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That piece of a word was scored out and "dangers" written in its place. The missive ended all too soon, with the statement that I was requested to call, on my way out of camp, at the side gallery of the house-- Sessions's--and let the writer and her sister and her cousin and her father and her aunt see me in my new uniform and bid me good-bye.

She backed half a step, and quite needlessly I let it go. Then she bade me not forget I had promised her the words of a certain song. "Want them? Indeed, yes! Did you not say it was an unpublished song written by a messmate of yours?--oh, Mr. Smith! I see why you stammer! You said 'a member of your mess'! oh!--oh!--oh!--you wrote it, yourself! And you wrote it to-day! That explains--" She drew an awesome breath, rose to her toes and knit her knuckles under her throat.

"Sa-ay! I'll wrastle you fo' them-ah clo'es."

But why, then, this ardent zeal to save the necks of the two traitors "whose roof this night--" etc.? Manifestly she was moved by passion, not duty; love drove her on; but surely not love for them. "No," I guessed in a reverent whisper, "but love for Ned Ferry." It must have been through grace of some of her nobility and his, caught in my heart even before I was quite sure of it in theirs, that I sat and framed the following theory: Ned Ferry, loving Charlotte Oliver, yet coerced by his sense of a soldier's duty, had put passion's dictates wholly aside and had set about to bring these murderers to justice; doing this though he knew that she could never with honor or happiness to either of them become the wife of a man who had made her a widow, while she, aware of his love, a love so true that he would not breathe it to her while this hideous marriage held her, had ridden perilously in the dead of night to circumvent his plans if, with honor to both of them, it could be done.

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