Florian paused, and considered. Before the end of the evening, indeed, he had learnt a good many things about the trade of prophet; and Mr Joaquin Holmes had taken, incidentally, every drop as much whiskey as was good for his constitution. When at last he rose to go, he clasped Florian’s delicate hand hard. “You’re a straight man, I believe, stranger,” he said, significantly, “and I’m sure you’re a smart one. But mind this from me, Mr Florian Wood, if ever you round on me, Colorado or London, the six-shooter’ll settle it.” Florian smiled, and pressed his hand. “I don’t care _that_ for your six-shooter,” he answered, calmly, with a resonant snap of his tiny left forefinger. “But I don’t want to spoil a man’s prospects in life, when he’s taken fifteen years to make a consummate rogue of himself. You’re perfect in your way, Mr Holmes, and I adore perfection. If ever I breathe a single word of this to my dearest friend—well, I give you free leave to whip out that six-shooter you’re so fond of bragging about.” CHAPTER XXV A DRAMATIC VENTURE Among the minor successes of that London season, all the world reckoned the Colorado Seer’s Psycho-physical Entertainment at the Assyrian Hall in Bond Street, and Will Deverill’s dainty operetta, “Honeysuckle,” at the Duke of Edinburgh’s Theatre in Long Acre. The Seer, indeed, had been well advertised beforehand by the _Morning Post_ and other London dailies, which gave puffs preliminary of his marvellous performance, “as privately exhibited to a select audience at Mrs Palmer’s charming and hospitable residence in Hans Place, Chelsea.” A well-known society writer, with a lingering love of the occult and the supernatural, saw in Mr Joaquin Holmes’s abstruse gifts “a genuine case of Second Sight, and a curious modern parallel to the most famous feats of the Delphic oracle and the Indian Yogis.” The _Spectator_ suggested in a learned article that “Mahatmas were about”; the _Daily News_ averred that “Nothing like Mr Holmes’s extraordinary powers had been seen on earth since the Egyptian magicians impiously counterfeited the miracles of Moses and Aaron before the throne of Pharaoh.” Every one of the accounts particularly insisted on the presence at the first trial of Mr Florian Wood, the distinguished musical and dramatic critic; whose inmost thoughts the Seer had read offhand like an open book, and whose quotations from little-known and unpopular sources he had instantly assigned to their proper origin. But when Florian himself was questioned on the subject, he shook his head with an air of esoteric knowledge, put two soft white fingers to his delicate lips, and smiled mysteriously. To say the truth, Florian loved a mystery. It flattered his sense of personal importance. Nay, he would almost have joined Mr Joaquin Holmes as a confederate in his little tricks for pure love of mystification,