The Collaborators | Page 8

eyes of his friend--"remember this! You will finish this book. I feel that; I know it. I cannot tell you why. But so it is ordained. Let me write as far as I can, Jack, and let me write as I will. But do not let us quarrel. The book is ours, not mine. And--don't--don't take away your friendship from me."
The last words were said with an outburst of emotion that was almost feminine in intensity. Henley felt deeply moved, for, as a rule, Andrew's manner was not specially affectionate, or even agreeable.
"It is all right, old fellow," he said, in the embarrassed English manner which often covers so much that might with advantage be occasionally revealed. "Go on in your own way. I believe you are a genius, and I am only trying to clip the wings that may carry you through the skies. Go on in your own way, and consult me only when you feel inclined."
Andrew took his hand and pressed it in silence.

III.
It was some three weeks after this that one afternoon Trenchard laid down his pen at the conclusion of a chapter, and, getting up, thrust his hands into his pockets and walked to the window.
The look-out was rather dreary. A gray sky leaned over the great, barrack-like church that gives an ecclesiastical flavour to Smith's Square. A few dirty sparrows fluttered above the gray pavement--feverish, unresting birds, Trenchard named them silently, as he watched their meaningless activity, their jerky, ostentatious deportment, with lacklustre, yet excited, eyes. How gray everything looked, tame, colourless, indifferent! The light was beginning to fade stealthily out of things. The gray church was gradually becoming shadowy. The flying forms of the hurrying sparrows disappeared in the weary abysses of the air and sky. The sitting-room in Smith's Square was nearly dark now. Henley had gone out to a matinée at one of the theatres, so Trenchard was alone. He struck a match presently, lit a candle, carried it over to his writing-table, and began to examine the littered sheets he had just been writing. The book was nearing its end. The tragedy was narrowing to a point. Trenchard read the last paragraph which he had written:
"He hardly knew that he lived, except during those many hours when, plunged in dreams, he allowed, nay, forced, life to leave him for awhile. He had sunk to depths below even those which Olive had reached. And the thought that she was ever so little above him haunted him like a spectre impelling him to some mysterious deed. When he was not dreaming, he was dwelling upon this idea which had taken his soul captive. It seemed to be shaping itself towards an act. Thought was the ante-room through which he passed to the hall where Fate was sitting, ready to give him audience. He traversed this ante-room, which seemed lined with fantastic and terrible pictures, at first with lagging footfalls. But at length he laid his hand upon the door that divided him from Fate."
*****
And when he had read the final words he gathered the loose sheets together with his long, thin fingers, and placed them one on the top of the other in a neat pile. He put them into a drawer which contained other unfinished manuscripts, shut the drawer, locked it, and carried the key to Henley's room. There he scribbled some words on a bit of notepaper, wrapped the key in it, and inclosed it in an envelope on which he wrote Henley's name. Then he put on his overcoat, descended the narrow stairs, and opened the front-door. The landlady heard him, and screamed from the basement to know if he would be in to dinner.
"I shall not be in at all to-night," he answered, in a hard, dry voice that travelled along the dingy passage with a penetrating distinctness. The landlady murmured to the slatternly maidservant an ejaculatory diatribe on the dissipatedness of young literary gentlemen as the door banged. Trenchard disappeared in the gathering darkness, and soon left Smith's Square behind him.
It chanced that day that, in the theatre, Henley encountered some ladies who carried him home to tea after the performance. They lived in Chelsea, and in returning to Smith's Square afterwards Henley took his way along the Chelsea Embankment. He always walked near to the dingy river when he could. The contrast of its life to the town's life through which it flowed had a perpetual fascination for him. In the early evening, too, the river presents many Doré effects. It is dim, mysterious, sometimes meretricious, with its streaks of light close to the dense shadows that lie under the bridges, its wailful, small waves licking the wharves, and bearing up the inky barges that look like the ferry-boat of the Styx. Henley loved to feel