"I don't think she'll do that." "'Even' the Maltese cross?" Mrs. Gereth rose as she sharply echoed the words. "My dear child, you don't suppose I'd have sacrificed that! For what in the world would you have taken me?"!

Fleda gave a bold dramatic laugh. "Thank you, my love—with all the best things at Ricks!" He spoke not impatiently, but with a kind of intimate familiarity, the sweetness of which made her feel a pang for having forced him to tell her what was embarrassing to him, what was even humiliating. Yes indeed, she knew all she needed: all she needed was that Mona had proved apt at putting down that wonderful patent-leather foot. Her type was misleading only to the superficial, and no one in the world was less superficial than Fleda. She had guessed the truth at Waterbath and she had suffered from it at Poynton; at Ricks the only thing she could do was to accept it with the dumb exaltation that she felt rising. Mona had been prompt with her exercise of the member in question, for it might be called prompt to do that sort of thing before marriage. That she had indeed been premature who should say save those who should have read the matter in the full light of results? Neither at Waterbath nor at Poynton had even Fleda's thoroughness discovered all that there was—or rather, all that there was not—in Owen Gereth. "Of course it makes all the difference!" she said in answer to his last words. She pursued, after considering: "What you wish me to say from you then to your mother is that you demand immediate and practically complete restitution?"

These arts, when Mrs. Gereth's spirits were high, were handled with a brave and cynical humor with which Fleda's fancy could keep no step: they left our young lady wondering what on earth her companion wanted her to do. "I want you to cut in!"—that was Mrs. Gereth's familiar and comprehensive phrase for the course she prescribed. She challenged again and again Fleda's picture, as she called it (though the sketch was too slight to deserve the name), of the indifference to which a prior attachment had committed the proprietor of Poynton. "Do you mean to say that, Mona or no Mona, he could see you that way, day after day, and not have the ordinary feelings of a man?" This was the sort of interrogation to which Fleda was fitfully and irrelevantly treated. She had grown almost used to the refrain. "Do you mean to say that when, the other day, one had quite made you over to him, the great gawk, and he was, on this very spot, utterly alone with you—?" The poor girl at this point never left any doubt of what she meant to say, but Mrs. Gereth could be trusted to break out in another place and at another time. At last Fleda wrote to her father that he must take her in for a while; and when, to her companion's delight, she returned to London, that lady went with her to the station and wafted her on her way. "The Morning Post" had been delivered as they left the house, and Mrs. Gereth had brought it with her for the traveler, who never spent a penny on a newspaper. On the platform, however, when this young person was ticketed, labeled, and seated, she opened it at the window of the carriage, exclaiming as usual, after looking into it a moment: "Nothing—nothing—nothing: don't tell me!" Every day that there was nothing was a nail in the coffin of the marriage. An instant later the train was off, but, moving quickly beside it, while Fleda leaned inscrutably forth, Mrs. Gereth grasped her friend's hand and looked up with wonderful eyes. "Only let yourself go, darling—only let yourself go!" "We're together, we're together," Mrs. Gereth lifelessly repeated. "That's all we are now; it's all we have." The words brought to Fleda a sudden vision of the empty little house at Ricks; such a vision might also have been what her companion found in the face of the stopped Dutch clock. Yet with this it was clear that she would now show no bitterness: she had done with that, had given the last drop to those horrible hours in London. No passion even was left to her, and her forbearance only added to the force with which she represented the final vanity of everything. Fleda submitted like a sick animal: she would submit to everything now. "Then what further passed?"