For pure discomfort there are few things in the world that can compete with the final rehearsals of an amateur theatrical performance at a country house. Every day the atmosphere becomes more and more heavily charged with restlessness and irritability. The producer of the piece, especially if he is also the author of it, develops a sort of intermittent insanity. He plucks at his mustache, if he has one; at his hair, if he has not. He mutters to himself. He gives vent to occasional despairing cries. The soothing suavity which marked his demeanor in the earlier rehearsals disappears. He no longer says with a winning smile: "Splendid, old man; splendid. Couldn't be better. But I think we'll take that over just once more, if you don't mind. You missed out a few rather good lines, and you forgot to give Miss Robinson her cue for upsetting the flowerpot." Instead, he rolls his eyes and snaps out: "Once more, please. This'll never do. At this rate we might just as well cut out the show altogether. For Heaven's sake, Brown, do try and remember your lines. It's no good having the best part in the piece if you go and forget everything you've got to say. What's that? All right on the night? No, it _won't_ be all right on the night. And another thing. You _must_ remember to say, 'How calm and peaceful the morning is', or how on earth do you think Miss Robinson is going to know when to upset that flowerpot? Now, then, once more; and do pull yourself together this time." After which the scene is sulkily resumed by the now thoroughly irritated actors; and conversation, when the parties concerned meet subsequently, is cold and strained.

Matters had reached this stage at the abbey. Everybody was thoroughly tired of the piece, and, but for the thought of the disappointment which--presumably--would rack the neighboring nobility and gentry if it were not to be produced, would have resigned without a twinge of regret. People who had schemed to get the best and longest parts were wishing now that they had been content with _First Footman_ or _Giles, a villager_.

"I'll never run an amateur show again as long as I live," confided Charteris to Jimmy, almost tearfully the night before the production. "It's not good enough. Most of them aren't word-perfect yet. And we've just had the dress rehearsal!"

"It'll be all right on----"

"Oh, don't say it'll be all right on the night."

"I wasn't going to," said Jimmy. "I was going to say it'll be all right after the night. People will soon forget how badly the thing went."

"You're a nice, comforting sort of man, aren't you?" said Charteris.

"Why worry?" said Jimmy. "If you go on like this, it'll be Westminster Abbey for you in your prime. You'll be getting brain fever."

Jimmy himself was feeling particularly cheerful. He was deriving a keen amusement at present from the manoeuvres of Mr. Samuel Galer, of New York. This lynx-eyed man, having been instructed by Mr. McEachern to watch Jimmy, was doing so with a pertinacity which would have made a man with the snowiest of consciences suspicious. If Jimmy went to the billiard room after dinner, Mr. Galer was there to keep him company. If, during the course of the day, he had occasion to fetch a handkerchief or a cigarette case from his bedroom, he was sure, on emerging, to stumble upon Mr. Galer in the corridor. The employees of Wragge's Detective Agency, Ltd., believed in earning their salaries. Occasionally, after these encounters, Jimmy would come upon Sir Thomas Blunt's valet, the other man in whom Spike's trained eye had discerned the distinguishing trait of the detective. He was usually somewhere round the corner at these moments, and, when collided with, apologized with great politeness. It tickled Jimmy to think that both these giant brains should be so greatly exercised on his account.