Summary

Portrait of A. E. W. Mason A. E. W. Mason At the Villa Rose — XVIII The séance (1910)

Celia's vague terror grew. She had a feeling that a beast was waking in the woman, and with it came a growing premonition of failure. Vainly she cried to herself, "I must not fail to-night." But she felt instinctively that there was a stronger personality than her own in that room, taming her, condemning her to failure, influencing the others.
She was placed in a chair. Adèle passed a cord round her ankles, and the mere touch of it quickened Celia to a spasm of revolt. Her last little remnant of liberty was being taken from her. She raised herself, or rather would have raised herself.
Source: Wikisource

Portrait of A. E. W. Mason A. E. W. Mason At the Villa Rose — XVIII The séance (1910)

The three poor women—that was her thought—were sitting unwarned, unsuspecting, defenceless in the pitch-blackness of the salon. A few feet away a man, a thief, was peering in. They were waiting for strange things to happen in the darkness. Strange and terrible things would happen unless she could free herself, unless she could warn them. And she could not. Her struggles were mere efforts to struggle, futile, a shiver from head to foot, and noiseless as a shiver. Adèle Rossignol had done her work well and thoroughly. Celia's arms, her waist, her ankles were pinioned
Source: Wikisource

Portrait of A. E. W. Mason A. E. W. Mason At the Villa Rose — XVIII The séance (1910)

Darkness again filled the recess instead of the grey twilight. But in a moment a faint breath of wind played upon Celia's forehead, and she knew that the man had parted the curtains and slipped into the room. Celia let her head fall towards her shoulder. She was sick and faint with terror. Her lover was in this plot—the lover in whom she had felt so much pride, for whose sake she had taken herself so bitterly to task. He was the associate of Adèle Rossignol, of Hélène Vauquier. He had used her, Celia, as an instrument for his crime.
Source: Wikisource

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