‘Ah, yes. They both said that one was a puzzle. It’s set in daylight, and the child is clearly visible. The kid is terrified, in danger of death from the encroaching mist and the apparently fast incoming tide, and she knows it. Sam suggested it could be how Kate herself feels, like a child, trapped by her emotions, out of her depth, scared of going under. But he said to say that he wasn’t sure.’ He frowned. ‘He reckoned that something in that one didn’t equate. It’s so different to the others it could have been painted by a completely different person. Laura said that she has a colleague who uses art therapy with his patients. If you have no objection, she would like to show him the whole series of pictures, especially that one, and get his opinion. All in complete confidence, of course.’

Will agreed. ‘Sure. Any help is welcome, so long as Kate never finds out.’

Matt nodded. ‘I’ll tell Laura first thing in the morning.’ He looked seriously at Will. ‘You do realise that Laura is sticking her neck out to help you both? This is very much off the record. There are guidelines that she should be following, and she really should not even have seen those paintings without Kate’s permission.’

Will gave an humourless laugh. ‘Kate’s in no condition to give permission or not!’

‘We know that, Will. But just remember, this is between us, and it’s very unofficial, okay? She’s doing this because she fears for both of you. Now, she also asked me about the regularity of Kate’s mood swings, but I wasn’t sure as most of the time I get to see the best of her, so fill me in on the darker side, would you?’

They talked for another hour, Will explaining how his wife would, in the blink of an eye, go from morose to hyperactive, and vice versa. How she got so involved in something that she forgot everything else, and then slept the clock round. And then he said how hard it was to play second fiddle to a pile of bricks and mortar, and a rag doll with the face of a streetwalker.

Chuckling at this description, Matt said, ‘Laura insists you try being nice to that doll. It is Kate’s connection to all the lost children, a bond between her and the other bereaved women of Holland House.’

‘Then why the tart’s face? You’ve seen it, Matt, it is positively lewd! And she is always washing it. It’s a wonder it hasn’t fallen to bits. It was in tatters when she found it.’