Then, one morning, there appeared in the Daily Wire a paragraph, displayed in a prominent position, which stated that the theatre had been leased to Mr. Aubrey Flood, the well-known actor-manager, and the paragraph—obviously inspired—went on to hint at a most sensational development, of which the public might shortly expect news in the columns of the great Radical daily.
A few days after the public had been informed of the Duke of Paddington's extraordinary and terrible experiences, Mr. Aubrey Flood sat in his private room at the theatre. It was twelve o'clock noon, and he was dictating some letters to his secretary. The room was large and comfortable, and was reached by a short passage at the back of the dress circle. The walls were hung with framed photographs, many of them of great size, and signed by names which were famous in the dramatic world. There was a curious likeness to each other in all these photographs, when one regarded them closely. Men and women of entirely different faces and figures had all, nevertheless, the same curiously conscious look lurking in the eyes and pose. They seemed well aware, in their beauty of face and figure or splendour of costume, that they were there for one purpose—to be looked at.
Here and there the photographs were diversified by valuable old play-bills in gold frames, and close to the door was a page torn out of a ledger, the writing now faded and brown with years. It was a salary list of some forgotten provincial theatre, and the names of famous actors—at the time it was written utterly unknown to fame—were set down there in a thin, old-fashioned script. Heading the list one saw "Henry Irving, £1 10s. 0d.," the weekly salary at that date of, perhaps, the greatest actor England has ever known.
A huge writing-table was covered with papers, and there were two telephones, one hanging upon the wall, the other resting on its plated stand upon the table. Upon another table, much higher than the ordinary, and standing at one side of the room was a complete model theatre. Carefully executed studies of scenery half a yard square lay by the side of the model, and a complete miniature tableau had been built up upon the tiny stage, while the characters of the toy drama were represented by the little oblong cubes of wood, variously coloured.
To complete the picture, it should be stated that, by the side of Mr. Aubrey Flood, nearer, indeed, to him than the telephone, stood a square bottle of cut-glass, a tumbler, and a syphon of soda-water.
There was a knock at the door, and the stage door-keeper entered with a card.
"Mr. Lionel C. Westwood, to see you, sir," he said.
"Ask him to come in at once," Flood answered.
Mr. Lionel C. Westwood had, more or less, created his own profession, which was that of a very special sort of theatrical journalist. He had been tried for dramatic criticism on more than one paper, but had abandoned this form of writing for what he speedily found to be the more lucrative one of collecting early dramatic intelligence. He wrote, too, the column of Green Room Gossip in more than one important paper, and was, indeed, of extreme use to managers who wished to contradict a rumour or to start one.