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The momentous Friday comes at last, and about noon Mona and Geoffrey start for the Towers. They are not, perhaps, in the exuberant spirits that should be theirs, considering they are going to spend their Christmas in the bosom of their family,—at all events, of Geoffrey's family which naturally for the future she must acknowledge as hers. They are indeed not only silent, but desponding, and as they get out of the train at Greatham and enter the carriage sent by Sir Nicholas to meet them their hearts sink nearly into their boots, and for several minutes no words pass between them. And in truth the "claning" occupies a very short period,—or else Mona and Geoffrey heed not the parting moments. For sometimes "No, no; I think not. Come here, Geoffrey; do. It is the queerest thing,—like a riddle. See!".

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"Then I will sing you a song I was sent last week," says Mona, and forthwith sings him "Years Ago," mournfully, pathetically, and with all her soul, as it should be sung. Then she gives him "London Bridge," and then "Rose-Marie," and then she takes her fingers from the piano and looks at him with a fond hope that he will see fit to praise her work. "Why should I? She never comes near us, never takes the least notice of us. She treats us as though we were a detested branch grafted on, and causing more trouble than we are worth, yet she will not let us go." Mona, sitting down to the piano, plays a few chords in a slow, plaintive fashion, and then begins. Paul Rodney has come to the doorway, and is standing there gazing at her, though she knows it not. The ballroom is far distant, so far that the sound of the band does not break upon the silence of the room in which they are assembled. A hush falls upon the listeners as Mona's fresh, pathetic, tender voice rises into the air. "That? Oh, that was the bride, Mrs. Rodney," replies he. "She is lovely, if you like.".