Stephanie started singing opera in eighth grade. She graduated from the chorus in Hansel and Gretel to Gilda in Rigoletto at a fast clip. By eighteen she had every reason to believe that her adult life would be as follows: busy mornings learning the next role and evenings performing. She could picture her voice soaring above a captivated audience, nestling in the gilded ceilings of each great hall and then dissipating before the next breath. Yet here she was at age twenty-seven on a film set dressed in the classic Brunhilde get up, resembling more a troll than a mighty warrior, singing along with other unemployed opera stars. By take thirty-two the musical director finally defined was he was looking for. In the phrase dial one eight-hundred cash now he asked for a slight adjustment — a long high C so that Cash Now holds a certain urgency that would be hard to miss.