"Let's have them in now, then," suggested Markham; "the maid first." He sat down on the piano-bench with his back to the keyboard.
Heath rose, but instead of going to the door, walked to the oriel window.
"There's one thing I want to call your attention to, sir, before you interview these people, and that's the matter of entrances and exits in this apartment." He drew aside the gold-gauze curtain. "Look at that iron grating. All the windows in this place, including the ones in the bathroom, are equipped with iron bars just like these. It's only eight or ten feet to the ground here, and whoever built this house wasn't taking any chances of burglars getting in through the windows."
He released the curtain, and strode into the foyer.
"Now, there's only one entrance to this apartment, and that's this door here opening off the main hall. There isn't a transom or an air-shaft or a dumb-waiter in the place, and that means that the only way—the only way—that anybody can get in or out of this apartment is through this door. Just keep that fact in your mind, sir, while you're listening to the stories of these people. . . . Now, I'll have the maid brought in."
In response to Heath's order a detective led in a mulatto woman about thirty years old. She was neatly dressed, and gave one the impression of capability. When she spoke it was with a quiet, clear enunciation which attested to a greater degree of education than is ordinarily found in members of her class.
Her name, we learned, was Amy Gibson; and the
