He came with three thick clumps of ma.n.u.script neatly pinned together in brown paper wrappers and dumped them with a bang in front of me.

"There!" he cried, bringing down his great hand on the top of the pile.

"Thank G.o.d!" said I.

He removed his hand. Then, as he told me afterwards, I sprang to my feet with a screech like a woman's. For there, staring me in the face, on a white label gummed onto the brown paper, was the hand-written inscription:

"The Diamond Gate. A Novel--by Thomas Castleton."

"Look!" I cried, pointing; and Jaffery looked. And for a second or two we both stood stock-still.

The writing was Tom Castleton's; and the writing of the script hastily flung open by Jaffery was Tom Castleton's--Tom Castleton, the one genius of our boyish brotherhood, who had died on his voyage to Australia.

There was no mistake. The great square virile hand was only too familiar--as different from Adrian's precise, academical writing as Tom Castleton from Adrian.

Then our eyes met and we realized the sin that had been committed.

There was the original ma.n.u.script of "The Diamond Gate." "The Diamond Gate" was the work not of Adrian Boldero, but of Tom Castleton. Adrian had stolen "The Diamond Gate" from a dead man. Not only from a dead man, but from the dead friend who had loved and trusted in him.

We stared at each other open-mouthed. At last Jaffery threw up his hands and, without a word, cleared the lowest shelf of the safe. Quickly we ran through the ma.s.s. We could not trust ourselves to speak. There are times when words are too idle a medium for interchange of thought. We found nothing different from the contents of the two upper shelves. The apparently coherent ma.n.u.script we placed with the rest. Again we examined it. A sickening fear gripped our hearts, and steadily grew into an awful certainty.

The great epoch-making novel did not exist.

It had never existed. Even if Adrian had lived, it would have had no possibility of existing.

"What in G.o.d's name has he been playing at?" cried Jaffery, in his great, hoa.r.s.e ba.s.s.

"G.o.d knows," said I.

But even as I spoke, I knew.

I looked round the room which Barbara had once called the Condemned Cell. The ghastly truth of her prescience shook me, and I began to shudder with the horror of it, and with the hitherto unnoticed cold. I was chilled to the bone. Jaffery put his arm round my shoulders and hugged me kindly.

"Go and get warm," said he.

"But this?" I pointed to the litter.

"I'll see to it and join you in a minute."

He pushed me outside the door and I went into the drawing-room, where I crouched before a blazing fire with chattering teeth and benumbed feet and hands. I was alone. Doria had taken a faint turn for the better that morning and Barbara had run down to Northlands for the day. It was just as well she had gone, I thought. I should have a few hours to compose some story in mitigation of the tragedy.

Soon Jaffery returned with a gla.s.s of brandy, which I drank. He sat down on a low chair by the fire, his elbows on his knees and his shoulders hunched up, and the leaping firelight played queer tricks with the shadows on his bearded face, making him look old and seamed with coa.r.s.e and innumerable furrows. But for the blaze the room was filled with the yellow darkness that was thickening outside; yet we did not think of turning on the lights.

"What have you done?" I asked.

"Locked the stuff up again," he replied. "This afternoon I'll bring a portmanteau and take it away."

"What are you going to do with it?"

"Leave that to me," said he.

What was in his mind I did not know, but, for the moment, I was very glad to leave it to him. In a vague way I comforted myself with the reflection that Jaffery was a specialist in crises. It was his job, as he would have said. In the ordinary affairs of life he conducted himself like an overgrown child. In time of cataclysm he was a professional demiG.o.d. He rea.s.sured me further.

"That's where I come in. Don't worry about it any more."

"All right," said I.

And for a while he said nothing and stared at the fire. Presently he broke the silence.

"What was the poor devil playing at?" he repeated. "What, in G.o.d's name?"

And then I told him. It took a long time. I was still in the cold grip of the horror of that condemned cell, and my account was none too consecutive. There was also some argument and darting up side-tracks, which broke the continuity. It was also difficult to speak of Adrian in terms that did not tear our hearts. As a despoiler of the dead, his offence was rank. But we had loved him; and we still loved him, and he had expiated his crime by a year's unimaginable torture.

Often have I said that I thought I knew my Adrian, but did not. Least of all did I know my Adrian then, as I sat paralysed by the revelation of his fraud. Even now, as I write, looking at things more or less in perspective, I cannot say that I know my Adrian. With all his faults, his poses, his superficialities, his secrecies, his egotisms, I never dreamed of him as aught but a loyal and honourable gentleman. When I think of him, I tremble before the awful isolation of the human soul.

What does one man know of his brother? Yes; the coldest of poets was right: "We mortal millions live alone." It is only the unconquerable faith in Humanity by which we live that saves us from standing aghast with conjecture before those who are so near and dear to us that we feel them part of our very selves.

Adrian was dead and could not speak. What was it that in the first place made him yield to temptation? What kink in the brain warped his moral sense? G.o.d is his judge, poor boy, not I. Tom Castleton had put the ma.n.u.script of "The Diamond Gate" into his hands. Undoubtedly he was to arrange for its publication. Castleton's appointment to the professorship in Australia had been a sudden matter, as I well remember, necessitating a feverish scramble to get his affairs in order before he sailed. Why did not Adrian in the affectionate glow of parting send the ma.n.u.script straight off to a publisher? At first it was merely a question of despatching a parcel and writing a covering letter. Why were not parcel and letter sent? Merely through the sheer indolence that was characteristic of Adrian. Then came the news of Castleton's death. From that moment the poison of temptation must have begun to work. For years, in his easy way, he struggled against it, until, perhaps, desperate for Doria, he succ.u.mbed. What script, type-written or hand-written, he sent to Wittekind, the publisher of "The Diamond Gate," I did not learn till later. But why did he not destroy Tom Castleton's original ma.n.u.script?

