A dim light came from an open door at the right of the hall. I peeped in and saw a long shadowy room of great size. The walls were panelled and hung here and there with pictures, the floor carpeted. Two immense oak tables, with their complement of chairs, went up and down the centre, and it hardly needed a butler's hatch in the wall, doubtless communicating with the kitchen, to tell me that this was the dining-room of Helzephron and his buccaneers. At the far end, and opposite the entrance door, was a wide and lofty archway, half covered by a curtain. It led to another room beyond, and it was from this that a bright light streamed, and the sound of music came. I placed my gas rifle on the floor by the wall, took out my automatic, unlocking the safety catch, and went to the curtain on tiptoe. There was an alcove at the side, where some shelves had been, and this was perfectly dark. I marked it as a possible hiding-place, and then pulled the curtain aside for half an inch. Just as I did so there was a clash of prelude, and the pianist began the enchanted Third Ballade of Chopin. It was the man known to me as Vargus, the man with the smooth voice, the face that was evil and refined. He sat at a magnificent grand piano, swaying a little on his stool.... Do you know that marvellous composition of Chopin's? Most people have heard it at least once or twice in their lives, played by some _maestro_. I have heard the renderings of the great pianists of the world, but none played as this man played. A terrible remorse informed the unearthly music. It was as though the player strained with every power of his being to recapture something irrevocably lost. When he came to that strange passage which has been so often compared to the soft cantering of a horse, the pain in the lovely chords was unbearable. The artist, Aubrey Beardsley, made a wonderful drawing of this passage--a spectral white charger ambling through a dark wood of pines, bearing a lady in a cloak of black velvet. The picture rose before my eyes as I stood, but it flashed away, and words of awful significance took its place in my mind and fitted themselves to the closing chords.... "_Night and day he was among the tombs, and on the hills, crying out and beating himself with stones._" As you may know, the piece ends in a furious welter of sound. It had just concluded, and the player sat motionless as a wax doll, when another figure heaved itself into my line of vision, a burly giant, with red hair and a heavy, sullen face. "Now you've finished that ---- row," he growled, "we'd better be moving. We may get signals coming through soon. And I suppose I must feed the canaries!"