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 pressly to commit murder? And, secondly, if he had such a knife, why didn't he use it, instead of that very odd flint instrument?

'And I want to put this to you. You think the murderer chalked up the hand after the murder as a sort of "melodramatic Italian assassin his mark" touch. Passing over the question as to whether the real criminal ever does such a thing, I would point out that, on the medical evidence, Sir Thomas Vivian hadn't been dead for more than an hour. That would place the stroke at about a quarter to ten, and you know it was perfectly dark when we went out at 9.30. And that passage was singularly gloomy and ill-lighted, and the hand was drawn roughly, it is true, but correctly and without the bungling of strokes and the bad shots that are inevitable when one tries to draw in the dark or with shut eyes. Just try to draw such a simple figure as a square without looking at the paper, and then ask me to conceive that your Italian, with the rope waiting for his neck, could draw the hand on the wall so firmly and truly, in the black shadow of that alley. It is absurd. By consequence, then, the hand was drawn early in the evening, long before any murder was committed; or else—mark this, Phillipps—it was drawn by some one to whom darkness and gloom were familiar and habitual; by some one to whom the common dread of the rope was unknown!

'Again: a curious note was found in Sir Thomas Vivian's pocket. Envelope and paper were of a common make, and the stamp bore the West Central postmark. I will come to the nature of the contents later on, but it is the question of the handwriting that is so remarkable. The address on the outside was neatly written in a small