LITMIR.BIZ

       The Actress

      ‘The Actress’ was first published as ‘A Trap for the Unwary’ in The Novel Magazine, May 1923.

      The shabby man in the fourth row of the pit leant forward and stared incredulously at the stage. His shifty eyes narrowed furtively.

      ‘Nancy Taylor!’ he muttered. ‘By the Lord, little Nancy Taylor!’

      His glance dropped to the programme in his hand. One name was printed in slightly larger type than the rest.

      ‘Olga Stormer! So that’s what she calls herself. Fancy yourself a star, don’t you, my lady? And you must be making a pretty little pot of money, too. Quite forgotten your name was ever Nancy Taylor, I daresay. I wonder now – I wonder now what you’d say if Jake Levitt should remind you of the fact?’

      The curtain fell on the close of the first act. Hearty applause filled the auditorium. Olga Stormer, the great emotional actress, whose name in a few short years had become a household word, was adding yet another triumph to her list of successes as ‘Cora’, in The Avenging Angel.

      Jake Levitt did not join in the clapping, but a slow, appreciative grin gradually distended his mouth. God! What luck! Just when he was on his beam-ends, too. She’d try to bluff it out, he supposed, but she couldn’t put it over on him. Properly worked, the thing was a gold-mine!

      On the following morning the first workings of Jake Levitt’s gold-mine became apparent. In her drawing-room, with its red lacquer and black hangings, Olga Stormer read and re-read a letter thoughtfully. Her pale face, with its exquisitely mobile features, was a little more set than usual, and every now and then the grey-green eyes under the level brows steadily envisaged the middle distance, as though she contemplated the threat behind rather than the actual words of the letter.

      In that wonderful voice of hers which could throb with emotion or be as clear-cut as the click of a typewriter, Olga called: ‘Miss Jones!’

      A neat young woman with spectacles, a shorthand pad and a pencil clasped in her hand, hastened from an adjoining room.

      ‘Ring up Mr Danahan, please, and ask him to come round, immediately.’

      Syd Danahan, Olga Stormer’s manager, entered the room with the usual apprehension of the man whose life it is to deal with and overcome the vagaries of the artistic feminine. To coax, to soothe, to bully, one at a time or all together, such was his daily routine. To his relief, Olga appeared calm and composed, and merely flicked a note across the table to him.