During one of the rehearsals of "Mizzoura," Burr McIntosh and I had a scene that sadly bothered poor Burr. He fancied that he must be a trifle more pathetic than I. His speeches should have been given in a simple, matter-of-fact manner, but as I used a low tone Burr would go me one better until we were both down in the sub-cellar of the drama! We went over the scene many times but, try as he might, McIntosh failed to understand the meaning or motive of the scene. Thomas would go over the scene with me and place Burr in front to watch it to endeavor to make him comprehend the author's meaning. Then Burr would try and try, always forcing me to the basement. Finally, after hours of rehearsing this scene, Thomas said, "Burr, stop. The trouble is you're thinking when I wrote this part I had you in my mind. I did--but I wrote it for your feet, not your head." After "A Gilded Fool" was launched I at once made a contract with Carlton for another play and in a few weeks he submitted a scenario to me which I accepted. This play was to follow "In Mizzoura." During the interim between "A Gilded Fool" and "In Mizzoura" Carlton wholly evolved the plot of "Ambition." In time he submitted two acts. I was more than pleased as the character of Senator Beck appealed to me. It had a fine story and all the parts were unique and full of character. After receiving the two acts I looked about for adequate people for the rôles and was fortunate enough to secure the services of Annie Russell, Henry Bergman and Clarence Montaine and with the other members of my company, I considered it a perfect cast. Later I was fortunate enough to be surrounded by such players as George Fawcett, Louis Payne, John Saville, Estelle Mortimer and Jeane Claire Walters. I arranged to open my season early in September at Miner's Fifth Avenue Theatre, New York, and called my company for rehearsals of "David Garrick." I was anxious to appear in that rôle in New York, having previously performed it on the road with some degree of success. My idea was to put on "Garrick" for one week and follow with "Ambition." I still had only two acts of the Carlton play. I had been trying for weeks to get possession of the last act, having some anxiety as to how Carlton intended ending the play, but it was impossible to locate him. He turned up on the first night of "Garrick," promising me my last act of "Ambition" on the following day, assuring me it was finished. I waited until Wednesday, but he failed to keep his word. I knew he was unreliable, but never thought him ungrateful. Through his negligence we were forced to announce "Garrick" for a second week. This was asking the public to accept a pretty tall order, but there was no alternative. One Friday, too late for rehearsal, I took it home with me and read it most carefully and was very much disappointed. It plainly showed the earmarks of hasty composition. However, there was no choice and I produced it as quickly as possible.