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Gabrielle smiled in reply, but it was not a pleasant smile, and she said: “Treachery, M. Barre–treachery in Noumea? There is no such thing. It is all fair in love and war. No quarter, no mercy, no hope. All is fair where all is foul, M. Barre.”

M. Barre shrugged his shoulders pleasantly and replied: “If I had my way your freedom should be promptly curtailed, Gabrielle. You are an active citizen, but you are dangerous, truly.”

“I like you better when you do not have your way. Yet my children do not hate you, M. Barre. You speak your thought, and they know what to expect. Your family have little more freedom in France than my children have here.”

M. Barre looked at her keenly for an instant, then, lighting a cigarette, he said: “So, Gabrielle, so! That is enough. You wish to speak to M. Shorland–well!” He waved his hand to her and walked away from them. Gabrielle paused a moment, looking sharply at Blake Shorland, then she said: “Monsieur will come with me?”

She led the way into another room, the boudoir, sitting-room, breakfast-room, library, all in one. She parted the curtains at the window, letting the light fall upon the face of her companion, while hers remained in the shadow. He knew the trick, and moved out of the belt of light. He felt that he was dealing with a woman of singular astuteness, with one whose wickedness was unconventional and intrepid. To his mind there came on the instant the memory of a Rocky Mountain lioness that he had seen caged years before; lithe, watchful, nervously powerful, superior to its surroundings, yet mastered by those surroundings–the trick of a lock, not a trick of strength. He thought he saw in Gabrielle a woman who for a personal motive was trying to learn the trick of the lock in Noumea, France’s farthest prison. For a moment they looked at each other steadily, then she said: “That portrait–let me see it.”

The hand that she held out was unsteady, and it looked strangely white and cold. He drew the photograph from his pocket and handed it to her. A flush passed across her face as she looked at it, and was followed by a marked paleness. She gazed at the portrait for a moment, then her lips parted and a great sigh broke from her. She was about to hand it back to him, but an inspiration seemed to seize her, and she threw it on the floor and put her heel upon it. “That is the way I treated him,” she said, and she ground her heel into the face of the portrait. Then she took her foot away. “See, see,” she cried, “how his face is scarred and torn! I did that. Do you know what it is to torture one who loves you? No, you do not. You begin with shame and regret. But the sight of your lover’s agonies, his indignation, his anger, madden you and you get the lust of cruelty. You become insane. You make new wounds. You tear open old ones. You cut, you thrust, you bruise, you put acid in the sores–the sharpest nitric acid; and then you heal with a kiss of remorse, and that is acid too–carbolic acid, and it smells of death. They put it in the room where dead people are. Have you ever been to the Morgue in Paris? They use it there.”

She took up the portrait. “Look,” she said, “how his face is torn! Tell me of him.”

“First, who are you?”

She steadied herself. “Who are you?” she asked.

“I am his friend, Blake Shorland.”

“Yes, I remember your name.” She threw her hands up with a laugh, a bitter hopeless laugh. Her eyes half closed, so that only light came from them, no colour. The head was thrown back with a defiant recklessness, and then she said: “I was Lucile Laroche, his wife–Luke Freeman’s wife.”