# Sanctuary (Wharton 1903)/Chapter 13

VIII
The day dwelt in her memory as a long stretch of aimless hours: blind alleys of time that led up to a dead wall of inaction.
Toward afternoon she remembered that she had promised to dine out and go to the opera. At first she felt that the contact of life would be unendurable; then she shrank from shutting herself up with her misery. In the end she let herself drift passively ​on the current of events, going through the mechanical routine of the day without much consciousness of what was happening.
At twilight, as she sat in the drawing-room, the evening paper was brought in, and in glancing over it her eye fell on a paragraph which seemed printed in more vivid type than the rest. It was headed, The New Museum of Sculpture, and underneath she read: "The artists and architects selected to pass on the competitive designs for the new Museum will begin their sittings on Monday, and to-morrow is the last day on which designs may be sent in to the committee. Great interest is felt in the competition, as the conspicuous site chosen for the new building, and the exceptionally large sum voted by the city for its erection, offer an unusual field for the display of architectural ability."
She leaned back, closing her eyes. It ​was as though a clock had struck, loud and inexorably, marking off some irrecoverable hour. She was seized by a sudden longing to seek Dick out, to fall on her knees and plead with him: it was one of those physical obsessions against which the body has to stiffen its muscles as well as the mind its thoughts. Once she even sprang up to ring for a cab; but she sank back again, breathing as if after a struggle, and gripping the arms of her chair to keep herself down.
"I can only wait for him—only wait for him—" she heard herself say; and the words loosened the sobs in her throat.
At length she went upstairs to dress for dinner. A ghost-like self looked back at her from her toilet-glass: she watched it performing the mechanical gestures of the toilet, dressing her, as it appeared, without help from her actual self. Each little act stood out sharply against the blurred ​background of her brain: when she spoke to her maid her voice sounded extraordinarily loud. Never had the house been so silent; or, stay—yes, once she had felt the same silence, once when Dick, in his school-days, had been ill of a fever, and she had sat up with him on the decisive night. The silence had been as deep and as terrible then; and as she dressed she had before her the vision of his room, of the cot in which he lay, of his restless head working a hole in the pillow, his face so pinched and alien under the familiar freckles. It might be his deathwatch she was keeping: the doctors had warned her to be ready. And in the silence her soul had fought for her boy, her love had hung over him like wings, her abundant useless hateful life had struggled to force itself into his empty veins. And she had succeeded, she had saved him, she had poured her life into him; and in place of the strange child she had watched all night, ​at daylight she held her own boy to her breast.
That night had once seemed to her the most dreadful of her life; but she knew now that it was one of the agonies which enrich, that the passion thus spent grows fourfold from its ashes. She could not have borne to keep this new vigil alone. She must escape from its sterile misery, must take refuge in other lives till she regained courage to face her own. At the opera, in the illumination of the first entr'acte, as she gazed about the house, wondering through the numb ache of her wretchedness how others could talk and smile and be indifferent, it seemed to her that all the jarring animation about her was suddenly focussed in the face of Clemence Verney. Miss Verney sat opposite, in the front of a crowded box, a box in which, continually, the black-coated background shifted and renewed itself. Mrs. Peyton felt a ​throb of anger at the girl's bright air of unconcern. She forgot that she too was talking, smiling, holding out her hand to newcomers, in a studied mimicry of life, while her real self played out its tragedy behind the scenes. Then it occurred to her that, to Clemence Verney, there was no tragedy in the situation. According to the girl's calculations, Dick was virtually certain of success; and unsuccess was to her the only conceivable disaster.
All through the opera the sense of that opposing force, that negation of her own beliefs, burned itself into Mrs. Peyton's consciousness. The space between herself and the girl seemed to vanish, the throng about them to disperse, till they were face to face and alone, enclosed in their mortal enmity. At length the feeling of humiliation and defeat grew unbearable to Mrs. Peyton. The girl seemed to flout her in the insolence of victory, to sit there as the ​visible symbol of her failure. It was better after all to be at home alone with her thoughts.
As she drove away from the opera she thought of that other vigil which, only a few streets away, Dick was perhaps still keeping. She wondered if his work were over, if the final stroke had been drawn. And as she pictured him there, signing his pact with evil in the loneliness of the conniving night, an uncontrollable impulse possessed her. She must drive by his windows and see if they were still alight. She would not go up to him,—she dared not,—but at least she would pass near to him, would invisibly share his watch and hover on the edge of his thoughts. She lowered the window and called out the address to the coachman.
The tall office-building loomed silent and dark as she approached it; but presently, high up, she caught a light in the familiar ​windows. Her heart gave a leap, and the light swam on her through tears. The carriage drew up, and for a moment she sat motionless. Then the coachman bent down toward her, and she saw that he was asking if he should drive on. She tried to shape a yes, but her lips refused it, and she shook her head. He continued to lean down perplexedly, and at length, under the interrogation of his attitude, it became impossible to sit still, and she opened the door and stepped out. It was equally impossible to stand on the sidewalk, and her next steps carried her to the door of the building. She groped for the bell and rang it, feeling still dimly accountable to the coachman for some consecutiveness of action, and after a moment the night watchman opened the door, drawing back amazed at the shining apparition which confronted him. Recognizing Mrs. Peyton, whom he had seen about the building by day, he tried to ​adapt himself to the situation by a vague stammer of apology.
"I came to see if my son is still here," she faltered.
"Yes, ma'am, he's here. He's been here most nights lately till after twelve."
"And is Mr. Gill with him?"
"No: Mr. Gill he went away just after I come on this evening."
She glanced up into the cavernous darkness of the stairs.
"Is he alone up there, do you think?"
"Yes, ma'am, I know he's alone, because I seen his men leaving soon after Mr. Gill."
