Summary

Portrait of Sax Rohmer Sax Rohmer It Came Out of Egypt — The Silken Cord (1923)

The husky voice seemed to be hypnotizing Cairn. It was a siren's voice, enthralling him.
“Because,” continued Ferrara evenly, “in common with all humanity, I am compound of man and woman, I can resent the enmity which drives me from shore to shore; but, being myself a connoisseur of the red lips and laughing eyes of maidenhood—I am thinking more particularly of Myra—I can forgive you, dear Cairn—”
Then Cairn recovered himself.
Source: Wikisource

Portrait of Sax Rohmer Sax Rohmer It Came Out of Egypt — The Silken Cord (1923)

So, his hands resting upon the case, he leaned, peering down at the singular gem.
As he stood thus, frowning in the effort of recollection, a dull white hand, having long, tapered fingers, glided across the glass until it rested directly beneath his eyes. Upon one of the slender fingers was an exact replica of the ring in the case!
Robert Cairn leaped back with a stifled exclamation, for Antony Ferrara stood before him.
“The museum ring is a copy, dear Cairn,” came the huskily musical, hateful voice. “The one upon my finger is the real one.”
Source: Wikisource

Portrait of Sax Rohmer Sax Rohmer It Came Out of Egypt — The Silken Cord (1923)

A dim light, finding access over the door from the stair, prevailed there—sufficient to reveal the presence of any one or anything, had any one or anything been present.
Cairn stepped out from the room, and was about to walk to the outer door. The idea of flight was strong upon him, for no man can fight the invisible.
On a level with his eyes—flat against the wall, as if some one crouched there—he saw two white hands! They were slender hands, like the hands of a woman.
Source: Wikisource

Get perspective with Kwize: daily news enlightened by great literature