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“No. I came to tell you something more interesting.”
* * *
Hans Reuter — Arthur Curtis’s painstakingly cultivated informant inside the Krieg Rüstungswerk munitions combine — refused to meet in a beer garden anymore. “Too many people,” he kept saying. “Too many people are seeing us together.”
Had they been speaking face-to-face instead of on the telephone, Arthur would have folded his hands calmly over his potbelly and listened with a sympathetic expression. All he had on the phone was a soothing voice and simple logic. “They don’t know what we talk about. They don’t know that I pay you money.”
“I was followed last time.”
“Are you sure?” Arthur Curtis asked more casually than he felt. The fact was, after their last meeting, when Reuter dropped the bombshell that Krieg had German consuls in America on its payroll, Curtis had wondered whether he was being followed and had returned to the office by a circuitous route, after going to great lengths to shake the shadow, if indeed there had been a shadow. Now it sounded like there had been, and a very stealthy one at that. He had to hand it to Krieg. It hadn’t taken long to catch on to him. He knew he had to do something to end the threat. The trouble was, his frightened informant still had a lot of good information bubbling in his embittered mind, although he was doling it out very slowly.
“I am deadly sure,” Reuter replied. “For all we know, they are listening in on this telephone wire.”
“They would have to be soothsayers to listen in on telephone kiosks in post offices on opposite sides of Berlin.”
“I would not be surprised if they were.”
“I have an idea,” said Arthur Curtis.
“No more ideas,” said Hans Reuter, and broke the connection.
Arthur Curtis worked his way slowly back to the office. Redoubling ordinary habits of caution, watching reflections in shop windows, changing trams repeatedly, stepping in and out of bakeries and cafes, he did not enter his building until he was one hundred percent sure that he was not being observed.
Pauline was sitting behind his desk, reading his mail.
“You should be home in bed. It’s late.”
“I’m not tired.”
“Don’t you have school tomorrow?”
“My mother’s friend is visiting. He’ll be gone at midnight.”
“Have you had your supper?”
“I’m not hungry.”
“Here.” He handed Pauline a sweet bun he had picked up just in case and watched her tear into it like a timber wolf taking down a mule deer. And then the darnedest thing happened. Art Curtis was suddenly scared. Not for himself but for her, the silly kid hanging around. What if they did catch up with him and she was here? What would they do to her when they got done doing him?
* * *
“‘Flickers’ have been around for years,” Joseph Van Dorn protested.
Issac Bell had just concluded the story of Beiderbecke and Clyde Lynds and their Talking Pictures machine with the recommendation that the Van Dorn agency take up the job of protecting Lynds while he built a new machine in exchange for a share of the profits.
“Moving pictures won’t be mere ‘flickers’ anymore when sound makes them so visceral, they play on the emotions. The Talking Pictures machine is revolutionary.”
Van Dorn shrugged. “I attended a talking picture once in Cincinnati. They called it a ‘Kinetophone’ or some such, and the advertisement claimed that the songs followed in perfect unison the movements of the actors’ lips. But in fact the lips and words were at sixes and sevens, making it impossible to follow the story.”
“Synchronization is the crux of the problem.”
“Besides, there was the usual unnatural and discordant mechanical grate you hear from talking machines.”
“Amplification is another problem Lynds and Beiderb
ecke claim to have solved.”
“I’ll say it’s a problem. I attempted to hear an Actologue troupe in Detroit. One poor player had a feeble voice that was unable to penetrate the picture screen. Every word he uttered disappeared straight up into the fly loft.”
