completely by a case of genuine magnitude. It was as though visiting royalty had dropped dead within his jurisdiction.
I doubt whether the assassination of a McKinley or a Lincoln could have unsettled him as much, because in such an event he would have had the whole weight of the Federal government behind him. There was no question but that Stella Lamar enjoyed a country-wide popularity known by few of our Presidents. Her sudden death was a national tragedy.
Apparently Mackay had appealed to Kennedy the moment he learned the identity of Stella, the moment he realized there was any question about the circumstances surrounding the affair. Over the telephone the little man had been almost incoherent. He had heard of Kennedy's work and was feverishly anxious to enlist his aid, at any price.
All we knew as we took the train on the New York Central was that Stella was playing a part in a picture to be called "The Black Terror," that the producer was Manton Pictures, Incorporated, and that she had dropped dead suddenly and without warning in the middle of a scene being photographed in the library at the home of Emery Phelps.
I was singularly elated at the thought of accompanying Kennedy on this particular case. It was not that the tragic end of a film star whose work I had learned to love was not horrible to me, but rather because, for once, I thought Kennedy actually confronted a situation where his knowledge of a given angle of life was hardly sufficient for his usual analysis of the facts involved.
"Walter," he had exclaimed, as I burst into the laboratory in response to a hurried message, "here's where I need your help. You know all about moving pictures, so--if you'll phone your city editor and ask him to let you cover a case for the Star we'll just about catch a train at One Hundred and Twenty-fifth Street."
Because the film world had fascinated me always I had made a point of being posted on its people and their activities. I remembered the very first appearance of Stella Lamar back in the days of General Film, when pictures were either Licensed or Independent, when only two companies manufactured worth-while screen dramas, when any subject longer than a reel had to be of rare excellence, such as the art films imported from France for the Licensed program. In those days, Stella rose rapidly to prominence. Her large wistful eyes had set the hearts of many of us to beating at staccato rate.
Then came Lloyd Manton, her present manager, and the first of a new type of business man to enter the picture field. Manton was essentially a promoter. His predecessors had been men carried to success by the growth of the new art. Old Pop Belman, for instance, had been a fifth-rate oculist who rented and sold stereopticons as a side line. With blind luck he had grasped the possibilities of Edison's new invention. Just before the break-up of General Film he had become many times a millionaire and it was then that he had sent a wave of laughter over the entire country by an actual cable to William Shakespeare, address London, asking for all screen rights to the plays written by that gentleman.
Manton represented a secondary phase in film finance. Continent Films, his first corporation, was a stockjobbing concern. Grasping the immense popularity of Stella Lamar, he had coaxed her away from the old studio out in Flatbush where all her early successes had been photographed. With the magic of her name he sold thousands of shares of stock to a public already fed up on the stories of the fortunes to be made in moving pictures. When much of the money so raised had been dissipated, when Continent's quotation on the curb sank to an infinitesimal fraction, then it developed that Stella's contract was with Manton personally. Manton Pictures, Incorporated, was formed to exploit her. The stock of this company was not offered to outside investors.
Stella's popularity had in no way suffered from the business methods of her manager. Manton, at the least, had displayed rare foresight in his estimation of public taste. Except for a few attempts with established stage favorites, photographed generally in screen versions of theatrical classics and backed by affiliations with the producers of the legitimate stage, Continent Films was the first concern to make the five-reel feature. Stella, as a Continent player, was the very first feature star. Under the banner of Manton Pictures, she had never surrendered her position of pre-eminence.
Also, scandal somehow had failed to touch her. Those initiated to the inner gossip of the film world, like myself, were under no illusions. The relations between Stella and Manton were an open secret. Yet the picture fans, in their blind worship, believed her to be as they saw her upon the screen. To them the wide and wistful innocence of her remarkably large eyes could not be anything but genuine. The artlessness of the soft curves of her mouth was proof to them of the reality of an ingenuous and very girlish personality.
Even her divorce had helped rather than harmed her. It seemed irony to me that she should have obtained the decree instead of her husband, and in New York, too, where the only grounds are unfaithfulness. The testimony in the case had been sealed so that no one knew whom she had named as corespondent. At the time, I wondered what pressure had been exerted upon Millard to prevent the filing of a cross suit. Surely he should have been able to substantiate the rumors of her association with Lloyd Manton.
Lawrence Millard, author and playwright and finally scenario writer, had been as much responsible for the success of his wife as Manton, and in a much less spectacular way. It was Millard who had written her first great Continent success, who had developed the peculiar type of story best suited for her, back in the early days of the one reel and General Film.
It is commonly known in picture circles that an actress who screens well, even if she is only a moderately good artist, can be made a star with one or two or three good stories and that, conversely, a star may be ruined by a succession of badly written or badly produced vehicles. Those of us not blinded by an idolatrous worship for the girl condemned her severely for throwing her husband aside at the height of her success. The public displayed their sympathy for her by a burst of renewed interest. The receipts at the box office whenever her films were shown probably delighted both Manton and Stella herself.
I had wondered, as Kennedy and I occupied a seat in the train, and as he left me to my thoughts, whether there could be any connection between the tragedy and the divorce. The decree, I knew, was not yet final. Could it be possible that Millard was unwilling, after all, to surrender her? Could he prefer deliberate murder to granting her her freedom? I was compelled to drop that line of thought, since it offered no explanation of his previous failure to contest her suit or to start counter action.
Then my reflections had strayed away from Kennedy's sphere, the solving of the mystery, to my own, the news value of her death and the events following. The Star, as always, had been only too glad to assign me to any case where Craig Kennedy was concerned; my phone message to the city editor, the first intimation to any New York paper of Stella's death, already had resulted without doubt in scare heads and an extra edition.
The thought of the prominence given the personal affairs of picture players and theatrical folk had disgusted me.
There are stars against whom there is not the slightest breath of gossip, even among the studio scandal-mongers. Any number of girls and men go about their work sanely and seriously, concerned in nothing but their success and the pursuit of normal pleasures. As a matter of fact it had struck me on the train that this was about the first time Craig Kennedy had ever been called in upon a case even remotely connected with the picture field. I knew he would be confronted with a tangled skein of idle talk, from everybody, about everybody, and mostly without justification. I hoped he would not fall into the popular error of assuming all film players bad, all studios schools of immorality. I was glad I was able to accompany him on that account.
The arrival at Tarrytown had ended my reflections, and Kennedy's --whatever they may have been. Mackay himself had met us at the station and with a few words, to cover his nervousness, had whisked us out to the house.
As we approached, Kennedy had taken quick note of the surroundings, the location of the home itself, the arrangement of the grounds. There was
