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 cinating make-believe of the moment, he rose in feeling until he was ready in spirit to go to her and ease her out of her misery by adding to his own delight.

In a moment Carrie was alone again, and was saying, with animation:

"I must return to the city, no matter what dangers may lurk here. I must go, secretly if I can; openly, if I must."

There was a sound of horses' hoofs outside, and then Ray's voice saying:

"No, I shall not ride again. Put him up."

He entered, and then began a scene which had as much to do with the creation of the tragedy of affection in Hurstwood as anything in his peculiar and involved career. For Carrie had resolved to make something of this scene, and, now that the cue had come, it began to take a feeling hold upon her. Both Hurstwood and Drouet noted the rising sentiment as she proceeded.

"I thought you had gone with Pearl," she said to her lover.

"I did go part of the way, but I left the party a mile down the road."

"You and Pearl had no disagreement?"

"No—yes; that is, we always have. Our social barometers always stand at 'cloudy' and 'overcast.'"

"And whose fault is that?" she said, easily.

"Not mine," he answered, pettishly. "I know I do all I can—I say all I can—but she"

This was rather awkwardly put by Patton, but Carrie redeemed it with a grace which was inspiring.

"But she is your wife," she said, fixing her whole attention upon the stilled actor, and softening the quality of her voice until it was again low and musical. "Ray, my