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"Put down your pistol, sir," she says, hastily. "Would you fire on a woman?" Her tone, though hurried, is not oppressed with fear. She even advances a few steps in his direction. Her words, her whole manner, fill him with admiration. The extreme courage she betrays is, indeed worthy of any man's laudation, but the implied trust in his chivalry touches Paul Rodney more than anything has ever had power to touch him before.,I could have half believed I heard,Sir Nicholas is there, silent, but angry, as Violet knows by the frown upon his brow. With his mother he never quarrels, merely expressing disapproval by such signs as an unwillingness to speak, and a stern grave line that grows upon his lips.,Nicholas, who had left the room again, returns now, bringing with him a glass of wine, which he compels her to swallow, and then, pale and frightened, but calmer than she was before, she leaves the house, and starts with Geoffrey for the gamekeeper's lodge, where lies the man they had so dreaded, impotent in the arms of death.,"Mona, it is not—it cannot be—but is it?" asks he incoherently.,"She had made up her mind that you would be insupportable, and she couldn't forgive you because you weren't," says that astute young man, with calm conviction. "Don't you be taken in, Mona.",Mr. Rodney's face being of that rare kind that is as tender as it is manly, and by right of its beauty demands confidence, the old man (who dearly loves his own voice) is encouraged to proceed.,There were those who said she clung to him because of his wonderful likeness to the picture of his grandfather in the south gallery, Sir Launcelot by name, who in choicest ruffles and most elaborate queue, smiled gayly down upon the passers-by.,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.,Her eyes fall upon the hearthrug. Half under the fender a small piece of crumpled paper attracts her notice. Still talking, she stoops mechanically and picks it up, smooths it, and opens it.,By this time both Nicholas and Geoffrey are quite convulsed with delight.,Then there is another pause, rather longer than the last, Lady Rodney trifles with the fan in a somewhat excited fashion, and Geoffrey gazes, man-like, at his boots. At last his mother breaks the silence..