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On the right side of the fireplace, lying along the wall, is a rude stretcher,—or what appears to be such,—on which, shrouded decently in a white cloth, lies something that chills with mortal fear the heart, as it reminds it of that to which we all some day must come. Beneath the shroud the murdered man lies calmly sleeping, his face smitten into the marble smile of death. She waits apparently for an answer, at which Mona grows desperate. For in reality she has heard not one word of the labored speech made to her, and is too frightened to think of anything to say except the unfortunate lesson learned in the carriage and repeated secretly so often since. She looks round helplessly for Geoffrey; but he is laughing with his brother, Captain Rodney, whom he has not seen since his return from India, and so Mona, cast upon her own resources, says,— To Rodney, last night is one ever to be remembered as being a period almost without end, and as a perfect specimen of how seven hours can be made to feel like twenty-one..

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"Down below in the hollow, miss,—jist behind the hawthorn-bush. Go home some other way, Miss Mona: they're bint on blood." She is clad in a long white dressing-gown, loose, yet clinging, that betrays each curve of her svelte, lissom figure. It is bordered with swansdown, and some rich white lace, that sits high to her neck and falls over her small hands. Her hair is drawn back into a loose knot, that looks as if it would tumble down her back should she shake her head. She is pale, and her eyes are peculiarly large and dark from excitement. They are fixed upon Rodney with a gaze that belies all idea of fear, and her lips are compressed and somewhat dangerous. "Ah! that is because you are a man, and because you love me," says this astute reader of humanity. "But women are so different. Suppose—suppose she never gets to like me?" "It seems horrible to me that Mona should be on friendly terms with your enemy," says Geoffrey, passionately..