Part 3 (1/2)

”It will be lonely, child.”

”There will be ghosts, my dear, to keep me company,” she answered with a wan smile. ”People like me always have to be a good deal alone, anyway.

I shall be, of course, lonelier, now that I have no one to play with,”

and the smile vanished from her lips. She flung up her face towards the skies, letting her grief have its way upon that empty deck.

”So we shall never be together--just you and I--alone again,” she said, forcing herself to realise that unintelligible thing. Her thoughts ran back over the year--the year of their alliance--and she saw all of its events flickering vividly before her, as they say drowning people do.

”Oh, Wub, what a cruel mistake you made when you went out of your way to be kind,” she cried, with the tears streaming down her face; and Luttrell winced.

”Yes, that's true,” he admitted remorsefully. ”I never dreamed what would come of it.”

”You should have left me alone.”

Amongst the flickering pictures of the year the first was the clearest.

A great railway station in the West of England, a train drawn up at the departure platform, herself with a veil drawn close over her face, half running, half walking in a pitiful anguish towards the train; and then a man at her elbow. Harry Luttrell.

”I have reserved a compartment. I suspected that things were not going to turn out well. I thought the long journey to London alone would be terrible. If things had turned out right, you would not have seen me.”

She had let him place her in a carriage, look after her wants as if she had been a child, hold her in his arms, tend her with the magnificent sympathy of his silence. That had been the real beginning. Stella had known him as the merest of friends before. She had met him here and there at a supper party, at a dancing club, at some Bohemian country house; and then suddenly he had guessed what others had not, and foolishly had gone out of his way to be kind.

”She would have died if I hadn't travelled with her,” Luttrell argued silently. ”She would have thrown herself out of the carriage, or when she reached home she would have----” and his argument stopped, and he glanced at her uneasily.

Undisciplined, was the epithet she had used of herself. You never knew what crazy thing she might do. There was daintiness but no order in her life; the only law she knew was given to her by a fastidious taste.

”Of course, Wub, I have always known that you never cared for me as I do for you. So it was bound to end some time.” She caught his hand to her heart for a second, and then, dropping it, ran from his side.

CHAPTER III

MARIO ESCOBAR

Late in the autumn of the following year a new play, written by Martin Hillyard and named ”The Dark Tower,” was produced at the Rubicon Theatre in Panton Street, London. It was Hillyard's second play. His first, produced in April of the same year, had just managed to limp into July; and that small world which concerns itself with the individualities of playwrights was speculating with its usual divergencies upon Hillyard's future development.

”The Dark Tower” was a play of modern days, built upon the ancient pa.s.sions. The first act was played to a hushed house, and while the applause which greeted the fall of the curtain was still rattling about the walls of the theatre, Sir Charles Hardiman hoisted himself heavily out of his stall and made his way to a box on the first tier, which he entered without knocking.

There was but one person in the box, a young man hidden behind a side curtain. Hardiman let himself collapse into a chair by the side of the young man.

”Seems all right,” he said. ”You have a story to tell. It's clear in every word, too, that you know where you are going. That makes people comfortable and inclined to go along with you.”

Hillyard turned with a smile.

”We haven't come to the water jump yet,” he said.

Hardiman remained in the box during the second act. He watched the stage for a while, took note of the laughter which welcomed this or that line, and of the silence which suddenly enclosed this or that scene from the rest of the play; and finally, with a certain surprise, and a certain amus.e.m.e.nt he fixed his attention upon the play's author. The act ended in laughter and Hillyard leaned back, and himself laughed, without pose or affectation, as heartily as any one in the theatre.

”You beat me altogether, my young friend,” said Hardiman. ”You ought to be walking up and down the pavement outside in the cla.s.sical state of agitation. But you appear to be enjoying the play, as if you never had seen it before.”

”And I haven't,” Hillyard returned. ”This isn't quite the play which we have been learning and rehearsing during the last month. Here's the audience at work, adding a point there, discovering an interpretation--yes, actually an interpretation--there, bringing into importance one scene, slipping over the next which we thought more important--altering it, in fact. Of course,” and he returned to his earlier metaphor, ”I know the big fences over which we may come a cropper. I can see them ahead before we come up to them and know the danger. We are over two of them, by the way. But on the whole I am more interested than nervous. It's the first time I have ever been to a first night, you see.”

”Well, upon my word,” cried Hardiman, ”you are the coolest hand at it I ever saw.” But he could have taken back his words the next moment.