Charles Williamson - Lord John in New York

"More letters and flowers for you, Lord John," said my nurse.

Not that I needed a nurse; and, above all things, I needed no more letters or flowers. The waste-paper basket was full. The room smelt like a perfume factory. The mantelpiece and all other receptacles having an army of occupation, vases and bowls were mobilising on the floor. This would, of course, not be tolerated in hospital; but I was off the sick list, recovering in a private convalescent home. I was fed up with being a wounded hero; the fragrance of too many flowers, and the kindness of too many ladies, was sapping and mining my brain power; consequently, I could invent no excuse for escape.

The nurse came in, put down the lilies, and gave me three letters.

My heart beat, for I was expecting a note from a woman to whom somehow or other I was almost engaged, and to whom I didn't in the least wish to be engaged. She would not have looked at me before the war, when I was only a younger brother of the Marquis of Haslemere – and the author of a successful detective story called The Key . Now, however; simply because I'd dropped a few bombs from a monoplane on to a Zeppelin hangar in Belgium, had been wounded in one arm and two legs, and through sheer instinct of self-preservation had contrived to escape, I was a toy worth playing with. She wanted to play with me. All the women I knew, not busy with better toys, wanted to play with me. My brother Haslemere, who had been ashamed of my extremely clever, rather successful book, and the undoubted detective talent it showed, was proud of me as a mere bomb-dropper. So, too, was my sister-in-law. I was the principal object of attraction at the moment in Violet's zoo – I mean her convalescent home. She had cried because men were not being wounded fast enough to fill its expensively appointed rooms; I was captured, therefore, to make up for deficiencies and shown off to Violet's many friends, who were duly photographed bending beautifully over me.

There was, as I had feared, a letter from Irene Anderson; there was also – even worse – one from Mrs. Allendale. But the third letter was from Carr Price. On the envelope was the address of the New York theatre where the play he had dramatised from my book would shortly be produced. He had come to England a million years ago, before the war, to consult me about his work, which would have been brought out in London if the war had not upset our manager's plans. I like Carr Price, who is as much poet as playwright; a charming, sensitive, nervous, wonderful fellow. I gave his letter precedence.

"DEAR LORD JOHN," he began, and I judged from the scrawl that he wrote in agitation – "for goodness' sake, what have you done to Roger Odell that he should have a grouch on you? It must have been something pretty bad. I wish to Heaven you'd given me the tip last summer that you'd made an enemy of him. Roger Odell, of all men in America! I suppose the brother of a marquis can stand on his own feet in his own country, but even if his brother's an archangel his feet are apt to get cold in New York if Roger Odell turns the heat off.

"The facts – as I've just heard from Julius Felborn – are these. Yesterday Odell sent for Julius, who went like a bird, for he and Odell are friends. Odell's money and influence put Julius where he is now, as a manager, up at the top, though still young. What was Julius's horror, however, when Odell blurted out a warning not to produce any play dramatised from a book of yours, because he – Odell – would do his best to ruin it! Julius asked what the dickens he meant. Odell wouldn't explain. All he'd say was, that he'd be sorry to hurt Julius and had nothing against me, but The Key would get no chance in New York or any old town in the United States where Roger Odell had a finger in the pie.

"Well, you must have heard enough about Odell to know what such a threat amounts to. There are mighty few pies he hasn't got a finger in. Not that he's a man who threatens as a rule. He's made a good many men. I never heard of his breaking one. But when he decides to do a thing, he does it. Julius is in a blue funk. He's not a coward, but even if he felt strong enough to fight Odell's newspapers and other influence, he says it would be an act of 'base ingratitude' to do so, as he'd be 'walking on his uppers' now but for Odell's help, tiding over rough places in the past. Julius took all night to reflect, and rang me up this morning. I'm writing in his office at the theatre now, after our interview. He says Odell would have put him wise before, but he saw the pars (in his own papers!) for the first time yesterday morning on the way back from the West Indies, where he'd been on a short business trip. Queer place for such a man to go on a business trip! But the whole thing is dashed queer. Now he's off again like a whirlwind to England for another 'short business trip,' so he told Julius. But J. let drop one little item of information about a woman, or rather a girl. Can that be where you come in on this? Have you taken this girl away ? Anyhow, whatever you've done, the consequences seem likely to be serious. Julius is inclined to call a halt, bribe, wheedle or bluster the star into throwing up his part at the first rehearsal, by way of an excuse, and to put on Chumley Reed's Queen Sweetheart , which he kept up his sleeve in case The Key failed. But, of course, it couldn't fail, unless it was burked. The whole cast was wild over The Key . Julius himself was wild, and is sick at having to turn it down. But Odell's too big for him. And I guess O – has offered to stand the racket for the loss of wasted scenery, which has been begun on an elaborate scale. (Think of the great casino act at Monte Carlo!) Unfortunately, I'm constituted so I can't help seeing both sides of the shield and putting myself in others' places. I'm sorry for Julius. But I'm twenty times sorrier for Carr Price. For you, too, my dear fellow, of course. But I stand to lose more than you do on this deal.

"I told you confidentially last June just what depends on the success of The Key , and I've counted on that success as certain. So did she . I wish to Heaven she weren't so conscientious – yet no, I love her all the better for what she is. I shan't ask her to break the promise she gave her father, who, you may remember, is Governor of my own State, not to be engaged definitely till I've made good. But if I'm to have even my chance to make good snatched away, it's hard lines. I wish to the Lord my dear girl weren't such a howling swell, with such an important parent! No use hustling around to other managers. Your book went like hot cakes here. So would your play, but no man will pit himself against Roger Odell, if Odell means fighting. And there's no doubt he does mean it – unless you can undo whatever the fool thing is you've done.

"Probably this letter will go to England in the same ship with Odell. If you're well enough by the time it reaches you, to crawl about, can't you see him? I've told Felborn that when you set your wits to work you're as much of a wonder as your Prime Minister in The Key . I've worked him up to some sort of superstitious belief in you. The next thing is, to make him merely put off the rehearsal on some pretext, and do nothing one way or the other till I get a cable. I shan't sleep or eat till I hear whether there's any hope of your straightening things with Odell. – Yours, C.P.".

"Straightening things with Odell!" That might have been simple, if things had ever been crooked with Odell. But I had never met, I had never seen him. All I knew was what I had read, and vaguely heard from Americans: that Roger Odell was a millionaire, still a young man, a popular fellow who had made most of his money out of mines and had bought up an incredible number of newspapers in order to make his power felt in the world. But what grudge had he against me? How did he know that I existed? I decided that I owed it to myself as an expert even more than to Price and his girl, who was a "governor's daughter," to turn on the searchlight.