Cumner's Son and Other South Sea Folk Part 26

"Yes; but it ends to-morrow, and then no more of that. Prisoners are prisoners, and though Laflamme is agreeable that makes it the more difficult."

"Why should he be treated so well, as a first-cla.s.s prisoner, and others of the Commune be so degraded here--as Mayer, for instance?"

"It is but a question of degree. He was an artist and something of a dramatist; he was not at the Place Vendome at a certain critical moment; he was not at Montmartre at a particular terrible time; he was not a high officer like Mayer; he was young, with the face of a patriot. Well, they sent Mayer to the galleys at Toulon first; then, among the worst of the prisoners here--he was too bold, too full of speech; he had not Laflamme's gift of silence, of pathos. Mayer works coa.r.s.ely, severely here; Laflamme grows his vegetables, idles about Ducos, swings in his hammock, and appears at inspections the picture of docility. One day he sent to me the picture of my wife framed in gold--here it is. Is it not charming? The size of a franc-piece and so perfect! You know the soft hearts of women."

"You mean that Madame Solde--"

"She persuaded me to let him come here to paint my portrait. He has done so, and now he paints Marie Wyndham. But--"

"But?--Yes?"

"But these things have their dangers."

"Have their dangers," Hugh Tryon musingly repeated, and then added under his breath almost, "Escape or--"

"Or something else," the Governor rather sharply interrupted; and then, as they were entering the room, gaily continued: "Ah, here we come, mademoiselle, to pay--"

"To pay your surplus of compliments, monsieur le Gouverneur. I could not help but hear something of what you said," responded Marie, and gave her hand to Tryon.

"I leave you to mademoiselle's tender mercies, monsieur," said the Governor. "Au revoir!"

When he had gone, Hugh said: "You are gay today."

"Indeed, no, I am sad."

"Wherefore sad? Is nickel proving a drug? Or sugar a failure? Don't tell me that your father says sugar is falling." He glanced at the letter, which she unconsciously held in her hand.

She saw his look, smoothed the letter a little nervously between her palms, and put it into her pocket, saying: "No, my father has not said that sugar is falling--but come here, will you?" and she motioned towards the open window. When there, she said slowly, "That is what makes me sad and sorry," and she pointed to the Semaph.o.r.e upon the Hill of Pains.

"You are too tender-hearted," he remarked. "A convict has escaped; he will be caught perhaps--perhaps not; and things will go on as before."

"Will go on as before. That is, the 'martinet' worse than the 'knout de Russe'; the 'poucettes', the 'c.r.a.paudine' on neck and ankles and wrists; all, all as bad as the 'Pater Noster' of the Inquisition, as Mayer said the other day in the face of Charpentier, the Commandant of the penitentiary. How pleasant also to think of the Boulevard de Guillotine!

I tell you it is brutal, horrible. Think of what prisoners have to suffer here, whose only crime is that they were of the Commune; that they were just a little madder than other Frenchmen."

"Pardon me if I say that as brutal things were done by the English in Tasmania."

"Think of two hundred and sixty strokes of the 'cat.'"

"You concern yourself too much about these things, I fear."

"I only think that death would be easier than the life of half of the convicts here."

"They themselves would prefer it, perhaps."

"Tell me, who is the convict that has escaped?" she feverishly asked.

"Is it a political prisoner?"

"You would not know him. He was one of the Commune who escaped shooting in the Place de la Concorde. Carbourd, I think, was his name."

"Carbourd, Carbourd," she repeated, and turned her head away towards the Semaph.o.r.e.

Her earnestness aroused in Tryon a sudden flame of sympathy which had its origin, as he well knew, in three years of growing love. This love leaped up now determinedly--perhaps unwisely; but what should a blunt soul like Hugh Tryon know regarding the best or worst time to seek a woman's heart? He came close to her now and said: "If you are so kind in thought for a convict, I dare hope that you would be more kind to me."

"Be kind to you," she repeated, as if not understanding what he said, nor the look in his eyes.

"For I am a prisoner, too."

"A prisoner?" she rejoined a little tremulously, and coldly.

"In your hands, Marie." His eyes laid bare his heart.

"Oh!" she replied, in a half-troubled, half-indignant tone, for she was out of touch with the occasion of his suit, and every woman has in her mind the time when she should and when she should not be wooed. "Oh, why aren't you plain with me? I hate enigmas."

"Why do I not speak plainly? Because, because, Marie, it is possible for a man to be a coward in his speech"--he touched her fingers--"when he loves." She quickly drew her hand from his. "Oh, can't we be friends without that?"

There was a sound of footsteps at the window. Both turned, and saw the political prisoner, Rive Laflamme, followed by a guard.

"He comes to finish my portrait," she said. "This is the last sitting."

"Marie, must I go like this? When may I see you again? When will you answer me? You will not make all the hopes to end here?"

It was evident that some deep trouble was on the girl. She flushed hotly, as if she were about to reply hotly also, but she changed quickly, and said, not unkindly: "When M. Laflamme has gone." And now, as if repenting of her unreasonable words of a moment before, she added: "Oh, please don't think me hard. I am sorry that I grieve you. I'm afraid I am not altogether well, not altogether happy."

"I will wait till he has gone," the planter replied. At the door he turned as if to say something, but he only looked steadily, sadly at her, and then was gone.

She stood where he had left her, gazing in melancholy abstraction at the door through which he had pa.s.sed. There were footsteps without in the hall-way. The door was opened, and a servant announced M. Laflamme. The painter-prisoner entered followed by the soldier. Immediately afterward Mrs. Angers, Marie's elderly companion, sidled in gently.

Laflamme bowed low, then turned and said coolly to the soldier: "You may wait outside to-day, Roupet. This is my last morning's work. It is important, and you splutter and cough. You are too exhausting for a studio."

But Roupet answered: "Monsieur, I have my orders."

"Nonsense. This is the Governor's house. I am perfectly safe here. Give your orders a change of scene. You would better enjoy the refreshing coolness of the corridors this morning. You won't? Oh, yes, you will.

Here's a cigarette--there, take the whole bunch--I paid too much for them, but no matter. Ah, pardon me, mademoiselle. I forgot that you cannot smoke here, Roupet; but you shall have them all the same, there!

Parbleu! you are a handsome rascal, if you weren't so wheezy! Come, come, Roupet, make yourself invisible."

The eyes of the girl were on the soldier. They did the work better; a warrior has a soft place in his heart for a beautiful woman. He wheeled suddenly, and disappeared from the room, motioning that he would remain at the door.

The painting began, and for half an hour or more was continued without a word. In the silence the placid Angers had fallen asleep.

Nodding slightly towards her, Rive Laflamme said in a low voice to Marie: "Her hearing at its best is not remarkable?"

"Not remarkable."

He spoke more softly. "That is good. Well, the portrait is done. It has been the triumph of my life to paint it. Not that first joy I had when I won the great prize in Paris equals it. I am glad: and yet--and yet there was much chance that it would never be finished."

"Why?"

"Carbourd is gone."