Joan was about to offer comment, but was struck dumb with astonishment on hearing McKean’s voice: it seemed he could talk. He was telling of an old Scotch peasant farmer. A mean, cantankerous old cuss whose curious pride it was that he had never given anything away. Not a crust, nor a sixpence, nor a rag; and never would. Many had been the attempts to make him break his boast: some for the joke of the thing and some for the need; but none had ever succeeded. It was his one claim to distinction and he guarded it. “I think it is someone I know,” she said. “Won’t you help me?”!

“Yes,” she answered. “If he comes back.” There was a little catch in her voice. He was looking at the ring upon her hand.

“You have got to consider the cost of refusal,” she said. “His offer wasn’t help or neutrality: it was help or opposition by every means in his power. He left me in no kind of doubt as to that. He’s not used to being challenged and he won’t be squeamish. You will have the whole of his Press against you, and every other journalistic and political influence that he possesses. He’s getting a hold upon the working classes. The Sunday Post has an enormous sale in the manufacturing towns; and he’s talking of starting another. Are you strong enough to fight him?” “I have always loved him,” Joan answered. “It was he didn’t love me, for a time, as I thought. But I know now that he does.” She introduced her. Miss Tolley bowed; and allowed herself to be drawn away by a lank-haired young man who had likewise been waiting for an opening. He represented the Uplift Film Association of Chicago, and was wishful to know if Miss Tolley would consent to altering the last chapter and so providing “Running Waters” with a happy ending. He pointed out the hopelessness of it in its present form, for film purposes.