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"What are you picking up?" called the son-in-law. Paul Rodney, true to his word, has put in an appearance, much to the amazement of many in the room. Almost as Mona's dance with Nolly is at an end, he makes his way to her, and asks her to give him the next. Unfortunately, she is not engaged for it, and, being unversed in polite evasions, she says yes, quietly, and is soon floating round the room with him. There are no windows; but in their place are four unpleasant slits about two yards in length, let into the thick walls at studiously unequal distances. These are filled up with an opaque substance that perhaps in the Middle Ages was called glass..

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"Take me down," says Mona, wearily, turning to her lover, as the last faint ring of the horse's feet dies out on the breeze. "It is an early hour to be astir," he says, awkwardly; then, finding she makes no response, he goes on, still more awkwardly. "Can you tell me if this path will lead me to the road for Plumston?" There is a look upon his face that recalls to her his dead father, and Lady Rodney grows silent. The husband of her youth had been dear to her, in a way, until age had soured him, and this one of all his three children most closely resembled him, both in form and in feature; hence, perhaps, her love for him. She lowers her eyes, and a slow blush—for the blood rises with difficulty in the old—suffuses her face. "Yes, quite in time," says Mona. Then she pauses, looking at him so earnestly that he is compelled to return her gaze. "You shall have another dance," she says, in her clear voice, that is perfectly distinct to every one; "but you must not call me Mrs. Rodney: I am only Mrs. Geoffrey!".