Disturbed as Laura evidently was by some powerful motive, it was not long before her eye rested upon the occupants of the stalls immediately below, but two or three tiers nearer the stage. It almost seemed as if, as they sat side by side, she and Charley had seen them at the same moment; for involuntarily they both leaned forward, but only to draw back the next instant for eye to meet eye.

Surely enough, there was Max Bray seated between Mrs Marter and Ella Bedford, who, with their backs to them, had not seen the occupants of the private box. As for Mrs Bray, she had preferred a back seat, in which she was followed by Sir Philip, who insisted upon Charley taking the front, he caring very little now for the opera; while Mrs Bray found much more gratification in the ladies’ dresses than in what she called, in private, “a parcel of squalling,” and employed her lorgnette accordingly.

Laura’s next act was to glance round uneasily at Mamma Bray and Sir Philip; but there was nothing to fear there: their attention was taken up by the audience, and from their position it was impossible for them to see where Max and his companions were seated.

The next moment Laura’s eyes were directed towards Charley, as he sat sternly, fiercely looking down again, and then, softly, tremulously, and as if even the delicately-gloved hand deprecated what it was about to attempt, she laid that hand upon his stalwart arm, and he turned once more, frowning heavily, to encounter those great eyes, pitiful, imploring, swimming in tenderness. It seemed to him that it was pity for him, sorrow for the pain he was suffering; and as the frown passed from his brow, he returned her gaze till her eyes sank shrinkingly before his, and the great long dark lashes fell to curtain them from his sight.

But her hand still rested upon his arm, pressing it more and more tightly; and again her eyes were raised to his for him to read in them once more the same expression.

Yes, it must be pity, sorrow for him; and he read them so, as, forgetful of all—opera, the hundreds around, even those in the box with them—Laura came nearer and nearer to him, till he felt her soft breath upon his cheek as she whispered:

“Charley, I can bear this no longer. Will you take me home?”

They rose together, and Laura whispered a few words to Mrs Bray; the next minute they were in the corridor, and then what followed seemed to Charley like a dream—the coldness of air as they passed through swing—doors, the fastening of cloak and adjustment of hood, the descent of stairs, and the rattling of wheels; and then, with the recollection of what he had last seen—Ella Bedford’s face turned smilingly towards Max—Charley Vining was seated in a street cab, rattling over the stones, with Laura Bray still clinging to his arm, to utter his name once in a hoarse whisper, as, in spite of all he could do to prevent it, she flung herself on her knees in the rough straw, her rich evening dress forgotten, as she clung to his hand and pressed it to her burning forehead, kissed it, deluged it with her scalding tears, while, as he bent over her, he could feel that her sobs shook her frame as they burst from her labouring breast.

At length, partly by a few deeply-uttered words, partly by passing his arms round and lifting her, Charley Vining had the passionate girl at his side; but only for her to cling to him, sobbing fearfully, till they neared the house.

It was barely half-past nine, and as he handed her out, he would have parted from her; but she clung to his hand, and together they went up into the drawing-room, where, once more alone, Laura threw herself at his feet, clinging to him, sobbing hysterically, imploring him to forgive her, to be lenient to her; it was all for love of him—t............