***************************************************************************** * T A Y L O R O L O G Y * * A Continuing Exploration of the Life and Death of William Desmond Taylor * * * * Issue 29 -- May 1995 Editor: Bruce Long bruce@asu.edu * * TAYLOROLOGY may be freely distributed * ***************************************************************************** CONTENTS OF THIS ISSUE: Taylor's "Lost Years" -- 1908-1912 Wallace Smith: February 25, 1922 ***************************************************************************** What is TAYLOROLOGY? TAYLOROLOGY is a newsletter focusing on the life and death of William Desmond Taylor, a top Paramount film director in early Hollywood who was shot to death on February 1, 1922. His unsolved murder was one of Hollywood's major scandals. This newsletter will deal with: (a) The facts of Taylor's life; (b) The facts and rumors of Taylor's murder; (c) The impact of the Taylor murder on Hollywood and the nation; (d) Taylor's associates and the Hollywood silent film industry in which Taylor worked. Primary emphasis will be given toward reprinting, referencing and analyzing source material, and sifting it for accuracy. ***************************************************************************** ***************************************************************************** Taylor's "Lost Years" -- 1908-1912 William Desmond Taylor deserted his wife and child in October 1908 in New York; he obtained his first film industry job in December 1912 in Southern California. Where was he during those intervening years? In Sidney Sutherland's 1929 recap of the Taylor case (see TAYLOROLOGY #16) it is stated that there is no definite data for Taylor's whereabouts during that time. On the contrary, there is considerable specific data, although some gaps remain. The following items provide some information on Taylor's whereabouts and activities during that time. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Taylor in Dawson, Yukon Territory February 11, 1922 LOS ANGELES TIMES Dawson, Feb. 10--Careful inquiry here indicates that William Desmond Taylor, the murdered director, did not arrive in Dawson until 1908 or 1909, ten years after the big rush to the Klondike. He was here as a timekeeper for the Yukon Gold Company until November 1912, on dredge and hydraulic operation...His application with the Yukon Gold Company, filed here May 25, 1909, shows him to have been an Englishman, then 35 years of age, said he had worked for the Grand Trunk Pacific Railway during the construction of the Skeena River division and gave as reference Manager MacKinnon of the Canadian Pacific and the Sulphide Pulp Company of Swanson Bay, British Columbia. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 8, 1922 LOS ANGELES TIMES Dawson City, Feb. 7.--Records of the Yukon Gold Company indicate that William Desmond Taylor, motion-picture director who was found dead with a bullet wound in his neck [sic] in Los Angeles recently, added to his multifarious lists of trades during his sojourn in the Yukon. In Dawson he worked as timekeeper and commissary clerk from 1908 to 1913 [sic]. He is remembered as an efficient commissary clerk in several creek stations of the Yukon Gold Company. At Claim Seventy-six "below" on Bonanza creek, he is referred to as a record-breaker in holding down grub allowances. He rode horseback for pastime and wrote short stories, which were published, it was said, in outside magazines. It is believed that he originally came from England. In the four- year period mentioned, he was absent from the Yukon one winter when he went to Honolulu with a theatrical company. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 5, 1922 SANTA BARBARA PRESS During most of the time after he disappeared from his home in New York in 1908 and until he went to work for a motion picture company in Los Angeles in 1912 or 1913, William Desmond Taylor, slain motion picture director, was working in the Yukon as an associate of George Morrison, Santa Barbara city engineer. Taylor, or Tanner, came to San Francisco from New York early in 1909, Mr. Morrison said last night, and there was engaged by the Yukon Gold company, a Guggenheim corporation, as a timekeeper for one of its Yukon mines. He arrived in Dawson, Y.T., in March 1909, and there formed an acquaintance with Mr. Morrison which lasted until Taylor left in 1912. Mr. Morrison was employed by the same company as hydraulic engineer and Taylor made something of a confidant of him. He told Mr. Morrison that Taylor was an assumed name and that he had left New York because of an overwhelming burden of debt he had contracted while an art dealer in New York. Mrs. Potter Palmer, Chicago society leader, he told Mr. Morrison, was his principal backer. When Mr. Taylor came here in the employ of the American Film company the acquaintance formed in the Yukon was renewed, Mr. Morrison said, and there is no doubt in his mind that his friend in the Yukon and William Desmond Taylor of motion picture fame were the same man. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 8, 1922 LOS ANGELES TIMES William D. Taylor, slain film director, was the dude of Dawson City, according to Adelbert Bartlett of Santa Monica, who knew him in Alaska [sic] in 1910. He wore tweeds, a soft crush hat, tasteful haberdashery, and was immensely popular with the women. He played crack tennis, was a card expert and attended most of the big functions in a dress suit, one of the few dress suits in the town. At that time Mr. Taylor was timekeeper for the Yukon Gold Company at $175 a month. "Mr. Taylor gave me the impression of a man on a mysterious mission. At times he would obscure himself and nobody would know where he was and then again, he would embark on the heights of sociability. All of the women were interested in him. The country was more or less unconventional and he was frequently the escort of married women. In a perfectly proper way, of course. "There was one case in particular, however, that impressed me at the time as liable to lead to trouble. Every morning at 10 o'clock he would have a tete-a-tete over the telephone with a woman. One woman was the wife of a high employee of the company, and there was some gossip. "I used to wonder why a man of his personality and culture should spend his time there at such meager pay and the fact that he was always somewhat mysterious enhanced this question. "He was thoroughly familiar with the Yukon Territory and I understood that he had been there in 1898 and 1899. He used to show me many places of interest. Robert W. Service, the poet, Mr. Taylor and myself have played together. "Mr. Taylor was rather a quiet fellow, but always an outstanding figure. He attended the society affairs given by the Governor of the Territory and by the local celebrities and made himself generally agreeable, too. "Lots of us guessed that he was a typical English remittance man. If Mr. Taylor was murdered because of any of his actions up there in the Klondike the grudge must have been harbored for a long time." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Taylor in Bellingham, Washington February 3, 1922 BELLINGHAM HERALD William Desmond Taylor, prominent moving picture director who was shot and killed under mysterious circumstances a Los Angeles Wednesday night or early Thursday morning, will be remembered by patrons of Beck's theater who attended the plays produced by the Beck's theater stock company early in the winter of 1909. The company was organized by Mrs. S.M. Bruce, who was in charge of the theater for a season, and staged several plays here which proved to be of exceptional popularity among Bellingham theatergoers. Mr. Taylor, who is described by Mrs. Bruce as "a splendid chap to work with and to work for," well bred, well educated and of charming personality, took the leading parts in some of the stock plays. Although he was not here in time to appear in the opening play, "Are You a Mason?" he took the part of Don Jose in "Carmen" and also took the lead in Clyde Fitch's "Climbers," as well as other production. Victory Bateman was the leading lady and Sedley Brown, whose wife is now prominent in character parts in moving pictures, was the director. Mr. Taylor came here from Vancouver, B.C., at Mrs. Bruce's request and made many friends among local people during his stay in the city. