"I took the money, calling blessings down on his head. 'Arizona' was playing in Chicago at the time, and passing the theater that evening I handed in my card at the box-office, and they passed me in. Vincent Serrano was _Tony_, and as I watched him I told myself that that was the part for me. I found out that Kirk La Shelle, the manager of the show, was in New York, and I was for starting East by the first train to see him; but for some reason I didn'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, 'you have come too late. I am sorry to say that I have just engaged Mr. Perry for the part.'