him an option on all plays which he might thereafter write. The influences which, later, crystallized in the Theatrical Syndicate, were already beginning to make themselves felt in the theatrical world, and Hooley, like many other managers, perceived a danger and was wary of it. “I purpose to produce my own ’attractions,’” he informed Belasco, “and let the Eastern producers go hang!” Hooley offered fair terms, the agreement for the presentment of Mrs. Carter as a “star” in “The Heart of Maryland” was formally made, and thus cheered and encouraged Belasco returned to New York, to prepare his play for production and engage a company to act in it. “As I was leaving,” he said, “Hooley delighted me by asking me to send him a large framed portrait of Mrs. Carter, to hang in the lobby of his theatre.” In New York Belasco read his play to Maurice Barrymore (1848-1905) and E. J. Henley (1862-1898) and engaged them for the company, and he was engaging other members thereof when Hooley suddenly died,--September 10, 1893. Mr. Powers was placed in charge of the theatre which had been Hooley’s, and, as he promptly notified Belasco, made a long-term contract with Messrs. Klaw & Erlanger to furnish him with “attractions” for that house, and repudiated the engagement which Hooley had made: “I was politely kicked out,” said Belasco, “and that was the end of _that_! It was too late in the year to make new arrangements for that season about ’Maryland,’ and, besides, I didn’t know exactly what to do or which way to turn. If ’The Younger Son,’--which came next and on which I worked hard,--had proved successful, things might have turned out differently; but that fizzled, and afterward I seemed to be just as far as ever from being able to strike out for myself.” “THE YOUNGER SON.”