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 8, 1922 BELLINGHAM HERALD It was just twelve years ago last week that William Desmond Taylor, slain moving picture director of Los Angeles, closed a stock company engagement in Seattle. This is the statement contained in a letter received by Mrs. S. M. Bruce, of this city, from her daughter, Mrs. George C. Murphy, known professionally as Olive Adair. Taylor, known to his friends and the profession as "Bill," was in stock company in Bellingham during the early part of 1910--or during part of the period following his mysterious disappearance at New York. "You know how spooky he always was," the letter to Mrs. Bruce said. "He was well liked professionally, but he had few intimates. I have frequently spoken to him about the old times in Bellingham and Seattle." Olive Adair, then Miss Olive Adair Leonard, was a member of the original Beck Theater Stock company, organized here when the old Beck theater was under the management of Mr. and Mrs. Bruce. She went with the company to Seattle and after a time went into moving pictures. In her letter she said that she had appeared in two pictures recently produced by Taylor. Incidentally she mentioned the fact that Victory Bateman, who also was a member of the Beck Theater Stock company here in 1910, is also in moving pictures at Hollywood. Taylor was well liked during his stay here. He appeared to be a polished, affable sort of man who made friends of those with whom he worked. ...Olive Adair played in the stock company, that being her first professional work on the stage. The stock company was organized for her benefit. She has been in Los Angeles since 1914 and from time to time has mentioned Taylor in her letters to Mr. and Mrs. Bruce. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 2, 1910 BELLINGHAM HERALD The Beck theater announces with a great deal of pride the fact that it has secured one of the handsomest and most talented leading men in the profession in the person of William D. Taylor, who will join the company in that capacity next Tuesday, to begin rehearsals of "Sowing the Wind," in which play he will take the superb role of Brabazon, which is one of the most sensationally beautiful parts ever written for a leading man. In "Sowing the Wind," a powerful play from the pen of Sydney Grundy, no leading man could ask for a better introduction to his clientele than is offered in the role of Brabazon. It is powerful in every way and in Mr. Taylor the new stock company is fortunate indeed to find a man of heroic appearance and splendid intellectual capacity, bully capable of doing justice to this magnificent character. Mr. Taylor has a splendid record in the profession. He was with Charles Hawtrey, the celebrated English actor, in "The Private Secretary," which duplicated in England the phenomenal success that characterized Gillette's appearance in the same piece in America. Mr. Taylor accompanied Hawtrey throughout his entire English tour, appearing with equal success in London and the Provinces. He was for many seasons in classic drama with Fanny Davenport, appearing with her in "Gismonda," "Cleopatra," "Fedora," "La Tosca" and "Joan of Arc," playing juveniles and characters in all of these productions, and understudying Melbourne McDowell as leading man. He has played in "La Tosca" the different roles of Angelotte, Mario, Cavaradossi and Scarpio; Louis Ispanoff in "Fedora," Marc Antony in "Cleopatra" and similar roles. He was selected by Miss Davenport to be her special agent in the preparation of her renowned production of "Joan of Arc." Miss Davenport sent Mr. Taylor to Paris, where he was put in charge of the selection of all the armor and similar accoutrements used in "Joan of Arc." He was for several seasons leading man with the Castle Square Stock company in Boston, and played leading business in such standard attractions as "Butterflies," "Men and Women," "The Great Ruby," "The Charity Ball," "Trilby," etc. He was engaged by Daniel Frohman to play Morgan's part in "Trelawney of the Wells," and he played with Arthur Elliott in stock in Australia, as well as in English melodrama from the Adelphi. Mr. Taylor is a man of commanding appearance and charming manner, finely educated and of excellent English parentage. He has traveled the world over, and carries with him the air of a man who knows life in all its phases. Beck's theater presents Mr. Taylor to Bellingham as Brabazon in "Sowing the Wind," and in all his later work with ever confidence that he will at once take and maintain an enviable position in public esteem. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 9, 1910 BELLINGHAM HERALD William D. Taylor, new leading man with the Beck Stock company, tells the following story on himself: "One night during an engagement with Miss Davenport at the Baldwin theater, in San Francisco, I went in company with some friends to the Palace hotel for supper after the performance. We chanced to be seated at a table diagonally across the room from a table occupied by a stag party, the members of which had evidently been supping, not wisely, but--very well. For some reason one extreme attracted their attention and in the next few minutes we overheard several remarks which annoyed us exceedingly. "I was on the point of calling the head waiter to expostulate when I happened to hear one of their number, a big, blustering fellow, make a particularly insulting remark. Involuntarily I jumped to my feed, realizing almost immediately the mistake I had made, as there were several ladies in our party. Just as quickly my ponderous friend started across the room, while I stood there in a quandary. "To my utter astonishment, when within about ten feet of he, he suddenly stopped short, stared at me a few seconds, then wheeled and left the restaurant precipitately. Of course I sat down, vastly relieved, the more so as there were no more remarks from the stag party. Shortly afterwards, I heard their waiter say to ours in passing: 'Say, that's Jimmie Corbett you're waiting on.' I had been mistaken for the redoubtable 'Gentleman Jim,' who at that time was in the zenith of his glory." [1] * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 11, 1910 BELLINGHAM HERALD Not since Mrs. Patrick Campbell gave her renowned performance of "The Second Mrs. Tanqueray" three seasons ago, has the stage of Beck's theater been the scene of such fine acting as Miss Victory Bateman offered the patrons of that house last night in the superb production of Sydney Grundy's masterpiece, "Sowing the Wind," the play selected for the stock company bill of the current week. It was a triumph of old for Miss Bateman, whose brilliant career long ago accustomed her to the deepest demands and the highest awards of the art of emotion depiction. This woman is an artist in every sense of the word and worthy of the appreciation of any discriminating public. She did what she willed with the audience at Beck's last night and reached a height in the climax of the great "Sex Against Sex" scene that has not been approached in this city in years. ...The story of "Sowing the Wind" is sweet and appealing. It held the audience bound to its thrill and left them happy and satisfied at its close. Its sweetness is like a benediction and its power and purpose challenge the best in everyone. It is the kind of play one never forgets. Its lines live and grow in the memory like some hardy and sweet-scented perennial. There are not enough plays like "Sowing the Wind" seen nowadays. "Sowing the Wind" has always been considered too high-class for the West, but its reception at Beck's last night proved that idea to be a mistake. It is a splendid play done in splendid style, with fine attention to detail that becomes more and more prominent in the Beck production. The company is much stronger in "Sowing the Wind" than in any previous play since they opened and gave a very even and artistic performance. Mr. William D. Taylor, the new leading man, appeared in the dominant but kindly role of Brabazon and gives promise of becoming an interesting and pleasing member of the stock company, though he was the last to be added to it... "Sowing the Wind" will run all week without interruption and be followed on Sunday night by a big spectacular production of "Held by the Enemy," the play that made William Gillette famous. