"Well, Smith," said Mr. Downing shortly, "what do you wish to see me about?"
"It was in connection with the regrettable painting of your dog, sir."
"Ha!" said Mr. Downing.
"I did it, sir," said Psmith, stopping and flicking a piece of fluff off his knee.
CHAPTER LVIII
THE ARTIST CLAIMS HIS WORK
The line of action which Psmith had called Stout Denial is an excellent line to adopt, especially if you really are innocent, but it does not lead to anything in the shape of a bright and snappy dialogue between accuser and accused. Both Mike and the headmaster were oppressed by a feeling that the situation was difficult. The atmosphere was heavy, and conversation showed a tendency to flag. The headmaster had opened brightly enough, with a summary of the evidence which Mr. Downing had laid before him, but after that a massive silence had been the order of the day. There is nothing in this world quite so stolid and uncommunicative as a boy who has made up his mind to be stolid and uncommunicative; and the headmaster, as he sat and looked at Mike, who sat and looked past him at the bookshelves, felt awkward. It was a scene which needed either a dramatic interruption or a neat exit speech. As it happened, what it got was the dramatic interruption.
The headmaster was just saying, "I do not think you fully realise, Jackson, the extent to which appearances"—which was practically going back to the beginning and starting again—when there was a knock at the door. A voice without said, "Mr. Downing to see you, sir," and the chief witness for the prosecution burst in.
"I would not have interrupted you," said Mr. Downing, "but"
