softly into the corridor; locks the doors of the two empty bedrooms, and returns (with the keys in his pocket) to his own room. ‘Now,’ says D. to himself, ‘if I hear a door softly opened in this part of the house, I shall know for certain it is Mrs. Beauly’s door!’ Upon that he closes his own door, leaving the tiniest little chink to look through; puts out his light; and waits and watches at his tiny little chink, like a cat at a mouse-hole. The corridor is the only place he wants to see; and a lamp burns there all night. Twelve o’clock strikes; he hears the doors below bolted and locked, and nothing happens. Half-past twelve--and nothing still. The house is as silent as the grave. One o’clock; two o’clock--same silence. Half-past two--and something happens at last. Dexter hears a sound close by, in the corridor. It is the sound of a handle turning very softly in a door--in the only door that can be opened, the door of Mrs. Beauly’s room. Dexter drops noiselessly from his chair onto his hands; lies flat on the floor at his chink, and listens. He hears the handle closed again; he sees a dark object flit by him; he pops his head out of his door, down on the floor where nobody would think of looking for him. And what does he see? Mrs. Beauly! There she goes, with the long brown cloak over her shoulders, which she wears when she is driving, floating behind her. In a moment more she disappears, past the fourth bedroom, and turns at a right angle, into a second corridor, called the South Corridor. What rooms are in the South Corridor? There are three rooms. First room, the little study, mentioned in the nurse’s evidence. Second room, Mrs. Eustace Macallan’s bedchamber. Third room, her husband’s bedchamber. What does Mrs. Beauly (supposed to be worn out by fatigue) want in that part of the house at half-past two in the morning? Dexter decides on running the risk of being seen--and sets off on a voyage of discovery. Do you know how he gets from place to place without his chair? Have you seen the poor deformed creature hop on his hands? Shall he show you how he does it, before he goes on with his story?” I hastened to stop the proposed exhibition. “I saw you hop last night,” I said. “Go on!--pray go on with your story! “Do you like my dramatic style of narrative?” he asked. “Am I interesting?” “Indescribably interesting, Mr. Dexter. I am eager to hear more.” He smiled in high approval of his own abilities. “I am equally good at the autobiographical style,” he said. “Shall we try that next, by way of variety?” “Anything you like,” I cried, losing all patience with him, “if you will only go on!”