appears to be rather an empty compliment, since his stipend is only
twenty-five dollars a week), perpetrates impressionistic decorations and
scenery for such minor theaters as will endure them.

"You're a grand old man, Dominie!" said he. "Let's go."

We went. We found Barbran. We conversed. Half an hour later when I left
them--without any strenuous protests on the part of either--they were
deeply engrossed in a mutual discussion upon decorations, religion, the
high cost of living, free verse, two-cent transfers, Charley Chaplin,
aviation, ouija, and other equally safe topics. Did I say safe?
Dangerous is what I mean. For when a youth who is as homely as young
Phil Stacey and in that particular style of homeliness, and a girl who
is as far from homely as Barbran begin, at first sight, to explore each
other's opinions, they are venturing into a dim and haunted region,
lighted by will-o'-the-wisps and beset with perils and pitfalls. Usually
they smile as they go. Phil was smiling as I left them. So was Barbran.
I may have smiled myself.

Anything but a smile was on Phil Stacey's normally cheerful face when,
some three days thereafter, he came to my rooms.

"Dominie," said he, "I want to tap your library. Have you got any of the
works of Harvey Wheelwright?"

"God forbid!" said I.

Phil looked surprised. "Is it as bad as that? I didn't suppose there was
anything wrong with the stuff."