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Peter made Tod “tie him by the neck” to the bed with red worsted, while Tod, in his character of the minister, had to creep in, candle in hand, to discover the dread spectacle; and Peter’s representation of the fearsome Janet was so truthful and blood-curdling that Tod dropped the candle and fled downstairs howling at the top of his voice, and such was his haste that he fell and sprained his wrist. Meanwhile, the candle had set fire to the valance of the bed, and altogether there was a fine hullabaloo; there was also an end put to their dramatic efforts for a week or two.

Nothing daunted, however, about a month later, on a Sunday evening when the servants were all at church, and their mother writing for dear life the long weekly letters that have to be written when a woman has husband and four sons scattered about the globe, Tod and Peter sought the seclusion of the kitchen and determined to “act” “Markheim.”

All went well and quietly for a long time; the firelit kitchen with loud ticking clock answered admirably as the scene of the murder, the dialogue between Markheim and the mysterious stranger went without a hitch, and Tod sallied forth into a “wonderful clear night of stars,” while Peter shut the back door softly after him. Peter, in his character of Markheim, was bent upon making the speech with which the story concludes, where the maidservant rings the door-bell and Markheim opens to her with the words: “You had better go for the police; I have killed your master!”