All Saturday night she had tossed, knowing that Quentin Charter was speeding , and the moment when he should arrive in the city and find no welcoming note from her. She dared not be in her rooms after he was due to reach the Granville, lest he call her by telephone or messenger—and her purpose of not seeing him be destroyed by some swift and salient appeal. She had waited until after the hour in which he had asked to call, to be sure that this time he would have given up all hope of seeing her. The now of entering her apartment and remaining there throughout the night, challenged every ounce of will-force she ....
Battling with loneliness and , as she had been for hours, Paula was grateful to note, by the open door, that the actress was at home, even though she had left her the evening before, hurt and disappointed by the other's swift change of manner upon learning that Quentin Charter was to be in New York to-day.... It was with a startling but indefinable emotion that she heard the man's voice now through the open door. Stephen Cabot was there, she thought, as she softly let herself in to the place of , which her own flat had become.
In the dark and silence of the inner hall, the old enemy swept into her consciousness—again the awful localizations of the force! The usual powers of mind , as in war the pith of a capital's rush to distant borders. By habit, her hand was upon the button, but she did not turn on light. Instead, she drew back, steeling her will to remember her name, her place in the world, her friends. Harshly driven, yet Paula repressed a cry, and fought her way out into the main hall—as from the coiling suction of a . Even in her terror, she could not but repress a swift sense of victory, in that she had escaped from the vortex of attraction—her own rooms.
The man's voice reached her again, filled her mind with amazing resistance—so that the point of the occultist's will was broken. Suddenly, she remembered that she had once heard Stephen Cabot, protesting that he was quite well—at the end of the first New York performance of The Thing, and that his tones were inseparably identified with his misfortune. The voice she heard now thrilled her like an ancient, but instantly familiar, harmony. It was not Stephen Cabot's. She stood at the open door, when the of Selma Cross, who was now speaking, caused her to refrain from making her presence known. The unspeakable possibility, suddenly upreared in her mind, every formality. The full energies of her life formed in a prayer that she might be wrong, as Paula peered through the inner hall, and for the first time in the flesh glimpsed Quentin Charter.
She was before the elevator-shaft and had signaled for the car eternities ago. Selma Cross was moving up and down the room within, but her words though faintly audible, had no meaning to the woman without. Paula's mind seemed so filled with sayings from the actress that there was no room for the of a further. One sentence of Charter's startled her with deadly pain.... She could wait no longer, and started to walk down. Half-way to the main-floor, the elevator sped upward to answer her bell.... She was very weak, and temptation was fiercely operative to return to her rooms, when she heard a slow, firm step the flight below. She turned from the stairs on the second floor, just as the huge, lean shoulders of Bellingham appeared on the opposite side of the elevator-shaft.
The two faced without words. His was livid, wasted, but his eyes were of fire. Paula lost herself in their power. She knew only that she must return with him. There was no place to go; indeed, to return with him now seemed normal, rational—until the brightly-lit car rushed down and stopped before them.
"Excuse me for keeping you waiting, Miss Linster," the elevator-man said, "but I had to carry a message to the rear."
In the instantaneous break of Bellingham's concentration, Paula recovered herself to into the car.
"Down, if you please," she said . "The gentleman is going up."
Bellingham, who had started to follow, was stopped by the sliding-door. The conductor called that he would be back directly, as his car slid down.... In the untellable disorganization of mind, Paula knew for the moment only this: she must reach the outer darkness instantly or expire. In that swift drop to the main floor, and in the brief interval required to stop the car and slide the door, she endured all the agony of fingers upon her throat. There was an ease in limbs, as she sped across the tiles to the entrance, as a frightened child rushes from a dark room. She would die if the great door resisted—pictured it all before her hand touched the knob. She would turn, scream, and fall from . Her scream would call about her the horror that she feared.
The big door answered, as it seemed, with a sort of dignity to her of strength—and out under the rain-blurred lamps, she ran, ready to faint if any one called, and continually lest something pluck at her skirts—thus to Central Park West. An Eighth Avenue car was approaching, half a square above. To stand and wait, in the fear lest Bellingham reach the corner in time for the car, the last of her . It was not until she had boarded it, and was beyond reach of a pedestrian on Cathedral Way, that she breathed as one who has touched shore after the Rapids. Still, every south-bound cab renewed her panic. She could have made time to South Ferry by changing to the Elevated, but fear of encountering the Destroyer prevented this. three-quarters of an hour was used in reaching the waiting-room, where she was fortunate in a Staten Island boat without delay. Every figure that crossed the bridge after her, until the big ferry put off, Paula ; then sank nearly fainting into a seat.
Bellingham's plot was clear to her mind, as well as certain elements of his craft to every possibility of failure. He had doubtless seen her enter the house, and timed his control to dethrone her as she reached her rooms. Since the elevator-man would not have taken him up, without word from her, Bellingham had hastened in and started up the stairs when the car was called from the main floor. His shock at finding her in the second-hall was extraordinary, since he was doubtless struggling with the entire force of his concentration, to hold her in the higher apartment and to prepare her mind for his own reception. It was that moment that the elevator-man had saved her; yet, she could not forget how the voice of Quentin Charter had broken the magician's power a moment before; and it occurred to her now how wonderfully throughout her whole Bellingham experience, something of the Westerner's spirit had sustained her in the crises—Quentin Charter's book that first night in Prismatic Hall; Quentin Charter's letter to which she had clung during the dreadful interview in the Park....
As for Quentin Charter rushing immediately to the woman of lawless attractions, because he had not received the hoped-for note at the Granville—in this appeared a wantonness almost beyond belief. Wearily she tried to put the man and his base action
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