, and here “Rosalie” displayed the archest heroism and the pinkest and most distracting self-possession, in marked contrast to the giddy worldling who, having accompanied her apparently for comic purposes best known to himself, cowered abjectly under wagons, and was pulled ignominiously out of straw, until Red Dick swept out of the wings with a chosen band and a burst of revolvers and turned the tide of victory.  Attired as a picturesque combination of the Neapolitan smuggler, river-bar miner, and Mexican vacquero, Jim Hooker instantly began to justify the plaudits that greeted him and the most sanguinary hopes of the audience.  A gloomy but fascinating cloud of gunpowder and dark intrigue from that moment hung about the stage.

Yet in this sombre obscuration Rosalie had passed a happy six months, coming out with her character and stockings equally unchanged and unblemished, to be rewarded with the hand of Red Dick and the discovery of her father, the governor of New Mexico, as a white-haired, but objectionable vacquero, at the fall of the curtain.