Such excitement! I was to play a little Colonial girl and appear at our own Orpheum Theatre in an act that had played New York, Boston, Philadelphia, Chicago, and other awesome cities. Mr. Beck booked for the week and gave us a good salary, but could not offer enough consecutive bookings to make a road tour pay, so that was that. In the meantime Oliver Morosco had opened his beautiful Majestic Theatre in upper Market Street, with “In the Palace of the King.” The New York company lacking a blind Inez, I got the part, and the dramatic critic, Ashton Stevens, gave me a great notice. In the next week’s bill, “Captain Barrington,” I played a scene which brought me a paragraph from Mr. Stevens captioned “An Actress with more than Looks.” On the strength of this notice Mr. Morosco sent me to play ingénues at his Burbank Theatre in Los Angeles, at twenty-five dollars per week. Barney Bernard was stepping out just now. He wanted to see what he could do away from the musical skits of Kolb and Dill. So he found a play called “The Financier.” “Lawrence” Griffith had a little job in it. The hardest part of the job was to smoke a cigar in a scene--it nearly made him ill. But he had a good season, six weeks with salary paid. That over, came a call to Los Angeles to portray the Indian, Alessandro, in a dramatization of Helen Hunt Jackson’s famous novel “Ramona.” It was pleasant for us to see each other. We went out to San Gabriel Mission together. Mr. Griffith afterwards used the Mission as the setting for a short story--a romantic satire which he called “From Morning Until Night.” His brief engagement over, “Lawrence” went back to San Francisco, and my Morosco season ending shortly afterward, I followed suit. In San Francisco, Nance O’Neill was being billed. She was returning from her Australian triumphs in Ibsen, Sardou, and Sudermann. The company, with McKee Rankin as manager and leading man, included John Glendenning, father of Ernest; Clara T. Bracy, sister of Lydia Thompson of British Blonde Burlesque and Black Crook fame; Paul Scardon from the Australian Varieties and now husband of a famous cinema star, Betty Blythe; and Jane Marbury. Mr. Griffith, hoping for a chance to return East with the company, applied for a job and was offered “bits” which he accepted. Then one day, Mr. Rankin being ill, Lawrence Griffith stepped into the part of the Father in “Magda.” Miss O’Neill thought so well of his performance and the notices he received that she offered him leading parts for the balance of the season. When in the early spring of 1906, the company departed from San Francisco, it left me with my interest in life decidedly diminished--but Lawrence Griffith had promised to return, and when he came back things would be different. So, while the O’Neill company was working close to Minneapolis, I was “resting.” I “rested” until eighteen minutes to five on the morning of April 18th, when something happened. “Earthquake?”