beautiful maiden who crouches in front of him; and as he gazes his
powerful form seems to swell, as does that of a wild animal that has
determined to spring upon its prey. His arms move forward to grasp her.
He has no fear of interruption--he has for the moment forgotten the
strangers. He slightly alters his position--his back is toward the
chasm--his hands touch the person of his prey. Lilama partly raises her
head. She glances past the maniac for a last look at her lover. She does
not scream, even as those vise-like hands close upon her, and slowly,
oh, so slowly, but steadily, draw her within that iron embrace--slowly,
slowly, as might a maniac devotee move in the desecration of his idol.

"But why does she not scream? Why are her eyes fastened--not on her
lover--not on the madman, but upon another object? What is that object?
Is it a man? Can any man move as that thing moves? Surely that cannot be
a man, that streak of drab color--yonder thing that casts to the ground
a garment, then shoots backward twenty feet from the abyss--swifter than
a panther, as silent as death, with two balls of living fire glaring
from--from a face? Surely not a human face! Yes, it is a human face. She
does not see the pallid face, the wild eyes of her lover, looking, too,
at that thing--that human embodiment of animal agility. No: she has not
time to look, for though the human eye is quick, that thing is quicker;
and if she take her eye from it for half a second, her gaze will lose
it. She cannot take from it her gaze--she is fascinated. Within the past
second of time an heroic resolve has been formed, and a drama has begun;
in the next two seconds an act in the drama will be completed; in sixty
seconds more, a whole tragedy will be added to the list of human
sorrows.

"No tongue can tell what cannot quite be seen. A rush of color toward
that awful gap; it reaches the edge; it rises in the air and shoots out