The medical staff consisted of a Dr. Poujoulet and two assistants. The authorities were always promising to send him more help, but it never arrived. One of the assistants, a Monsieur Dubos, a little man with a remarkably big beard, was a chemist, who, at the outbreak of the war, had been on the verge, as he made sure, of an important discovery in connection with colour photography. Almost the first question he asked Joan was could she speak German. Finding that she could, he had hurried her across the yard into a small hut where patients who had borne their operation successfully awaited their turn to be moved down to one of the convalescent hospitals at the base. Among them was a German prisoner, an elderly man, belonging to the Landwehr; in private life a photographer. He also had been making experiments in the direction of colour photography. Chance had revealed to the two men their common interest, and they had been exchanging notes. The German talked a little French, but not sufficient; and on the day of Joan’s arrival they had reached an impasse that was maddening to both of them. Joan found herself up against technical terms that rendered her task difficult, but fortunately had brought a dictionary with her, and was able to make them understand one another. But she had to be firm with both of them, allowing them only ten minutes together at a time. The little Frenchman would kneel by the bedside, holding the German at an angle where he could talk with least danger to his wound. It seemed that each was the very man the other had been waiting all his life to meet. They shed tears on one another’s neck when they parted, making all arrangements to write to one another. “Did you ever try, Dad?” she asked.!

But it was her Gethsemane: the best that Fate had been able to do for her. It was here that her choice would be made. She felt that. “How did you come across them?” she asked. “The articles, I mean. Did Flo give them to you?”

“Save her from what?” demanded Joan. “I’ll tell you who makes all the wars,” he said. “It’s you and me, my dears: we make the wars. We love them. That’s why we open our mouths and swallow all the twaddle that the papers give us; and cheer the fine, black-coated gentlemen when they tell us it’s our sacred duty to kill Germans, or Italians, or Russians, or anybody else. We are just crazy to kill something: it doesn’t matter what. If it’s to be Germans, we shout ‘A Berlin!’; and if it’s to be Russians we cheer for Liberty. I was in Paris at the time of the Fashoda trouble. How we hissed the English in the cafés! And how they glared back at us! They were just as eager to kill us. Who makes a dog fight? Why, the dog. Anybody can do it. Who could make us fight each other, if we didn’t want to? Not all the king’s horses and all the King’s men. No, my dears, it’s we make the wars. You and me, my dears.” Flossie’s young man was standing near the fire talking, or rather listening, to a bird-like little woman in a short white frock and blue ribbons. A sombre lady just behind her, whom Joan from the distance took to be her nurse, turned out to be her secretary, whose duty it was to be always at hand, prepared to take down any happy idea that might occur to the bird-like little woman in the course of conversation. The bird-like little woman was Miss Rose Tolley, a popular novelist. She was explaining to Flossie’s young man, whose name was Sam Halliday, the reason for her having written “Running Waters,” her latest novel.