Frustrated, Watson takes his leave, wondering what Laura might be holding back. Meanwhile, the doctor determines to search for the mysterious stranger on the moor. Watson is particularly determined because he wants to show up his master, Holmes. On his way home, Watson bumps into Mr. Frankland and agrees to have a glass of wine with him. As Frankland prattles on about his various legal matters, Watson realizes that the man has unwittingly spotted the stranger on the moor, thinking him to be the escaped convict. The man Frankland saw had a young boy bringing him food, just as Barrymore described the stranger's setup. Watson prods Frankland for more information, and just then, the man spots someone out on the moor and goes for his telescope. Sure enough, they see a young boy who is glancing behind him as if to make sure no one is watching.
Watson declines Frankland's offer for another drink and makes his way to where he saw the boy. Finding the stranger's hut, Watson decides to wait for his return. Examining the contents of the hut, the doctor discovers a note that says he has gone to Coombe Tracey and he realizes that he is also being followed. Finally, Watson hears footsteps outside and a sudden greeting.
These chapters further explore Watson's character, and his desire to triumph over Holmes. For example, he says, "It would indeed be a triumph for me if I could run him to earth, where my master had failed," showing that he is perseverant, despite his ability to ever solve mysteries as well as Holmes. He represents the frustration we feel at not being able to solve the mystery without Holmes (or the author's) help. Watson tries to take on the mysterious stranger on the moor before Holmes finds him. The irony of the situation, of course, is that the stranger will turn out to be none other than Watson's master. Through no fault of his own, Holmes will humiliate the well-meaning Watson.
Watson stumbles on to Holmes with the help of Frankland, the story's cranky comic relief. In hindsight, the two men are an interesting and ill-informed pair. Frankland convinced he has spotted the convict and Watson is convinced he really knows what is going on. In the end, we realize that neither of them are correct, and Holmes has out-witted them again.
At the end of this section, Doyle uses a classic suspense technique: the cliffhanger. Regularly employed in virtually all genres, the cliffhanger comes from a tradition of serialization and is not exclusively a mystery story tactic. Back when fiction was often printed in segments—little bits of the story published each week or month in a periodical—the cliffhanger kept people coming back for more. The cliffhanger ensured that they would buy the next issue of the magazine, that they would read the next installment, and sometimes, that the whole of the story would later be bound and sold as a book. The Hound of the Baskervilles was serialized in the Strand magazine before it was ever published as a whole. The notion of a serialized story reminds us that many of the most famous authors simply wrote because they needed to make money. Writers like Charles Dickens would write hundreds and hundreds of pages, and keep the story going by adding a cliffhanger at the end of every chapter. Similarly, Doyle only wrote Hound because of the public appeal for more Sherlock Holmes adventures, and because Doyle was experiencing financial problems. As a result, Hound is one of the longest Sherlock Holmes adventures he ever wrote.