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A dead silence follows. Lady Rodney raises her head, scenting mischief in the air. "A lone owl's hoot, Nolly, mistrustful of Geoffrey's silence, goes up to him, and, laying his hands upon his shoulders, says, quietly,—.

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"Nolly is waking up. I am afraid we sha'n't have that auto da fe, after all," says Jack in a tone of rich disappointment. "I feel as if we are going to be done out of a good thing." "A great distance," said the man. "Perhaps then a little later on I shall go," returns Mona, who, like all her countrywomen, detests giving a direct answer, and can never bring herself to say a decided "no" to any one. As for the Australian, he has grown pale indeed, but is quite self-possessed, and the usual insolent line round his mouth has deepened. The dogs have by no means relaxed their vigil, but still crouch before him, ready for their deadly spring at any moment. It is a picture, almost a lifeless one, so motionless are all those that help to form it. The fading fire, the brilliant lamp, the open window with the sullen night beyond, Paul Rodney standing upon the hearthrug with folded arms, his dark insolent face lighted up with the excitement of what is yet to come, gazing defiantly at his cousin, who is staring back at him, pale but determined. And then Mona, in her soft white gown, somewhat in the foreground, with one arm (from which the loose sleeve of the dressing-gown has fallen back, leaving the fair rounded flesh to be seen) thrown around her husband's neck, is watching Rodney with an expression on her face that is half haughtiness, half nervous dread. Her hair has loosened, and is rippling over her shoulders, and down far below her waist; with her disengaged hand she is holding it back from her ear, hardly knowing how picturesque and striking is her attitude, and how it betrays each perfect curve of her lovely figure..