Kate lifted her head quickly. "Then I will go up to him," she said.
The watchman apparently did not think it proper to offer any comment on this unusual proceeding, and a moment later she was fluttering and rustling up through the darkness, like a night-bird hovering among ​rafters. There were ten flights to climb: at every one her breath failed her, and she had to stand still and press her hands against her heart. Then the weight on her breast lifted, and she went on again, upward and upward, the great dark building dropping away from her, in tier after tier of mute doors and mysterious corridors. At last she reached Dick's floor, and saw the light shining down the passage from his door. She leaned against the wall, her breath coming short, the silence throbbing in her ears. Even now it was not too late to turn back. She bent over the stairs, letting her eyes plunge into the nether blackness, with the single glimmer of the watchman's light in its depths; then she turned and stole toward her son's door.
There again she paused and listened, trying to catch, through the hum of her pulses, any noise that might come to her from within. But the silence was unbroken​—it seemed as though the office must be empty. She pressed her ear to the door, straining for a sound. She knew he never sat long at his work, and it seemed unaccountable that she should not hear him moving about the drawing-board. For a moment she fancied he might be sleeping; but sleep did not come to him readily after prolonged mental effort—she recalled the restless straying of his feet above her head for hours after he returned from his night work in the office.
She began to fear that he might be ill. A nervous trembling seized her, and she laid her hand on the latch, whispering "Dick!"
Her whisper sounded loudly through the silence, but there was no answer, and after a pause she called again. With each call the hush seemed to deepen: it closed in on her, mysterious and impenetrable. Her heart was beating in short frightened leaps: a ​moment more and she would have cried out. She drew a quick breath and turned the door-handle.
The outer room, Dick's private office, with its red carpet and easy-chairs, stood in pleasant lamp-lit emptiness. The last time she had entered it, Darrow and Clemence Verney had been there, and she had sat behind the urn observing them. She paused a moment, struck now by a faint sound from beyond; then she slipped noiselessly across the carpet, pushed open the swinging door, and stood on the threshold of the work-room. Here the gas-lights hung a green-shaded circle of brightness over the great draughting-table in the middle of the floor. Table and floor were strewn with a confusion of papers—torn blue-prints and tracings, crumpled sheets of tracing-paper wrenched from the draughting-boards in a sudden fury of destruction; and in the centre of the havoc, his arms stretched across ​the table and his face hidden in them, sat Dick Peyton.
He did not seem to hear his mother's approach, and she stood looking at him, her breast tightening with a new fear.
"Dick!" she said, "Dick—!" and he sprang up, staring with dazed eyes. But gradually, as his gaze cleared, a light spread in it, a mounting brightness of recognition.
"You've come—you've come—" he said, stretching his hands to her; and all at once she had him in her breast as in a shelter.
"You wanted me?" she whispered as she held him.
He looked up at her, tired, breathless, with the white radiance of the runner near the goal.
"I had you, dear!" he said, smiling strangely on her; and her heart gave a great leap of understanding.
Her arms had slipped from his neck, and she stood leaning on him, deep-suffused in ​the shyness of her discovery. For it might still be that he did not wish her to know what she had done for him.
But he put his arm about her, boyishly, and drew her toward one of the hard seats between the tables; and there, on the bare floor, he knelt before her, and hid his face in her lap. She sat motionless, feeling the dear warmth of his head against her knees, letting her hands stray in faint caresses through his hair.
Neither spoke for awhile; then he raised his head and looked at her. "I suppose you know what has been happening to me," he said.
She shrank from seeming to press into his life a hair's-breadth farther than he was prepared to have her go. Her eyes turned from him toward the scattered drawings on the table.
"You have given up the competition?" she said.
​"Yes—and a lot more." He stood up, the wave of emotion ebbing, yet leaving him nearer, in his recovered calmness, than in the shock of their first moment.
"I did n't know, at first, how much you guessed," he went on quietly. "I was sorry I'd shown you Darrow's letter; but it did n't worry me much because I did n't suppose you'd think it possible that I should—take advantage of it. It's only lately that I've understood that you knew everything." He looked at her with a smile. "I don't know yet how I found it out, for you're wonderful about keeping things to yourself, and you never made a sign. I simply felt it in a kind of nearness—as if I couldn't get away from you.—Oh, there were times when I should have preferred not having you about—when I tried to turn my back on you, to see things from other people's standpoint. But you were always there—you would n't be discouraged. And I got ​tired of trying to explain things to you, of trying to bring you round to my way of thinking. You would n't go away and you would n't come any nearer—you just stood there and watched everything that I was doing."
He broke off, taking one of his restless turns down the long room. Then he drew up a chair beside her, and dropped into it with a great sigh.
"At first, you know, I hated it most awfully. I wanted to be let alone and to work out my own theory of things. If you'd said a word—if you'd tried to influence me—the spell would have been broken. But just because the actual you kept apart and did n't meddle or pry, the other, the you in my heart, seemed to get a tighter hold on me. I don't know how to tell you,—it's all mixed up in my head—but old things you'd said and done kept coming back to me, crowding between me and what ​I was trying for, looking at me without speaking, like old friends I'd gone back on, till I simply could n't stand it any longer. I fought it off till to-night, but when I came back to finish the work there you were again—and suddenly, I don't know how, you were n't an obstacle any longer, but a refuge—and I crawled into your arms as I used to when things went against me at school."
His hands stole back into hers, and he leaned his head against her shoulder like a boy.
"I'm an abysmally weak fool, you know," he ended; "I'm not worth the fight you've put up for me. But I want you to know that it's your doing—that if you had let go an instant I should have gone under—and that if I'd gone under I should never have come up again alive."
THE END