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 17, 1910 BELLINGHAM HERALD Another success was added to the increasing list of the Beck Stock company in the presentation Sunday afternoon and evening of "Held by the Enemy," the big Gillette war drama, which drew a large house to the evening performance and scored heavily. Frederick Warde, the distinguished tragedian, who was passing through the city and witnessed the play, expressed warm admiration for the company and complimented the theater management upon the quality of production and ability of the players. That the Beck Stock company is becoming solidly recognized in Bellingham is proven by the steadily increasing patronage. The receipts last night were three times as large as those of any preceding Sunday since the season opened, and were second only to the Christmas receipts. The exciting realism of "Held by the Enemy" stirred the house to enthusiasm, while the dainty comedy furnished by Philip Sheffied and Olive Adair, in their respective roles of the magazine artist and Susan, kept everybody laughing and made the hit of the piece. The vivid spectacular features of "Held by the Enemy," its intense atmosphere of personal danger, the fascination of thrilling and unexpected dramatic moments, the tender appeal of love and the stern demands of duty, the opposition of affection and patriotism in both Northern and Southern hearts, the pathetic struggle of the women of the South to protect their lives, loves and homes during the terrible period of the early 1860s when the Civil war directed its grim engines of destruction through their plantations and their pride alike, are thrown onto the stage in brilliant relief in this picture of the South, called "Held by the Enemy." The staging of the play is truthful and elaborate. In the first and fifth acts is shown the drawing room of the McCreery mansion, and once proud room of elegance and luxury, but which at the opening of the play the encroachment of poverty caused by the war is seen in the last few remnants that remain. In the second and fourth acts are shown the forbidding accoutrements of strife; the rough and ready details of a fort interior; the rushing feet and booming voices of men too intent upon their errands of destruction to know or care whether or not speech became either intelligible or offensive. It is all very grim and thrilling and when across the black background of tumult and confusion there flash the brief episodes of personal sacrifice and devotion that grip the heart and make men human and sincere the interest of this play culminates and holds the listener bound. Miss Bateman played Rachel, and gives an earnest and womanly performance. Mr. Taylor makes a heroic looking Colonel Foskett and the remainder of the company have excellent support in their various capacities. The work of the fourth act is especially commendable in the big scene where Rachel tries to smuggle her wounded fiance, who is a prisoner of war, through the Federal lines, under the pretext that he is dead, and where, during the suspense of a breathless situation, he really does expire. Mr. Williams, leader of the orchestra, once more demonstrated himself an artist by the sympathetic support he lent the various scenes throughout the action. His intermission music is charming and suggestive of the South in every way and elicited hearty and repeated applause. "Held by the Enemy" runs all week with Saturday matinee. Next Sunday afternoon there will be something entirely new, since arrangements have been made to present "A Fallen Angel," which will have its first production on the Coast in this city. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 23, 1910 BELLINGHAM HERALD For the first time in the history of theatricals in Bellingham, a play is to be staged here under the personal direction of its author. "A Fallen Angel," which opens this afternoon at popular prices with the Beck Theater Stock company is the work of Sedley Brown, stage director at Beck's theater. This play is a strong, wholesome and interesting melodrama with a long reputation for big business behind it. It was selected for presentation here from a large list of similar plays on account of its deep heart interest and strong moral lesson... "The Fallen Angel" is a thoroughly impressive and wholesome story. It teaches that there are still good men and women and that Christianity in the hands of over-zealous bigots is often made the tool of Satan rather than the instrument of the Master. Two love stories and a hilarious vein of comedy run through the play. There are several strong character parts that give the stock company fine possibilities... "Mr. Taylor, the handsome leading man, plays a strong role of a minister whose fine character and stalwart Christianity arouses audiences to enthusiasm. It is an excellent part for Mr. Taylor to which he will undoubtedly do justice... The first performance of "The Fallen Angel" will be given this afternoon at 2:30. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 24, 1910 BELLINGHAM HERALD The production of "A Fallen Angel" at the Beck theater this week by the Beck Theater Stock company is without doubt the most creditable that not only Bellingham has had the privilege of witnessing in stock, but that the present organization has thus far presented. Two crowded houses evinced the greatest delight throughout the play. It combines all the elements of pathos and comedy, and in many ways is unique. "A Fallen Angel" is melodramatic in effect, but without the usual blood and thunder and knock-about accessories, and the story is clean, wholesome, and the moral is an exceptionally good one. The plot involves woman's unforgiving attitude toward the fallen members of her sex; of man's more liberal spirit; of a sister's unselfish love for her brother, which prompts sacrifice which would mean the giving up of love and happiness, and the voluntary surrender to misery; of the cunning and cowardice of the villain whose selfish, self-seeking infatuation which runs its baleful course and ends in his downfall, and of the fallen woman, womanliness rising superior and triumphant to her surroundings, to her happiness. The story of "A Fallen Angel" is laid in Pennsylvania, its opening scenes being in a small interior town. Later the scene takes place in Philadelphia. As usual the scenic and stage effects were perfect, particularly so the churchyard, which was very realistic and demanded applause from the audience... Mr. Taylor's conception and execution of the minister was excellent... "A Fallen Angel" will run all week with a special matinee on Saturday. Next Sunday night a fine dramatic version of "Carmen" will be put on here for the first time. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 31, 1910 BELLINGHAM HERALD "Carmen" swung itself loose last night at the Beck theater into a booming and bewildering success. Delightful hardly expresses it, for the play, in addition to possessing a great deal of merit as dramatized from the thrilling opera, is produced by the Beck Theater Stock company in a superior manner to any of the productions that they have thus far offered. They proved themselves a stock company of most capable people, in fact, every part was in such able hands that even the smallest role in the play was portrayed as in real life. It was not only the realistic manner of acting, but so convincingly real was the play staged that the large audience enjoyed every moment of the drama. "Carmen" is a picture drawn in glowing colors and is full of actions and thrilling in its situations. It depicts life in the locale of the story as it would be depicted only by those intimately acquainted with the passions, impulses and motives which inspire the life of Gypsies. Every act is represented in a careful and painstaking manner, no expense having been spared in furnishing elaborate scenery, and every accessory is in perfect harmony with the picturesque surroundings. The stage fairly swarmed with people last night, with a beautiful and cleverly acting chorus. They made a dazzling show and helped to keep things lively. The costuming is elaborate and the whole production was most worthy, and that is saying much. Victory Bateman was altogether fascinating as Carmen, with her melodious voice and her tempestuous, fiery outbreaks. This is one of the best characters she has been seen in here and it is doubtful if one might mind a more pleasing presentation...William D. Taylor, as Don Jose, takes advantage of his opportunity and was at his best last night... