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 flattering offer you have made to me to-night has come because of the training incident to the cultivation of a stage ambition. If it can bring me so much with so little devotion, is it not reasonable to suppose that it will bring me more—very much more? I will not be so disloyal to that which has been so generous with me."

Scofield's countenance had suddenly and impressively changed. It became a mask of stone, a sphinx-like thing, the brow a knot, the nose a beak, the mouth a stitched scar. The beady gleam of the eyes from beneath drawn lids was sinister. This fanatical young fool was escaping him, and Scofield did not like any one to escape him.

But the young man refused to be swerved by frowns.

"Not to manage railroads," he declared enthusiastically, "but to mould human character is to be my life-work; to depict the virtues and the vices, the weaknesses and the strengths of life, to make men laugh and love and—forget."

Scofield's eyes twinkled, and his mouth became less a scar, but John thought this was a very fine phrase really, and he rushed along:

"Life looks like a tangle, like a mess—drudgeries, disappointments, injustices—the wrong man prospering—the wrong girl suffering! The drama composes life. It grabs out a few people and follows them, compressing into the action of two hours the eventualities of a lifetime and shortening perspectives till men can see the consequences of their acts, whether for good or for ill. The stage teaches the doctrine of the conservation of moral energy—and of immoral energy—that sustained effort, conserved effort is never cheated; it gets its goal at last."

"Say!" broke in Scofield; but John would not be denied what he felt was a final smashing generalization.