Negotiations with Palmer,--who at the time of Belasco’s withdrawal from the Lyceum Theatre had been sympathetic with him, had placed the stages of two theatres at his disposal for rehearsal of Mrs. Carter, and had even then shown some interest in the projected play,--were brought to a satisfactory issue, and, in August, 1894, a contract was formally made whereby Palmer agreed to produce “The Heart of Maryland,” “with his own stock company, known as ’A. M. Palmer’s Stock Company,’ at Palmer’s Theatre, in the City of New York, not later than January 1, 1895,” and also agreed that whether in New York or elsewhere Mrs. Carter should be employed “to play the part entitled _Maryland Calvert_.” Active preparations to produce “The Heart of Maryland” immediately were begun; scenery was designed, built and painted, involving an investment of more than $3,500; but Palmer was heavily involved, financially, and the rehearsals, which Belasco was eager to begin, were postponed from week to week. At last the date limit specified in the agreement passed, yet Belasco continued to hope and to expect that Palmer would fulfil his agreement. One day, however, happening to meet Charles Frohman, that manager told him: “I am very sorry for you, but Palmer won’t be able to produce ’The Heart of Maryland.’” Belasco at once went to Palmer and asked him to state his purpose,--“Because,” he said, “I mean that play _shall_ be produced! If you can’t do it--somebody else _can_.” Palmer, foreseeing the success of the play, wished to hold it; if Belasco could have been given any reasonable assurance that, eventually, the elder manager would be able to bring it out, he would have been glad to wait; but, after some hesitation, Palmer admitted that he could not set any definite time, manifesting, at first, a disposition to prevent Belasco from placing his drama elsewhere. Realizing, however, that the passage of the date-limit within which he had agreed to produce the play had, in fact, released Belasco from his contract with him, he finally acquiesced, asking the latter to take and pay for the scenery which had been made for it. This Belasco promised should be done, as soon as the play was produced. Once more opportunity had seemed to be within his grasp: once more it eluded him: yet he persevered and resolutely resumed his quest of a producer. Writing of the manner in which, at last, some months after the collapse of the arrangement with Palmer, he found one, Belasco has recorded incidents of his search and the process of his ultimate success: