stared out the window at the bank of snow. He did not know whether to ask to leave the car, or whether he ought to remain; and he would have gone except for recollection of Harriet Santoine. He had heard the rear door of the car open and close some moments before, so he knew that she must be in the car and that, in the passage at that end, Avery must be telling her about her father. Then the curtain at the end of the car was pushed further aside, and Harriet Santoine came in.
She was very pale, but quite controlled, as Eaton knew she would be. She looked at Eaton, but did not speak as she passed; she went directly to the door of the drawing-room, opened it and went in, followed by Avery. The door closed, and for a moment Eaton could hear voices inside the room—Harriet Santoine's, Sinclair's, Connery's. The conductor then came to the door of the drawing-room and sent the porter for water and clean linen; Eaton heard the rip of linen being torn, and the car became filled with the smell of antiseptics.
Donald Avery came out of the drawing-room and dropped into the seat across from Eaton. He seemed deeply thoughtful—so deeply, indeed, as to be almost unaware of Eaton's presence. And Eaton, observing him, again had the sense that Avery's absorption was completely in consequences to himself of what was going on behind the door—in how Basil Santoine's death or continued existence would affect the fortunes of Donald Avery.
"Is he going to operate?" Eaton asked.
"Operate? Yes; he's doing it," Avery replied shortly.
"And Miss Santoine?"
"She's helping—handing instruments and so on."
