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"That is what I am afraid of always," says Mona, a little wistfully. "That is true, for a time, with some. Forever with others." Mona looks up startled. The faint rays of the new-born moon are indeed rushing through the casement, and are flinging themselves languidly upon the opposite wall, but they are pale and wan, as moonlight is in its infancy, and anything but brilliant. Besides, Rodney's eyes are turned not on them, but on the door that can be seen just over Mona's head, where no beams disport themselves, however weakly..
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It is a drooping blackberry-leaf from a bush near where she is standing, that has turned from green into a warm and vivid crimson. She examines it minutely, as though lost in wonder at its excessive beauty, for beautiful exceedingly it is, clothed in the rich cloak that Autumn's generosity has flung upon it; yet I think, she for once is blind to its charms. It seems such a direct running commentary on Mona's supposed ill deed that every one—as by a single impulse—looks up. Nolly and Jack Rodney exchange covert glances. But for the depression that reigns all round, I think these two would have given way to frivolous merriment. Mona, with a beating heart, but with a courage that gives calmness to her outward actions, closes the window, draws the shutters together, bars them, and then goes back to Geoffrey, who has not moved since Rodney's departure. "Is it you?" she says. "Come in here, Geoffrey. I want you.".
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