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 4, 1910 BELLINGHAM HERALD Tonight, tomorrow afternoon and Saturday night will see not only the last of the present stock company at the Beck theater, but the last performance of "Carmen," the beautiful spectacular drama that has made so excellent an impression upon the theatergoers here... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Taylor in Seattle, Washington February 7, 1910 SEATTLE POST-INTELLIGENCER New Stock Company at Seattle Theater The new stock company at the Seattle theater made its first bow yesterday afternoon to a packed house and again at night was the announcement that nothing was left but standing room. The opening bill is "The Night Before Christmas," by that astute dealer in human emotions, Hal Reid, who has provided more than one melodramatic success. The entire story is told in the third act, where the events of the two earlier acts are rehearsed in a courtroom scene that stretches possibility to the limit, and which is so technically legal that it threatens in places to become tiresome. In the third act a judge is compelled to pass sentence of death upon his own wayward son, who has been falsely accused and convicted of a murder. The curtain descends upon the last speech of the judge, who is sending the boy to the electric chair. The final act is that of the governor's office, to which place the judge has been elected, and in which he declines to reprieve the boy because it conflicts with his stern sense of duty. In the same scene the real murderer enters and confesses that he committed the crime, and that it was done to revenge himself upon the man who had broken his home and sent his child out into the world with a blight upon her name. As a means for introducing another interest, Mr. Reid makes the daughter of the murderer the sweetheart of the accused Jack Philip, whose marriage had been forbidden by his father, the judge, on account of a doubt as to the girl's parentage. The only act in "The Night Before Christmas" that is keyed up to the Seattle theater notion of things is the second, showing a graveyard, in which the murder is committed. The particular interest in the occasion is the return to Seattle of a couple of favorite players and some new people who are going to make themselves popular down Cherry Street way. The reception of Robert Webb Lawrence and Philip Sheffield must have been encouraging in the way of saying, "Welcome to our city," or something like that. Each of these players acquitted himself creditably, Mr. Webb, as Judge Philip, the dominant figure of the play, and Mr. Sheffield, as Billy Pickerell, a character study of a blind man. Miss Victory Bateman, who is celebrating a honeymoon on the occasion of her return to local dramatic activities, found that the old Third Avenue theater clientele, before which she played, has been transferred to the Seattle theater, and many of the youngsters of her previous days on Third Avenue are now grown-ups. Miss Bateman is not afforded any emotional opportunities as Marion Williams, a couple of instances, however, requiring repression, showing good taste and excellent reading. Mr. Will D. Taylor plays the limited part of Jack Philip, the wrongfully accused young man, intelligently, and Mr. Kilbride made the long scene in the courtroom less tiresome for his good work as the attorney for the defense... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 11, 1910 SEATTLE POST-INTELLIGENCER The Hal Reid comedy-drama, "The Night Before Christmas," has served to give the Beck Stock Company a very favorable introduction to local play- goers, and the size of the house of the opening week is assurance of continued popularity during the period of its engagement here..."The Night Before Christmas" will close with the performances of Saturday afternoon and evening. "Held by the Enemy," the famous war drama, is next week's bill. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 12, 1910 SEATTLE TIMES Beck Players at Seattle to Be Reorganized In order to bring it up to the standard demanded by Seattle Theater audiences the Beck Stock Company is to be reorganized. Several new players will be added, these to include a new leading man. Victory Bateman and William Taylor, who have been playing leading roles, will leave the company next week and they will be replaced with capable players, whose contracts are now being considered. Miss Brenda Fowler succeeds to the rank of leading woman for the company, and will head the company for the first time in "Held by the Enemy," which opens Sunday afternoon. "The Night Before Christmas" continues as the bill for the remainder of the present week. This comedy-drama is a play that is of general interest, and particularly to women and children. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 14, 1910 SEATTLE TIMES Reorganized, The Seattle Theatre Company, as the players at The Seattle hereafter will be known, opened for the week yesterday afternoon in what is far and away one of the, if not the, most finished and delightful performances offered patrons of the Russell & Draw house in the last six months. "Held By The Enemy" has seen many presentations in Seattle within the last decade or so. Its treatment at the hands of the new company, it is safe to venture, will compare favorably with any that have gone before, for in practically every instance the parts are undertaken by men and women to whom they are admirably suited, and nothing has been spared in the way of scenic investiture to make it thoroughly consistent with the stirring period--the Civil War--about which the play is written. This week sees Miss Brenda Fowler playing the lead, Rachel McCreery, and if she displays the same capabilities in the next few succeeding productions shown in the offering now running she very probably will be continued in stellar roles. Her worth is brought out strongest in the tense, emotion scenes with which "Held By The Enemy" is replete. William D. Taylor's "Col. Charles Prescott" is a finished piece of work. Unintentional injustice was done this competent player in a recent announcement concerning the reorganization of the company. The fact that he is to accept a place with another company was accompanied by the comment that his place would be filled with a capable leading man. The natural inference was that he is not capable, one that is manifestly unfair to him since he is a player of recognized ability and one whose services are highly valued by the Russell & Drew organization. It is in the juvenile and ingenue parts that "Held By The Enemy" carries a secondary love theme providing a wholesome brand of comedy that is irresistibly winning as presented by winsome little Olive Adair, as Susan McCreery, and Phillip Sheffield, as Thomas Henry Bean. Both Miss Adair and Sheffield won scores of friends yesterday by their delightfully natural work. To Leo Lindhard, as Lieut. Gordon Hayne, falls the work that draws the big hand. It is at the end of Act II, when Hayne, on trial for his life as a spy, admits his guilt rather than see dishonor attached to Col. Prescott, who withholds damaging testimony because of his love for Hayne's cousin, Rachel McCreery... The cast follows: Co. Chas. Prescott............Wm. D. Taylor ... