strained, the dwelling-place of light. In short, her philosophy was that
of the modern, orthodox American, tinged by a somewhat commercialized
Sunday school tradition of an earlier day, and highly approved by the
censors of the movies. The peculiar kind of abstinence once
euphemistically known as "virtue," particularly if it were combined with
beauty, never failed of its reward. Lise, in this sense, was indeed
virtuous, and her mirror told her she was beautiful. Almost anything
could happen to such a lady: any day she might be carried up into heaven
by that modern chariot of fire, the motor car, driven by a celestial
chauffeur.

One man's meat being another's poison, Lise absorbed from the movies an
element by which her sister Janet was repelled. A popular production
known as "Leila of Hawtrey's" contained her creed,--Hawtrey's being a
glittering metropolitan restaurant where men of the world are wont to
gather and discuss the stock market, and Leila a beautiful, blonde and
orphaned waitress upon whom several of the fashionable frequenters had
exercised seductive powers in vain. They lay in wait for her at the side
entrance, followed her, while one dissipated and desperate person,
married, and said to move in the most exclusive circles, sent her an
offer of a yearly income in five figures, the note being reproduced on
the screen, and Leila pictured reading it in her frigid hall-bedroom.
There are complications; she is in debt, and the proprietor of Hawtrey's
has threatened to discharge her and in order that the magnitude of the
temptation may be most effectively realized the vision appears of Leila
herself, wrapped in furs, stepping out of a limousine and into an
elevator lifting her to an apartment containing silk curtains, a Canet
bed, a French maid, and a Pomeranian. Virtue totters, but triumphs, being
reinforced by two more visions the first of these portrays Leila,
prematurely old, dragging herself along pavements under the metallic