Joan started. She had been thinking about Phillips, wondering what she should say to him when they met. He shrugged his shoulders. “No reason why it shouldn’t be,” he said. “I’ve generally found him right.”!

“He who in his heart—” there was verse and chapter for it. Joan was a murderess. Just as well, so far as Joan was concerned, might she have taken a carving-knife and stabbed Deacon Hornflower to the heart. She ought to have insisted on their going to a decent shop. The mere advertisement ought to have forewarned her. It was the posters that had captured Mrs. Phillips: those dazzling apartments where bejewelled society reposed upon the “high-class but inexpensive designs” of Mr. Krebs. Artists ought to have more self-respect than to sell their talents for such purposes.

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. “That’s like you women,” he answered with a smile. “You pretend to be superior; and then you copy us.” “I want you to be just yourself,” said Joan; “a kind, good woman of the people, who will win their respect, and set them an example.” She moved across and seating herself on the arm of Mrs. Phillips’s chair, touched lightly with her hand the flaxen hair and the rouged cheek. “I want you to get rid of all this,” she whispered. “It isn’t worthy of you. Leave it to the silly dolls and the bad women.”