Natalie Sumner Lincoln

Natalie Sumner Lincoln

Summary

Portrait of Natalie Sumner Lincoln Natalie Sumner Lincoln The moving finger (1918)

Bruce Brainard lay on the once spotless white linen in a pool of blood which had flowed from a frightful gash across his throat.
Wyndham passed a shaking hand before his eyes and turned blindly toward the door and collided with Vera.
“Don’t come in,” he muttered hoarsely. “It’s no spectacle for a woman.” And as she drew back into the hall again he burst out almost violently: “God! Brainard can’t be dead, really dead?” He glared at her. “Why didn’t you go for Noyes instead of me? He’d know what to do.”
Source: Gutenberg

Portrait of Natalie Sumner Lincoln Natalie Sumner Lincoln The moving finger (1918)

The noise of the opening and shutting of a door which had reached Wyndham, contrary to his deductions, had been made not by the one giving into the library, but by the front door. Vera Deane all but staggered out on the portico and leaned against one of the columns. The cold bracing air was a tonic in itself, and she drank it down in deep gulps, while her gaze strayed over the sloping lawn and the hills in the background, then across to where the Potomac River wound its slow way between the Virginia and Maryland shores.
Source: Gutenberg

Portrait of Natalie Sumner Lincoln Natalie Sumner Lincoln The moving finger (1918)

Vera turned and wandered restlessly about the room, taking care, however, that her footfall made no sound which might disturb Craig Porter. She stopped in the shadow of a large wing chair and regarded the motionless figure on the bed long and intently. When she looked away she found Nurse Hall at her side.
“Does he always stare straight before him?” she asked, almost below her breath.
“Yes.” Nurse Hall shuddered. “Always that same fixed stare. You can bless your stars that you have him at night when he is generally asleep. Sometimes he gives me the creeps.”
Source: Gutenberg

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