Summary

Portrait of Ernest Bramah Ernest Bramah Max Carrados — The Last Exploit of Harry the Actor (1914)

Let us consider fraud. There again the precautions are so rigid that many people pronounce the forms a nuisance. I confess that I do not. I regard them as a means of protecting my own property and I cheerfully sign my name and give my password, which the manager compares with his record-book before he releases the first lock of my safe. The signature is burned before my eyes in a sort of crucible there, the password is of my own choosing and is written only in a book that no one but the manager ever sees, and my key is the sole one in existence.
Source: Wikisource

Portrait of Ernest Bramah Ernest Bramah Max Carrados — The Last Exploit of Harry the Actor (1914)

Mr Carlyle had no difficulty in discovering the centre of interest in the basement. Sir Benjamin was expansive and reserved, bewildered and decisive, long-winded and short-tempered, each in turn and more or less all at once. He had already demanded the attention of the manager, Professor Bulge, Draycott and two underlings to his case and they were now involved in a babel of inutile reiteration. The inquiry agent was at once drawn into a circle of interrogation that he did his best to satisfy impressively while himself learning the new facts.
Source: Wikisource

Portrait of Ernest Bramah Ernest Bramah Max Carrados — The Last Exploit of Harry the Actor (1914)

Carrados laughed quietly. It always amused him to have people explain how much more he would learn if he had eyes.
“Then we’ll go on to Lucas Street and give the manager the shock of his life,” was all he said. “Come, Mr Draycott, I have already rung up the car.”
But, as it happened, another instrument had been destined to apply that stimulating experience to the manager. As they stepped out of the car opposite “The Safe” a taxicab drew up and Mr Carlyle’s alert and cheery voice hailed them.
Source: Wikisource

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