That was what Jaffery could not understand. Yet any one familiar with morbid psychology will tell you of a hundred a.n.a.logical instances. Some queer superst.i.tion, some reflex action of conscience, some dim, relentless force compelling the hair shirt of penitence--that is the only way in which I, who do not pretend to be a psychologist, can explain the sustained act of folly.

And when the book blazed into instantaneous success, and he accepted it gay and debonair, what could have been the state of that man's soul? I remembered, with a shiver, the look on Adrian's face, at Mr.

Jornicroft's dinner party, as if a hand had swept the joy from it, and the snapping of the stem of the winegla.s.s. In the light of knowledge I looked back and recognised the feverishness of a demeanour that had been merely gay before. Well ... he had been swept off his feet. If any man ever loved a woman pa.s.sionately and devoutly, Adrian loved Doria. For what it may be worth, put that to his credit: he sinned for love of a woman. And the rest? The tragic rest? His undertaking to write another novel? Indomitable self-confidence was the keynote of the man. Careless, casual lover of ease that he was, everything he had definitely set himself to do heretofore, he had done.

As I have said, he had got his First Cla.s.s at Cambridge, to the stupefaction of his friends. With the exception of a brilliant bar examination, he had done nothing remarkable afterwards, merely for lack of incentive. When the incentive came, the writing of a novel to eclipse "The Diamond Gate," I am absolutely certain that he had no doubt of his capacity.

When he married, I think his sunny nature dispelled the cloud of guilt.

He looked forward with a gambler's eagerness to the autumn's work, the beginning of the apotheosis of his real imaginary self, the genius that was Adrian Boldero. And yet, behind all this light-hearted enthusiasm, must have run a vein of cunning, invariable symptom of an unbalanced mind, which prompted secrecy, the secrecy which he had always loved to practise, and inspired him with the idea of the mysterious, secret room. The latter originated in his brain as a fantastic plaything, an intellectual Bluebeard's chamber whose sanct.i.ty he knew his awe-stricken wife would respect. It developed into a bleak prison; and finally into the condemned cell.

As I said to Jaffery, on that morning of fog and firelight, in the midst of Adrian's artificial French Lares and Penates, dimly seen, like spindle-shanked ghosts of chairs and tables, just consider the mind-shattering facts. Here was a man whose whole literary output was a few precious essays and a few scraggy poems, who had never schemed out a novel before, not even, as far as I am aware, a short story; who had never, in any way, tested his imaginative capacity, setting out, in insane self-conceit, to write, not merely a commercial work of fiction, but a novel which would outrival a universally proclaimed work of genius. And he had no imaginative capacity. His mind was essentially critical; and the critical mind is not creative. He was a clever man.

All critics are clever men; if they were just a little more, or just a little less than clever, they wouldn't be critics. Perhaps Adrian was, by a barleycorn, a little more; but he had a blind spot in his brain which prevented him from seeing that the power to do imaginative work in a literary medium is as much a special gift as the power to interpret human life on canvas. It was exactly the same thing as if you or I, who have not the remotest notion how to draw a man on horseback correctly, were to try to paint a Velasquez portrait. It did not seem to enter the poor fellow's head that the novelist, in no matter how humble a way, no matter how infinitesimal the invisible grain of muse may be, must have the especial, incommunicable gift, the queer twist of brain, if you like, but the essential quality of the artist.

And there the man had sat in that stark cell of a room, for all those months, whipping, in intolerable agony, a static imagination. He had never begun to get his central incident, his plot, his character scheme, such as all novelists must do. He had grasped at one elusive vision of life, after another. His mind had become a medley of tags of the comedy and tragedy of human things. The more confused, the more universal became the poor limited vision. The whole of illimitable life, he had told me in his flogged, crazed exaltation, was to be captured in this wondrous book. The pity of it!

How he had retained his sanity I cannot to this day understand--that is to say, if he had retained it. The hypothesis of madness comforted. I would give much to feel that he had really believed in his progress with the work, that his a.s.surance of having come to the end was genuine. If he had deceived himself, G.o.d had been merciful. But if not, if he had sat down day after day, with the appalling consciousness of his impotence, there have been few of the sons of men to whom G.o.d had meted out, in this world, greater punishment for sin. It is incredible that he should have lasted so long alive. No wonder he could not sleep. No wonder he drank in secret. Barbara, who had gone through the household accounts, had already been staggered by the wine-merchant's bills for whisky. Had he stupefied himself day after day, night after night for the last few months? I cannot but hope that he did. At any rate G.o.d was merciful at last. He killed him.

Jaffery threw a couple of logs on the fire--the ship-logs that Adrian loved, and the sea-salts, barium, strontium and what-not, gave green and crimson and lavender flames.

"I've seen as much suffering in my time as any man living," he said. "A war-correspondent does. He sees samples of every conceivable sort of h.e.l.l. But this sample I haven't struck before and it's the worst of the lot. My G.o.d! and only the day before yesterday I took him to be married."

"It was fifteen months ago, Jaff, and since then you've plucked hairs out of Prester John's beard, or been entertained by a Viceroy of China, which comes to the same thing. I was right in saying you had no idea of time or s.p.a.ce."

He paid no attention to my poor, watery jest.

"It was the day before yesterday. And now he's dead and the child stillborn--"

I uttered a short cry which interrupted him. A memory had smitten me; that of his words in September, and of the queer slanting look in his eyes: "They'll both be born together."

I told Jaffery. "Was there ever such a ghastly prophecy?" I said. "Both stillborn together. The more one goes into the matter, the more shudderingly awful it is."

Jaffery nodded and stared into the fire.