t, and I found out later that the train was
wrecked.

"But there was more luck than that in my delayed departure, for when I
finally walked into La Shelle's office in the Knickerbocker Theater
Building, and said abruptly, 'I want to play _Tony_ in "Arizona,"' he
looked up with a funny smile on his face, and waved a telegram toward me.

"'That's queer,' he said. 'This message has only this instant arrived from
my Chicago manager: 'Serrano wants more money. What shall I do?'

Striking the Iron While It Was Hot.

"You see, if I had turned up earlier he would simply have told me that he
had a man for _Tony_, and there was nothing doing. As it was, he looked at
me, and then asked:

"'Are you a Spaniard?'

"'No,' I answered, 'I am a Jew.'

"'Can you sing?' he went on.

"'Oh, yes,' I replied easily.

"Then he told me that Gus Thomas, the author of the play, had a big finger
in picking out the people for it, and that I would have to see him.

"'Where is he?' I inquired.

"'In New Rochelle.'

"I left Mr. La Shelle and went straight down to the telegraph office in
the same building, and wrote out this message to Augustus Thomas:

"'Be at office ten-thirty to-morrow. Important.'

"And I signed it boldly, 'Kirke La Shelle.'

"Well, the next day, a few minutes after ten-thirty, I turned up at the La
Shelle offices, and there, sure enough, was Gus Thomas, with one of his
boys in tow. I was introduced to him, he looked me over, and finally he
and La Shelle agreed between them that if I was willing to go out to
Chicago at my own risk and give a performance of _Tony_, they would
promise to engage me for the part if I made good in it.

"'That's fair, Selwyn, I am sure,' added Mr. La Shelle.

"'Ye-e-s,' I answered hesitatingly. One of my hands was in my pocket; then
I drew it out and deposited about twenty-three cents in silver on the
desk.

"'That,' I announced, 'is my sole cash capital, gentlemen.'

"They saw the point and finally arranged to give me transportation to
Chicago, declaring that it would do no good for me to give a reading of
the part there in the office, which I wanted to do.

A Staggering Blow.

"I hurried back to Chicago by the first train, with a letter of
introduction to Mr. Hammond, resident manager there. Rushing into the
lobby of the Grand Opera House, I plumped the letter in front of him,
breathlessly asking him when I could have my try-out.

"'But, my dear Mr. Selwyn,' was his reply