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THE ARTIST CLAIMS HIS WORK
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evidence against him, should be innocent, was curious, perhaps, but not particularly startling. But that Adair should inform him, two minutes after Mr. Downing's announcement of Psmith's confession, that Psmith, too, was guiltless, and that the real criminal was Dunster—it was this that made him feel that somebody, in the words of an American author, had played a mean trick on him, and substituted for his brain a side-order of cauliflower. Why Dunster, of all people? Dunster, who, he remembered dizzily, had left the school at Christmas. And why, if Dunster had really painted the dog, had Psmith asserted that he himself was the culprit? Why—why anything? He concentrated his mind on Adair as the only person who could save him from impending brain-fever.

"Adair!"

"Yes, sir?"

"What—what do you mean?"

"It was Dunster, sir. I got a letter from him only five minutes ago, in which he said that he had painted Sammy—Sampson, the dog, sir, for a rag—for a joke, and that, as he didn't want any one here to get into a row be punished for it, I'd better tell Mr. Downing at once. I tried to find Mr. Downing, but he wasn't in the house. Then I met Smith outside the house, and he told me that Mr. Downing had gone over to see you, sir."

"Smith told you?" said Mr. Downing.

"Yes, sir."

"Did you say anything to him about your having received this letter from Dunster?"

"I gave him the letter to read, sir."

"And what was his attitude when he had read it?"

"He laughed, sir."

"Laughed!" Mr. Downing's voice was thunderous.

"Yes, sir. He rolled about."

Mr. Downing snorted.

"But Adair," said the headmaster, "I do not understand how this thing could have been done by Dunster. He has left the school."