As Irvin seized her hands and looked at her eagerly, half-fearfully, Rita achieved sufficient composure to speak.  
“Oh, Mr. Irvin,” she said, and found that her voice was not entirely normal, “what must you think—”
 
He continued to hold her hands, and:
 
“I think you are very indiscreet to be out alone at three o'clock in the morning,” he answered gently. “I was recalled to London by urgent business, and returned by road—fortunately, since I have met you.”
 
“How can I explain—”
 
“I don't ask you to explain—Miss Dresden. I have no right and no desire to ask. But I wish I had the right to advise you.”
 
“How good you are,” she began, “and I—”
 
Her voice failed her completely, and her sensitive lips began to tremble. Monte Irvin drew her arm under his own and led her back to meet the car, which the chauffeur had turned and which was now approaching.
 
“I will drive you home,” he said, “and if I may call in the morning. I should like to do so.”
 
Rita nodded. She could not trust herself to speak again. And having placed her in the car, Monte Irvin sat beside her, reclaiming her hand and grasping it reassuringly and sympathetically throughout the short drive. They parted at her door.
 
“Good night,” said Irvin, speaking very deliberately because of an almost uncontrollable desire which possessed him to take Rita in his arms, to hold her fast, to protect her from her own pathetic self and from those influences, dimly perceived about her, but which intuitively he knew to be evil.
 
“If I call at eleven will that be too early?”
 
“No,” she whispered. “Please come early. There is a matinee tomorrow.”
 
“You mean today,” he corrected. “Poor little girl, how tired you will be. Good night.”
 
“Good night,” she said, almost inaudibly.
 
She entered, and, having closed the door, stood leaning against it for several minutes. Bleakness and nausea threatened to overcome her anew, and she felt that if she essayed another step she must collapse upon the floor. Her maid was in bed, and had not been awakened by Rita's entrance. After a time she managed to grope her way to her bedroom, where, turning up the light, she sank down helplessly upon the bed.
 
Her mental state was peculiar, and her thoughts revolved about the journey from Oxford Street homeward. A thousand times she mentally repeated the journey, speaking the same words over and over again, and hearing Monte Irvin's replies.
 
In those few minutes during which they had been together her sentiments in regard to him had undergone a change. She had always respected Irvin, but this respect had been curiously compounded of the personal and the mercenary; his well-ordered establishment at Prince's Gate had loomed behind the figure of the man forming a pleasing background to the portrait. Without being showy he was a splendid “match” for any woman. His wife would have access to good society, and would enjoy every luxury that wealth could procure. This was the picture lovingly painted and constantly retouched by Rita's mother.
 
Now it had vanished. The background was gone, and only the man remained; the strong, reserved man whose deep voice had spoken so gently, whose devotion was so true and unselfish that he only sought to shield and protect her from follies the nature of which he did not even seek to learn. She was stripped of her vanity, and felt loathsome and unworthy of such a love.
 
“Oh,” she moaned, rocking to and fro. “I hate myself—I hate myself!”
 
Now that the victory so long desired seemed at last about to be won, she hesitated to grasp the prize. One solacing reflection she had. She would put the errors of the past behind her. Many times of late she had found herself longing to be done with the feverish life of the stage. Envied by those who had been her companions in the old chorus days, and any one of whom would have counted ambition crowned could she have played The Maid of the Masque, Rita thought otherwise. The ducal mansions and rose-bowered Riviera hotels through which she moved nightly had no charm for her; she sighed for reality, and had wearied long ago of the canvas palaces and the artificial Southern moonlight. In fact, stage life had never truly appealed to her—save as a means to an end.
 
Again and yet again her weary brain reviewed the episodes of the night since she had left Cyrus Kilfane's flat, so that nearly an hour had elapsed before she felt capable of the operation of undressing. Finally, however, she undressed, shuddering although the room was warmed by an electric radiator. The weakness and sickness had left her, but she was quite wide awake, although her brain demanded rest from that incessant review of the events of the evening.
 
She put on a warm wrap and seated herself at the dressing-table, studying her face critically. She saw that she was somewhat pale and that she had an indefinable air of dishevelment. Also she detected shadows beneath her eyes, the pupils of which were curiously contracted. Automatically, as a result of habit, she unlocked her jewel-case and took out a tiny phial containing minute cachets. She shook several out on to the palm of her hand, and then paused, staring at her reflection in the mirror.
 
For fully half a minute she hesitated, then:
 
“I shall never close my eyes all night if I don't!” she whispered, as if in reply to a spoken protest, “and I should be a wreck in the morning.”
 
Thus, in the very apogee of her resolve to reform, did she drive one more rivet into the manacles which held her captive to Kazmah and Company.
 
Upon a little spirit-stove stood a covered vessel containing milk, which was placed there nightly by Rita's maid. She lighted the burner and warmed the milk. Then, swallowing three of the cachets from the phial, she drank the milk. Each cachet contained three decigrams of malourea, the insidious drug notorious under its trade name of Veronal.
 
She slept deeply, and was not awakened until ten o'clock. Her breakfast consisted of a cup of strong coffee; ............