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 14, 1910 SEATTLE POST-INTELLIGENCER "Held by the Enemy" has been raised to the dignified plane of a melodrama, and it is doubtful if William Gillette would recognize more than the skeleton of his war-time play if he were to drop in and see what is being done at the Seattle theater. At the same time he could find, upon investigation, that the changes wrought in "Held by the Enemy" have not been a tampering with lines or situations, but that the production has been keyed up to what the Seattle theater following wants. There are a dozen good situations in the five acts, and some exceptionally strong lines, and they are emphasized solely with the notion of increasing their melodramatic value. Probably the most intense situation is that of the fourth act, in which an attempt is made to get the wounded Lieut. Hayne through the lines, upon the representation that the man is dead. ...Mr. Taylor plays the manly Col. Prescott to its advantage... [On February 19 the run of this play ended. The subsequent play, "The Cow Puncher," did not have Taylor in the cast. From these items it is unclear whether Taylor played the full week's run of "Held by the Enemy" or left the cast during the week.] * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Taylor in Denver, Colorado May 1, 1910 ROCKY MOUNTAIN NEWS Arthur C. Alston's new play, "As the Sun Went Down," will be presented at the Tabor Grand [in Denver] this week beginning May 8. The company will be headed by Estha Williams, who played Parepa, the Octoroon, in "At the Old Cross Roads." The supporting company includes Edwin Walter, W. A. Whitecar, Arthur E. Chattedon, George A. Cleveland, Arthur W. Bentley, R. F. Sullivan, William D. Taylor, Victory Bateman and Flora Byam. The scenic production is an elaborate one. [This play was presented from May 8 to May 14, 1910.] * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 8, 1922 ROCKY MOUNTAIN NEWS Fate in one of her capricious moods has made the murder of William Desmond Taylor, motion picture director of Los Angeles, particularly tragical for one of Denver's popular actors, George Cleveland, a member of the Wilkes Players. William Desmond Taylor, known to his friends of years ago as Dean Tanner [sic], was the best man at the wedding of Miss Victory Bateman and Mr. Cleveland in a small town in the state of Washington in 1909. The couple whose marriage he witnessed have been separated for years and soon will be divorced. [2] Dean Tanner, or William Desmond Taylor, and Cleveland had been friends for years and were inseparable companions for more than a year and a half. "I do not understand all of these things they are saying about Bill Taylor," Mr. Cleveland said last evening. "He was always open and above board and there was certainly nothing mysterious about him. He made no attempt that I know of to keep the fact that he changed his name a secret. We were going to open an engagement in New Jersey in 1908 and he took the name of William Desmond Taylor. Why, he never said, and we never pryed into each others affairs. "I have toured the country with Bill Taylor and at one time, years ago, we were stranded in Denver, and Bill went to a small town in the hills, where he obtained a job as night clerk in a hotel. I have forgotten where it was, but I went to California." Producing plays with local talent found in the far off cities in Alaska, Mr. Cleveland and Taylor toured that part of the country for several months. "Bill was a queer chap when he drank, which he did at times, and when one of these spells came on him he devoted all of his attention to the job," the actor continued. "You ought to know a man pretty well, sharing the adventures that come into life in Alaska, but I certainly never knew such a man as they have described in the papers." During his long acquaintance with the director, Mr. Cleveland never heard him mention having a family, and sweethearts and enemies never seemed to enter his life. "Taylor was the last man in the world to have had enemies, everyone liked him," he declared. "Of course, he may have changed when he became very prosperous and attained fame, but it does not seem possible." Mr. Cleveland is a clever and popular member of the Wilkes players, and the circumstances surrounding the death of his friend have affected him deeply. It is all a mysterious tangle which he is unable to unwind, and particularly is he mystified concerning the manner in which Taylor's character has been described. "Just before I came to Denver last autumn I heard from Bill," he remarked. "He was dropping his work for several months, he informed me, and previous to that time I corresponded with him in Australia." According to Cleveland, Taylor was an interior decorator of ability and he believes that it was because of his skill in this field that he attained fame in the motion picture industry. Many of the handsome residences in New York have been decorated and designed by Taylor, Cleveland declared. "Bill was a mediocre actor, but certainly an artist, he said. "Despite the fact he was born in Ireland, he was exceedingly English in his ways, a fine fellow, and it is hard to realize all of these things that they are saying about him out there." [3] * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Taylor in Telluride, Colorado February 5, 1922 ROCKY MOUNTAIN NEWS ...In 1910, according to J.A. Segerberg, proprietor of the New Sheridan hotel at Telluride, Col., Taylor answered an advertisement that he (Segerberg) had inserted in a Denver paper. Taylor wrote in his letter of application that he was in Denver without funds, but that he was eager to get located in the Telluride district. Segerberg forwarded the transportation fare to Taylor, who went to Telluride and remained several months as a night clerk in the New Sheridan hotel. During his leisure time in the afternoons, he is said to have prospected about the hills near the little mining town. "He never seemed to have any luck," Segerberg declared. "He was down and out all right, but we all liked him. He made friends with everybody at the hotel, and was quiet and unassuming. "He didn't talk much, but on one occasion he confided in me that he had been to Alaska, had made a fortune and had lost it. He said he was just trying to get on his feet again. I considered him a most exceptional man. He had a fine education and was very much alone, receiving letters but seldom." ...Segerberg said that Taylor went by the name of William D. Taylor while at his hotel, had no one with him and, as far as he knew, had trouble with no man. Segerberg considers himself a close friend of the former director, having heard from him once since he became associated with the world's largest moving picture foundry. "When he left Telluride, it was following one of those rare occasions on which he received any mail. I believe it was a letter, tho it might have been a telegram. He said that he was called to California by the illness of his brother. I did not hear from him for several years thereafter, and then only a single letter." When the press dispatches first began carrying the details of Taylor's death, one of the most baffling murders in the history of Pacific coast police annals, Segerberg recognized the name of his old friend and sent notice of the dead man's previous residence in Colorado to The News. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 5, 1922 DENVER POST Broke, a fortune scattered behind him in Alaska where his numerous mining ventures had failed, William Desmond Taylor, slain film director, drifted into Denver late in 1909 [sic] and after spending a few days here accepted a position as a night clerk in the New Sheridan hotel at Telluride...according to the statement of Miss Fannie Ball of 2018 California Street, cashier at the Oxford dairy lunch room, Denver, who was cashier at the New Sheridan hotel during the time that Taylor was there... "I recognized Mr. Taylor's picture the minute I saw it in the paper," said Miss Ball, cashier at the Oxford dairy lunch room. "I was working as cashier at the New Sheridan in Telluride all the time he was there as night clerk. I never had any idea that he was interested in a career on stage or in the movies. He didn't talk much. He didn't associate with anybody and he didn't go anywhere, but most everybody that came into the hotel got acquainted with him anyway and liked him." "I never knew where he went from Telluride, but I remember that we were all surprised when we learned he was in the movies. "I never heard of his having any kind of trouble with women or anybody else while he was in Telluride. He was about 40 years of age at that time and was one of the finest men I have known." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 5, 1922 LOS ANGELES EXAMINER ...Taylor appeared in Telluride when apparently at the end of one of the low ebbs of his financial endeavors. He acted as night clerk for the New Sheridan Hotel there from June 10, 1910, until December 15, of the same year. