“I had no doubt about the merits of the First and Second acts, but the Third Act needed slow and careful work in the writing. The fate of the piece depended upon one situation in this Act,--a period of about two minutes. With this situation made convincing, the play’s success was assured. On the opening night, everything went well up to this point. ‘“C. F.,” I whispered, ’if we pass this crisis we are safe.’ But it was not long before I whispered disconsolately, ‘“C. F.,” we have failed.’ And not waiting for the supper party I slipped away in the darkness and walked the streets all night.” The next day Belasco earnestly advised Frohman to withdraw the play at once, and, after brief hesitation, this was done--“Liberty Hall” being revived at the Empire, and Belasco, presently, turning again to work on “The Heart of Maryland.” [Illustration: Photograph by Sarony. Belasco’s Collection. BELASCO, ABOUT 1893] FIGHTING FOR A CHANCE. There are, I believe, few instances in theatrical history of a more protracted experience of the “hope deferred” which “maketh the heart sick” than befell Belasco with this fine melodrama. The subject, and, roughly, the story, of that play were in his mind when first he undertook the training and direction of Mrs. Leslie Carter (1889): again and again he endeavored to have his play brought on the stage,--but it was not produced till more than six years after he had resolved to use it as a vehicle for that actress, and within that period he altered and reshaped it at least four times. After the death of Hooley and the failure of “The Younger Son” he was for some time dejected and inert. Then, reviewing the manuscript of his “Maryland,” he imbibed belief that the play lacked sufficient verisimilitude to Southern life. “What I needed most,” he said, “was atmosphere; so I decided to visit a Southern town and meet some typical Southern families. Mrs. Carter, her mother, and I went to Oakland, Maryland [1894?], where I added the finishing touches to the play. When we reached a certain point I bade my associates good-by and boarded a train for New York, to make another attempt to find a manager.” Speaking of the experience immediately preceding the actual accomplishment of his long obstructed purpose, Belasco told me: “It has always seemed very strange that I should have been rebuffed on almost every side with that play. If there did not exist a strong opposition to my getting an independent foothold as a manager, _why_ was my play of ’Maryland’ refused, over and over again? Look at the list of successes which I had brought out, _for others_, in the preceding ten years, including ’La Belle Russe,’ ’May Blossom,’ ’The Highest Bidder,’ ’The Wife,’ ’Lord Chumley,’ ’The Charity Ball,’ ’Men and Women,’ and ’The Girl I Left Behind Me.’ Good, bad, or indifferent--whatever anybody thinks about them--there is no room for argument as to the _business_ proposition.