are one or two spots on the cover, so I won’t ask more than three-and-ninepence for it. Do let me read you how it opens:

“‘Beatrice Lady Cullumpton entered the long, dimly lit drawing-room, her eyes blazing with a hope that she guessed to be groundless, her lips trembling with a fear that she could not disguise. In her hand she carried a small fan, a fragile toy of lace and satinwood. Something snapped as she entered the room; she had crushed the fan into a dozen pieces.”

‘There, what do you think of that for an opening? It tells you at once that there’s something afoot.’

‘I don’t read novels,’ said Caiaphas sullenly.

‘But just think what a resource they are,’ exclaimed the author, ‘on long winter evenings, or perhaps when you are laid up with a strained ankle—a thing that might happen to any one; or if you were staying in a house-party with persistent wet weather and a stupid hostess and insufferably dull fellow-guests, you would just make an excuse that you had letters to write, go to your room, light a cigarette, and for three-and-ninepence you could plunge into the society of Beatrice Lady Cullumpton and her set. No one ought to travel without one or two of my novels in their luggage as a stand-by. A friend of mine said only the other day that he would as soon think of going into the tropics without quinine as of going on a visit without a couple of Mark Mellowkents in his kit-bag. Perhaps sensation is more in your line. I wonder if I’ve got a copy of The Python’s Kiss.’

Caiaphas did not wait to be tempted with selections from that thrilling work of fiction. With a muttered remark about having no time to waste on monkey-talk, he gathered up his slighted volume and departed. He made no audible reply to Mellowkent’s cheerful ‘Good morning,’ but the latter fancied that a look of respectful hatred flickered in the cold, grey eyes.