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Taylor in Hawaii February 9, 1922 NEW YORK AMERICAN New light on the past of William Desmond Taylor and his missing brother Dennis was thrown yesterday when Harry Corson Clarke, Actor-manager and world traveller, arrived from California and gave an exclusive interview to the New York American. The interview clears up for the first time the whereabouts of Taylor following his disappearance from this city in 1908 and his reappearance on the Pacific Coast some years later. The missing man was in the Klondike. It also furnishes an opinion of Taylor's character from one who knew him well. Mr. Clarke declares that "Taylor was one of the finest gentlemen that God ever made, and to be with him was an education." This opinion was formed after three months with Taylor, who joined Clarke's stock company and went with him to the Hawaiian Islands, where for the first three months of 1912 they played a variety of popular plays, with Taylor as leading man. Clarke is now staying in this city preparatory to his fourth tour of the world, and is outspoken in his loyalty to his dead friend. He said yesterday: "Bunk! That is what I think when I read all this stuff about Taylor being mixed up with these hop-heads. I don't believe it. "Women? Sure; women would go crazy about a man like Taylor, particularly when they had had to associate with the sort of men they are thrown in with in most movie studios. "I first met Taylor in December of 1911, in San Francisco. He had come down from the Klondike and he had been on a spree and he was absolutely down and out. "He was fierce to make money. Craved money. Had to have money, and he told me a story about a claim that he and his brother Dennis had in the Klondike that he said would sure make them fabulously rich if they could develop it. He had come down to collect the money to make it a winner. "Well, I wasn't staking any Klondike claims, but Taylor could act, and I was just starting for the islands with a show and I took him on. "I don't remember where they say Taylor was in the first three months of 1912, but I can tell you just where he was. He was playing leads with me in Honolulu nights and working as a carpenter by day in a theatre which we were building there. "We had a great three months. "Taylor played leads in all the old favorites. 'Why Smith Left Home' (that must have made him do some thinking); 'Christopher, Jr.'; 'Lost 24 Hours' and a number of those shows which had been popular on Broadway some seasons before, but went big with the Hawaiians. "And don't forget that Taylor went big, too. He was a gentleman and we were received by the best English and American people in the islands. We went big with the natives, too. "Once the Princess (I forgot her name, but she was the daughter of Queen Lilluokalani) and Cleghorn, the Scotchman, received us at Alulua and gave us a native party. Taylor charmed the natives just as he charmed everybody else he met. "After the Islands I was headed for Australia and I wanted him to go bad, but he wouldn't hear of it. "All his mind was focused on his old mine in the Klondike, and every cent he got went up to brother Dennis to develop it, and I left him at the boat for San Francisco, headed back toward the Arctic. "Six months ago I met him again in Hollywood. He was riding down the avenue in a big car, and when he saw me he pulled up. I told him it was not much like December 1911. He told me for God's sake to forget it. "I never knew him to have anything to do with any women and I don't believe he did. "Oh, yes, there's one other thing I remember about him. He was a mighty fine actor. And I guess that sums him up. A good man, a fine gentleman and a good actor. It's a complete characterization, and it sums up Bill Taylor." * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 13, 1912 HONOLULU ADVERTISER CORSON CLARKE TO COME NEXT WEEK "I am going to bring as nice a company of actors as ever visited Honolulu, so don't be afraid to say so," writes Harry Corson Clarke, the comedian, to D. W. Douthitt, his local representative. Mr. Clarke said also that although he was to bring only thirteen people, he is bringing eighteen. His letters indicate that he is coming to Honolulu largely as a matter of sentiment, because of his visit here in the latter part of the nineties. He wants to renew old acquaintances, and to see the Islands once more. ...Mr. Clarke and his company will leave San Francisco next Wednesday [January 17, 1912] on the Wilhelmina. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * January 25, 1912 HONOLULU ADVERTISER PASSENGERS Arrived. Per M.N.S.S. Wilhelmina, from San Francisco, Jan. 24--..Mr. and Mrs. H. C. Clarke...Wm. D. Taylor.... ACTOR TALKS OF HOPES AND AIMS "I had the pleasure of taking Will Lewers of Honolulu back to the mainland when I was last here in 1897," said Harry Corson Clarke, the comedian, yesterday. "I am very glad to say that he has risen high in the theatrical profession and has been leading man in many of the most notable American successes. He has latterly been in Maude Adams' company." ...Mr. and Mrs. Clarke are stopping at the Young while others are at the Pleasanton, the Donna and the Hawaiian, the scarcity of hotel accommodations compelling them to break into small parties. "I know that we'll do well in Honolulu," says Mr. Clarke. "I have kept in touch with the sentiment here and knows that the newspapers have expressed the hope that clean, wholesome drama could be given. I have always desired to return here with my own company, and still believing that what the papers said was true, selected a company which I believe is one of the best to be picked up anywhere. In all my stage career I have never descended to slapstick methods and I trust I never shall. It is my intention to close with the presentation of a play I have called 'Vollendam,' and this will be the first production of it in English on the American stage. This is something I reserved especially for Honolulu. ...The prominent members of the company are Margaret Dale Owen (Mrs. Clarke), Betty Tracy, Alma Murphy, Nell Franzen, Vail Hobart, Bernice Pierson, William L. Taylor [sic], Richard S. Barbee, Joseph Cox, Robert Ryles and William Morris. The company attended the Kaai Hawaiian musicale last night as the guests of W. D. Adams. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 1, 1912 HONOLULU ADVERTISER The Harry Corson Clarke company will present for the first time in Honolulu, Logan Fuller's and W. A. Tremayne's clever farce, "Lost--Twenty-Four Hours," beginning tonight and for the remaining performances this week. The play is full of laughs and is a worthy successor to "What Happened to Jones." Originally played by Robert Hilliard at the Madison Square Theater, New York, it ran for three hundred nights. This play will introduce to the playergoers of Honolulu Mr. Clarke's clever leading man, William D. Taylor. Mr. Taylor will appear as Richard Swift, the part originated by Robert Hillard, while Mr. Clarke will play the younger brother, "David," and it goes without saying he will create the usual amount of merriment. Mr. Taylor only recently was induced to return to the stage after having spent a winter or two in Alaska. He was in the Boer War [sic] and is to some extent a "Soldier of Fortune"... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 6, 1912 HONOLULU ADVERTISER Beyond question one of the best comedies ever presented in Honolulu is now on at the Opera House, in "Why Smith Left Home," put on by the Harry Carson Clarke Company. The comedy is new in Honolulu and is not only worth seeing, but worth going to see again. It is an amusing skit upon trade unionism, one at which the fieriest union man may laugh as heartily as the plutocratic employer, while marital complications include every member of the cast and add to the success of the piece. Mr. Clarke appears at his funniest in this play, taking the part of the "cook lady," who combines in her one red-headed person a tyrannous domestic, a walking delegate of the Cook Ladies' Union, a schemer and a danseuse. His appearance last night was always the signal for merriment, the laughter at times being so general that some of the lines were drowned out. This play, which is handsomely staged, gives the whole company an opportunity to really show itself, while a surprise was presented through the appearance in the case of Marion Dunn, a local favorite. W. D. Taylor was first-class as the misunderstood husband who cannot get a chance to enjoy his honeymoon, while Margaret Dale Owen, as his wife, completed the captivation of those among her audience who had heard and seen her before. As the bride, anxious to believe her husband in the face of strong evidence against him, but egged on to rebellion by her shrew of an aunt, she was a picture of charming irresolution... Taken altogether, Mr. Clarke appears to have struck the gait that pleases in "Why Smith Left Home." The piece is one that should fill the Opera House while it runs and which should set a standard for his company to ensure a successful engagement. It is a good, clean comedy, worthy of all the support this city can give it. