Mary continued to scrutinize him. "Then why are you telling me now?"
Still Parvis did not hesitate. "Well, to begin with, I supposed you knew more than you appear to--I mean about the circumstances of Elwell's death. And then people are talking of it now; the whole matter's been raked up again. And I thought, if you didn't know, you ought to."
She remained silent, and he continued: "You see, it's only come out lately what a bad state Elwell's affairs were in. His wife's a proud woman, and she fought on as long as she could, going out to work, and taking sewing at home, when she got too sick--something with the heart, I believe. But she had his bedridden mother to look after, and the children, and she broke down under it, and finally had to ask for help. That attracted attention to the case, and the papers took it up, and a subscription was started. Everybody out there liked Bob Elwell, and most of the prominent names in the place are down on the list, and people began to wonder why--"
Parvis broke off to fumble in an inner pocket. "Here," he continued, "here's an account of the whole thing from the 'Sentinel'--a little sensational, of course. But I guess you'd better look it over."
He held out a newspaper to Mary, who unfolded it slowly, remembering, as she did so, the evening when, in that same room, the perusal of a clipping from the "Sentinel" had first shaken the depths of her security.
As she opened the paper, her eyes, shrinking from the glaring head-lines, "Widow of Boyne's Victim Forced to Appeal for Aid," ran down the column of text to two portraits inserted in it. The first was her husband's, taken from a photograph made the year they had come to England. It was the picture of him that she liked best, the one that stood on the writing-table up-stairs in her bedroom. As the eyes in the photograph met hers, she felt it would be impossible to read what was said of him, and closed her lids with the sharpness of the pain.
"I thought if you felt disposed to put your name down--" she heard Parvis continue.
She opened her eyes with an effort, and they fell on the other portrait. It was that of a youngish man, slightly built, in rough clothes, with features somewhat blurred by the shadow of a projecting hat-brim. Where had she seen that outline before?
She stared at it confusedly, her heart hammering in her throat and ears. Then she gave a cry.
"This is the man--the man who came for my husband!"
She heard Parvis start to his feet, and was dimly aware that she had slipped backward into the corner of the sofa, and that he was bending above her in alarm. With an intense effort she straightened herself, and reached out for the paper, which she had dropped.
"It's the man! I should know him anywhere!" she cried in a voice that sounded in her own ears like a scream.
Parvis's voice seemed to come to her from far off, down endless, fog-muffled windings.
"Mrs. Boyne, you're not very well. Shall I call somebody? Shall I get a glass of water?"
"No, no, no!" She threw herself toward him, her hand frantically clenching the newspaper. "I tell you, it's the man! I KNOW him!
He spoke to me in the garden!"
Parvis took the journal from her, directing his glasses to the portrait. "It can't be, Mrs. Boyne. It's Robert Elwell."
"Robert Elwell?" Her white stare seemed to travel into space.
"Then it was Robert Elwell who came for him."
"Came for Boyne? The day he went away?" Parvis's voice dropped as hers rose. He bent over, laying a fraternal hand on her, as if to coax her gently back into her seat. "Why, Elwell was dead! Don't you remember?"
Mary sat with her eyes fixed on the picture, unconscious of what he was saying.
