The mouse
by henry hugh munro “saki” (excerpt)

[theodoric voler is traveling by train. his only fellow passenger is a woman who is sleeping. during the journey, theodoric realizes to his dismay that a mouse has found its way into his clothes. he tries to remove it without undressing, but the task becomes too much for him to handle. he is too embarrassed to undress in front of the woman, so when she looks away, he undresses quickly behind a rug. he manages to get rid of the mouse, but the rug curtain falls down, waking the woman up, and theodoric quickly pulls the rug up and covers himself to the neck.]

how much had she seen, theodoric queried to himself, and in any case what on earth must she think of his present posture?

"i think i have caught a chill," he ventured desperately.

"really, i'm sorry," she replied. "i was just going to ask you if you would open this window."

"i fancy it's malaria," he added, his teeth chattering slightly, as much from fright as from a desire to support his theory.

"i've got some brandy in my hold-all, if you'll kindly reach it down for me," said his companion.

"not for worlds—i mean, i never take anything for it," he assured her earnestly.

"i suppose you caught it in the tropics? "

theodoric, whose acquaintance with the tropics was limited to an annual present of a chest of tea from an uncle in ceylon, felt that even the malaria was slipping from him. would it be possible, he wondered, to disclose the real state of affairs to her in small instalments?

"are you afraid of mice? " he ventured, growing, if possible, more scarlet in the face.

"not unless they came in quantities, like those that ate up bishop hatto. why do you ask? "

"i had one crawling inside my clothes just now," said theodoric in a voice that hardly seemed his own. "it was a most awkward situation."

"it must have been, if you wear your clothes at all tight," she observed; "but mice have strange ideas of comfort."

"i had to get rid of it while you were asleep," he continued; then, with a gulp, he added, "it was getting rid of it that brought me to- -to this."

"surely leaving off one small mouse wouldn't bring on a chill," she exclaimed, with a levity that theodoric accounted abominable.

evidently she had detected something of his predicament, and was enjoying his confusion. all the blood in his body seemed to have mobilized in one concentrated blush, and an agony of abasement, worse than a myriad mice, crept up and down over his soul. and as the reflection began to assert itself, sheer terror took the place of humiliation. with every minute that passed the train was rushing nearer to the crowded and bustling terminus where dozens of prying eyes would be exchanged for the one paralyzing pair that watched him from the further corner of the carriage. there was one slender despairing chance, which the next few minutes must decide. his fellow-traveler might relapse into a blessed slumber. but as the minutes throbbed by, that chance ebbed away. the furtive glance which theodoric stole at her from time to time disclosed only an unwinking wakefulness.

"i think we must be getting near now," she presently observed.

theodoric had already noted with growing terror the recurring stacks of small, ugly dwellings that heralded the journey's end. the words acted as a signal. like a hunted beast breaking cover and dashing madly towards some other haven of momentary safety he threw aside his rug, and struggled frantically into his disheveled garments. he was conscious of dull suburban stations racing past the window, of a choking, hammering sensation in his throat and heart, and of an icy silence in that corner towards which he dared not look. then as he sank back in his seat, clothed and almost delirious, the train slowed down to a final crawl, and the woman spoke.

"would you be so kind," she asked, "as to get me a porter to put me into a cab? it’s a shame to trouble you when you’re feeling unwell, but being blind makes one so at a railway station."

how does the author create tension in this story?
a.
by creating a claustrophobic setting that offers no escape
b.
by presenting a protagonist who is enigmatic and confused
c.
through the dialogues and interactions of the characters
d.
through the internal monologues of the protagonist