The Cutthroat (Isaac Bell 10)

“And Mr. Barrett?”

“Oh, Mr. Barrett! I was introduced to him at a cast party in Chicago. He did that older gentleman thing where he bows over your hand. Then he looks in your eyes. He had me blushing like I was fourteen.” Lucy fanned her cheek with her napkin. “But, not a chance. Everybody says he’s all business, too.”

“What about your Jimmy Valentine?”

“Mr. Vietor is a gentleman. He’s been coaching me, actually. There’s a part that might come open if the girl takes a job in New York. I might be able to get it. Or at least read for the stage manager when Mr. Vietor thinks I’m ready.”

“Now you warned me, Lucy. And I must warn you. Be very, very careful who you ever go with alone. Particularly a man in his forties. Anna was not the only petite blonde this Cutthroat killed.”

“Mr. Vietor’s only in his thirties.”

“But don’t actors sometimes ‘adjust’ their age?”

“Mr. Vietor wouldn’t bother. He’s so handsome, who cares how old he is?”

34

“When did you first join forces, Mr. Barrett and Mr. Buchanan?”

The New York Sun assistant theater critic—a natty gent with gin on his breath and a flawlessly knotted bow tie—had caught up with the Jekyll and Hyde company in Cincinnati.

Barrett and Buchanan were sipping coffee in the Clark Theatre green room, where they had agreed to submit to “just a few questions.” Ticket sales were tapering off, and they could use all the help they could get. Their publicist was standing by warily, ready to pounce if the critic turned unfriendly or The Boys’ banter got out of hand.

“Mr. Barrett was a callboy,” Buchanan answered, “where I was appearing in Hamlet, and—”

Barrett interrupted. “I was the prompter, the callboy’s superior. Mr. Buchanan carried a lantern in Hamlet to indicate it was night, and it was my job to remind him to hold the lantern overhead and not block the audience’s view of Mr. Otis Skinner, who happened to be playing Hamlet.”

“When Mr. Barrett wasn’t prompting, he was painting scenery,” said Buchanan. “On occasion, he presided over the opera glasses concession.”

The reporter smiled uncertainly. “You gentlemen have different recollections of your early years.”

“What did you say your name was?” asked Barrett.

“Scudder Smith. New York Evening Sun.”

The publicist interrupted. “I’m wondering why you don’t look familiar. I thought I knew everyone on the Sun.”

“The Sun hired me when I contracted with the Denver Post and Mr. Preston Whiteway’s San Francisco Inquirer to publish stories that coincide with the opening of seat sales for road shows coming to their cities.”

“Whiteway?”

Smith took a letter from his coat pocket with Sun letterhead. “Here. Sorry, I should have shown you this earlier. My introduction from Mr. Acton Davies. You’ll see he mentions Mr. Whiteway.”

The publicist handed it back with a much-warmer smile. Davies was the Sun’s chief critic and the acclaimed biographer of the theater’s legendary Maude Adams. Preston Whiteway’s San Francisco Inquirer anchored a fleet of newspapers, and he also owned Picture World, motion picture news reels seen in movie houses and vaudeville theaters across the continent.

Barrett said, “Well, Mr. Scudder Smith of the Sun, the Post, and the Inquirer, what other questions may we answer?”

“When did you become partners?”

“Eons ago,” boomed Buchanan. “When was it, Jackson? It must have been aught three.”

“Aught four,” said Jackson Barrett. “We produced a road tour of The Admirable Crichton. I was Crichton. Mr. Buchanan played Lord Loam.”

“How many years after your Hamlet was that?”

“Mr. Skinner’s Hamlet,” said Barrett. “Mr. Buchanan’s lantern.”

“Ten years,” said Buchanan.