"Why, Vansittart is one of the best fellows I know!" exclaimed Clement Hunt; and he spent the next ten minutes in indignantly endeavouring to convince his friend that if club gossip were not invariably entirely false, in this case any rumour of a previous marriage on Vansittart’s part was an absolute and odious fabrication. Meanwhile, Vansittart had carefully cloaked his beloved in her quiet, if costly, theatre wrap, and, after royally tipping the waiter, had escorted her, followed by interested glances, down the stairs to the entrance. A hansom speedily conveyed them to the theatre. They were just settled in the box, Joan was glancing round the house through her opera glass, when the orchestra began the overture. At first, the music merely aroused a dormant, unpleasant, shamed sensation. Then, as it struck up a well-known air from "Carmen," she inwardly shrank, her whole being, heart included, indeed seemed to halt, as if paralyzed with reminiscent horror. _It was the air Victor had whistled under her window at night when he was secretly courting her, and she had not heard it since._ What demon was persecuting her? Not only that air sent arrows of pain into her very soul, but the subsequent melodies drove them home to the core. It was as if a malignant fiend had picked out and strung together the favourite tunes the dead man had whistled and sung during the stolen meetings of their clandestine love affair, to clamour them in her ears when she was powerless to escape. To rush away before the curtain rose would be to betray some extraordinary emotion; yet she had to fight the desire to do so. It took her whole little strength to force herself to remain seated in the box and endure the consequent performance. By the time the curtain rose she was the conqueror. She had held the lorgnette to her eyes, and pretended to scan the audience while that brief mental battle was raging, lest, removing it, her lover should notice her agitation. Fortunately, even as the curtain gave place to a woodland scene, the auditorium was darkened. As the first act proceeded, she recovered herself a little. There was less of a dense black veil before her eyes, less surging in her ears. She could hardly have told what the first dialogue between the second heroine and the first heroine--a certain Lady Chumleigh--was. The girl was sister to the heroine’s husband, Sir Dyved Chumleigh, and appeared to cause discomfiture to her sister-in-law by some innocent teasing; at least, that was what Joan gathered from the lady’s subsequent soliloquy. "However, it doesn’t much matter whether I understand the thing or not," she told herself. "It seems vapid and unreal in the extreme." The thought had hardly flashed across her mind when a sensational episode in the play awakened the attention of the house. A slouching tramp, ragged, dirty, abandoned-looking, suddenly appeared from behind a tree, and addressed Lady Chumleigh as "My wife!"