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 9, 1912 HONOLULU ADVERTISER American equality, as typified by a Chicago millionaire pork-packer, and German aristocracy, personified in a Graf whose family history ran back to a Crusaders' battlefield, clashed on the boards of the Opera House last night in the opening production of "Mr. Foster of Chicago" by the Harry Corson Clarke Company. A marriage between the heiress-daughter of the pork-packer and the only son of the aristocrat brought the irresistible force and the immovable body into frequent contact, with the result that the audience heard much that was instructive and a great deal that was mirth-provoking. The play proved another success for Mr. Clarke and his company, the former adding to his laurels in the name role. Mr. Clarke did not come on until well towards the end of the second act, but his frequent appearances thereafter were the signals for the many gusts of laughter that swept the Opera House. In this play, which is splendidly staged, only seven of the cast have parts that amount to anything, and of the seven there are only three that really count. Those three were enough, however, to make the piece a go and satisfy the audience. Mr. Clarke is immense, the second best part that played by Margaret Dale Owen, the widow of a wealthy brewer, who concealed her wealth and landed a German Captain. The third leading part was that of the irascible man of family, played by William D. Taylor. It was noticeable that the Opera House was much nearer to being filled last night than on any night since the opening, showing that Honoluluans are waking up to the fact that an exceptionally good company is in town. As a matter of fact, were it not that there is also a good show running at the Orpheum, the Clarke company would be playing to capacity. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 15, 1912 HONOLULU ADVERTISER Christopher Jr. has been selected by Mr. Clarke as the bill for tonight and the remainder of the week with a matinee on Saturday. This play has always proved a popular one with ladies and it is for that reason that it is put on for the end of the week, giving the ladies an opportunity to witness it at a matinee performance. It is a delightful comedy with a charming love story running through it. It had a long run at the Empire Theater New York when first presented there by John Drew and Maude Adams. Harry Corson Clarke will assume the part of Mr. Glibb, a most original part and one that gives full play to the comedian's undeniable talents. Mr. Taylor will appear as Christopher Jr. and Miss Owen will be seen as Dora, the part originated by Maude Adams. But one more week remains of the present theatrical season at the opera House and it is expected that capacity houses will hold sway for the remainder of the time. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 16, 1912 HONOLULU ADVERTISER Dragging through the first two acts, waking up in the third and concluding with a splendid fourth, "Christopher Junior" was played before a slim house at the Opera House last night, the first production of the piece by the Harry Corson Clarke Company. The dragging of the opening scenes appeared to be as much the fault of the audience as of the players. The occupants of the chairs simply would not enthuse, although the stage setting was good, the orchestra had played excellently as usual and the actors began with plenty of ginger. When the house refused to warm up, the actors began to cool down and at the second curtain it seemed that the play was going to be a dismal failure. It was Robert McKim who saved it. When he came on in the third act the audience came out of its trance and applauded. The applause woke up the actors, and then, having broken the silence, the crowd kept on applauding, the company struck its gait again and all was well. In this play, Mr. Clarke has a walking part which he makes one of the leading parts. The fact that he doesn't say anything, even when the dialogue appears to corner him, makes his playing a feature of the comedy. William D. Taylor carried the bulk of the work and did it well, while the rest of the company played up to their general good standard. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 24, 1912 HONOLULU ADVERTISER Opera House Last Performance Tonight 8:15 o'clock Harry Corson Clarke and Margaret Dale Owen Supported by the Harry Corson Clarke Stock Comedy Company The Three Act Comedy "Strategy" * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * February 28, 1912 HONOLULU ADVERTISER PASSENGERS Departed. Per str. Mauna Kea, for Hilo, via way ports...Harry Corson Clarke and wife...W. D. Taylor.... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * March 21, 1912 HONOLULU ADVERTISER PASSENGERS Departed. Per O.S.S. Sierra, for San Francisco, March 20...Wm. Taylor.... * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Summary of Taylor's Whereabouts 1908-1912 October 1908 -- Leaves New York Early 1909 -- in San Francisco May 25, 1909 -- Begins work for Yukon Gold Co., in Dawson, Yukon January 5 - February 5, 1910 -- Acting in Bellingham, Washington February 6-13, 1910 -- Acting in Seattle, Washington May 8-14, 1910 -- Acting in Denver, Colorado June 10 - December 15, 1910 -- Working at New Sheridan Hotel, in Telluride, Colorado 1911 -- Returns to Dawson January 17, 1912 -- Sails for Honolulu from San Francisco January 24, 1912 -- Arrives in Honolulu January-March 1912 -- Acting with Harry Corson Clarke in Hawaii March 20, 1912 -- Sails for San Francisco from Honolulu mid 1912 -- Returns to Dawson November 1912 -- Departs Dawson, goes to San Francisco December 1912 -- Obtains first job in the Southern California movie industry, acting in "The Counterfeiter" for Thomas Ince's film company in Santa Monica There were also reports that Taylor was working in Ouray, Colorado and Cheyenne, Wyoming, presumably during the early part of 1910. Several of the clippings imply that Taylor was with his brother during part of 1910-1911, however Denis Deane-Tanner did not desert his family in New York until August 4, 1912, which would indicate that Taylor and Denis could not have been together until Taylor's last few months in Dawson late in 1912. Thanks to William Sherman for providing some of the clippings. ***************************************************************************** ***************************************************************************** Wallace Smith: February 24, 1923 The following is another of Wallace Smith's sensationalizing dispatches on the Taylor case. February 25, 1922 Wallace Smith CHICAGO AMERICAN Hired guards, armed with pistols and clubs, were rushed to the home of the one woman suspect in the murder of William Desmond Taylor today, following the report that detectives investigating the weird case were ready to mutiny, ignore their superiors, seize the famous player and submit her to a real examination. [4] They were prepared, it was said, to storm the house in which the woman is hiding, overpower the guard and kidnap their quarry. The report declared motors were to carry the kidnapping party into the foothills for questioning -- for the "third degree," such an extreme if it was found necessary, to unlock the screen beauty's stubborn lips. Officials were quick to deny that such a mutinous plot existed. But it was known that they had checked carefully on the activities of their men supposed to be running down various angles to the strange case and it was known, too, that the mutinous spirit has been seething. Word of the heroic plan, at any rate, was not slow in reaching