Heath had left Mrs. Mansfield and Charmian under the arcade of the Opera House, after putting them into their car. The crush coming out had been great. They had had to wait for nearly half an hour in the vestibule. During that time the Mansfields had talked to many friends. Charmian had completely regained her composure. She had introduced Heath to several people, among others to Kit and Margot Drake, who spoke of nothing but the opera and its composer and Annie Meredith. The vestibule was full of the voices of praise. Everybody seemed unusually excited. Paul Lane had actually come up to them with beads of perspiration standing on his forehead, and his eyes shining with excitement. "This is a red-letter night in my life," he had said. "I have felt a strong and genuine emotion. There's a future for music, after all, and a big one. If only there were one or two more Jacques Senniers!" Even then Charmian had not looked again at Heath. She had answered lightly. "Perhaps there are. Who knows? Even Monsieur Sennier was practically unknown four hours ago." "There are not many parts of the civilized world in which his name will be unknown in four days from now," said Paul Lane, "or even in twenty-four hours. I'm going to meet him and his wife at supper at Adelaide Shiffney's, so I must say good-night--oh, and good-night, Mr. Heath." Oh--and good-night, Mr. Heath. Claude had walked all the way home alone slowly. He had passed through Piccadilly Circus, through Regent Street, through Oxford Street, along the north side of the closed and deserted Park on which the faint moonlight lay. When he reached his door he had not gone in. He had turned, had paced up and down. The sight of a very large policeman looking attentive, then grimly inquiring, then crudely suspicious, had finally decided him to enter his house. What was life going to do to him if he did not hold back, did not persist any longer in his mania for refusal? There was a new world spread out before him. He stood upon its border. He wanted to step into it. But something within him, something that seemed obscure, hesitated, was perhaps afraid. In his restless mood, in his strong excitement, he wanted to crush that thing down, to stifle its voice. Caution seemed to him almost effeminate just then. He remembered how one day Charmian had said to him, after an argument about psychology: "Really, Mr. Heath, whatever you may say, your strongest instinct is a selfish one, the instinct of self-preservation." What was Jacques Sennier's strongest instinct? Madame Sennier had made a powerful impression on Heath, and he had been greatly flattered by the deep attention with which she had listened to what he had to say about her husband's opera. "Here's a man who knows what he is talking about," she exclaimed, when he finished speaking. When he got up to leave the box she had looked full into his eyes and said: "You are going to do something, too." Could Jacques Sennier have won his triumph alone?