Villiers picked up the fallen sketch and turned it over as Clarke had done.
“You saw that?” he said. “That’s how I identified it as being a portrait of Herbert’s wife, or I should say his widow. How do you feel now?”
“Better, thanks, it was only a passing faintness. I don’t think I quite catch your meaning. What did you say enabled you to identify the picture?”
“This word—‘Helen’—was written on the back. Didn’t I tell you her name was Helen? Yes; Helen Vaughan.”
Clarke groaned; there could be no shadow of doubt.
“Now, don’t you agree with me,” said Villiers, “that in the story I have told you to-night, and in the part this woman plays in it, there are some very strange points?”
“Yes, Villiers,” Clarke muttered, “it is a strange story indeed; a strange story indeed. You must give me time to think it over; I may be able to help you or I may not. Must you be going now? Well, good-night, Villiers, good-night. Come and see me in the course of a week.”
V
THE LETTER OF ADVICE
“Do you know, Austin,” said Villiers, as the two friends were pacing sedately along Piccadilly one pleasant morning in May, “do you know I am convinced that what you told me about Paul Street and the Herberts is a mere episode in an extraordinary history? I may as well confess to you that when I asked you about Herbert a few months ago I had just seen him.”
“You had seen him? Where?”