those most interested in the protection of the woman. And the guards were placed on duty, alert for any attempt to pierce the barrier they made and under order to fight to the last any officer who attempted to force his way into the refuge without a warrant for the woman's arrest. Reports of the mutiny started when it was found that all trails uncovered in the hunt for Taylor's assassin led finally to the door of this woman. She remained the one tangible thing -- beside the fact that a man was murdered -- in all the fog of rumors, theories, bungling and misinformation. Whatever the motive advanced -- the woman lurked in the back of it. Jealousy, revenge, the drug hunger, a mad quarrel -- always this woman. Despite these discoveries, the officials have been lenient, to state it mildly. The woman was questioned secretly and most politely, according to all information obtainable. And it is quite certain that she lied. She denied that she ever used "dope," although her slavery to drugs has been notorious for years. She swore that her friendship with Taylor was that almost of daughter and father, although it is known that he was madly in love with her and although it has been narrated that she was observed in passionate love scenes with him. The weary hunters on the trail of the murderer were disheartened and desperate by the apparent immunity of the woman. They made an effort to conceal their discontent as each suggestion of clue or evidence forced them to the belief that she, if she can be made to talk, can solve the mystery. They feel, too, that there is a way of "making her talk," -- if not to confess the murder herself at least to reveal who did the murder. These investigators have found that ten weeks ago she received a consignment of forbidden heroin. They have long been aware of her reputation as a dope slave. Through their experience with such persons, they are convinced that she would speak freely after being deprived of her drug ration for a short time. If she actually knows the secret of the crime, the woman can easily be considered concealing the information to save her own reputation. Just as well, she can be reasonably pictured fearing the exposure of her slavery to dope. Regardless of the truth or falsity of the story told by "Harry, the Chink," Fields in Detroit -- whose yarn, by the way, has not been entirely discarded as yet -- the dope ring that has been growing wealthy in Los Angeles becomes more deeply involved as the investigation goes forward. [5] Wong Lee, named by Fields as the tong hatchet man who Killed Taylor, remained a shadowy mystery in Chinatown. The slant eyed Celestials did not "sabe" Wong Lee. Nor was there any trace of "Johnny Clarke" or "Jenny Moore," also named as death plotters. But it was reported that two sisters, known as dope peddlers employed by the ring, had fled to Bakersfield and, it is believed, farther north following the crime. Both of these young women, according to police information, had been most violent in the underworld in urging the killing of Taylor. Back of this appeared another story of Taylor's personal encounter with a drug ring agent -- this time at the home of the woman he sought to save from the grip of the ring. Taylor was visiting at the woman's home, it was said, when the peddler arrived. Taylor threw him bodily from the house. This peddler seemed inclined to "let it go at that." But he told his story to the two sisters, one of whom was his sweetheart. They were less forgiving. They dinned into his ears the gospel of revenge. Their best argument was the fact that he would lose a "customer" who paid him as much as $2,000 a month if he allowed Taylor to protect this woman. The report of the flight of the two sisters seemed to dovetail with the story of Assistant United States District Attorney Green that Taylor had started a fight against the drug ring to save the woman he loved. The police of Bakersfield and cities to the north were warned by Los Angeles officials to be on the watch for the two sisters. [6] At the same time Detective Sergeant Herman Cline hurried to San Francisco on a secret mission. It was stated that he was attempting to trace the telephone call sent by the suspected woman from Los Angeles to San Francisco the night of Taylor's assassination. She is known to have telephoned a friend in a San Francisco hotel. She was heard to cry out: "I'm in trouble; I'll need all the help I can get." District Attorney Thomas Lee Woolwine assigned two detectives to the motion picture studios after hearing the report of Federal Attorney Green. Other men were assigned to seek a wealthy Los Angeles man, named in a letter from a New York attorney as the man who did the crime. Deputies under the direction of Undersheriff Eugene Biscailuz undertook the search of Chinatown to trace the very loose threads of Fields' story. They were interested in the sudden return of a Chinese smuggler who disappeared abruptly the day Fields was arrested in Detroit. The returned Chinese turned to them a bland, unsmiling countenance. "No sabe," he replied to all their questions. He didn't understand what they were talking about. From the home of Mabel Normand, the subject of Taylor's "blessed baby" letters, it was reported today that the actress was "considerably improved," following the relapse reported by her physicians yesterday. Shortly after the report was made public word came from the Mack Sennett studios, where Miss Normand has been performing, denying that she was "gravely ill." According to physicians, Miss Normand was suffering from an attack of influenza and her condition was aggravated by the shock she suffered following Taylor's death. It was to be remarked that William Davis, chauffeur for Miss Normand, has been questioned for a fourth time by detectives. He clung, they reported, to his corroboration of Miss Normand's story of her visit to Taylor's study. Edward F. Sands, alias Edwin Fitz Strathmore, [7] also was sought. The newest clue was a pair of shoes found in Taylor's home, an especially wide pair, from which, detectives said, Sands' feet could be picked out in a crowd. ***************************************************************************** ***************************************************************************** NOTES: [1] James Corbett was at that time the boxing Heavyweight Champion of the World. [2] Note the above item from the SEATTLE POST-INTELLIGENCER (February 7, 1910) which refers to Victory Bateman's recent marriage. [3] It appears that Cleveland and Taylor may have indeed been together from 1908 to 1910. The press reviews of the Bellingham and Seattle plays do not mention George Cleveland, but they do mention George Clawson, perhaps he changed his stage name between Seattle and Denver; George Clawson and Victory Bateman were also in the first Seattle play, "The Night Before Christmas," and were both absent from the Seattle cast of "Held By The Enemy." (Coincidentally, Carl Stockdale was also acting on stage in Seattle during February 1910.) Taylor was never an interior decorator, but during his work in an antique shop he undoubtedly learned a great deal about the subject. Taylor was probably never in Australia; Cleveland's statement can be interpreted to mean that Cleveland was in Australia at that time. Could this George Cleveland be the same actor with that name who later had an extensive career playing character roles in films during the 30's and 40's, and who is today best remembered for his role as "Gramps" in the Lassie television series? [4] Once again, Smith is referring to Mabel Normand. [5] As stated in previous issues, Harry Fields was not Chinese, and it is not known why this derogatory nickname was applied to him. It is included here only for historical purposes, to reprint Smith's article as it originally appeared. [6] The two sisters were reportedly Jessie and Maudie Cooper. See WDT:DOSSIER, pp. 353-355. [7] The correct alias was Edward Fitzwilliam Strathmore. ***************************************************************************** For more information about Taylor, see WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991) Back issues of Taylorology are available via Gopher or FTP at etext.archive.umich.edu in the directory pub/Zines/Taylorology *****************************************************************************