"Misses them—rather! She was awfully sweet on them." Fleda remembered how sweet Mona had been, and reflected that if that was the sort of plea he had prepared it was indeed as well he shouldn't see his mother. This was not all she wanted to know, but it came over her that it was all she needed. "You see it puts me in the position of not carrying out what I promised," Owen said. "As she says herself"—he hesitated an instant—"it's just as if I had obtained her under false pretenses." Just before, when he spoke with more drollery than he knew, it had left Fleda serious; but now his own clear gravity had the effect of exciting her mirth. She laughed out, and he looked surprised, but went on: "She regards it as a regular sell." The way Owen hung fire at this question made it sound more playful than she had intended. She had, in fact, no consciousness of any intention but that of confining herself rigidly to her function. She could already see that, in whatever he had now braced himself for, she was an element he had not reckoned with. His preparation had been of a different sort—the sort congruous with his having been careful to go first and lunch solidly at the inn. He had not been forced to ask for her, but she became aware, in his presence, of a particular desire to make him feel that no harm could really come to him. She might upset him, as people called it, but she would take no advantage of having done so. She had never seen a person with whom she wished more to be light and easy, to be exceptionally human. The account he presently gave of the matter was that he indeed wouldn't have come if he had known she was on the spot; because then, didn't she see? he could have written to her. He would have had her there to let fly at his mother.!

"I don't give it up—I never did," Fleda returned. "Because you were closeted with him here so long. You can't pretend at present, you know, not to have any art."

"Wherever he is, I can bear it," Fleda said. "But I haven't the least idea where he is." "Then why doesn't she do it?" 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!"