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For myself there would be no rest, as I was to fill three weeks engagement in vaudeville in New York City. The outfit ordered earlier in the season had been completed and was ready. Our first engagement was at Hammerstein's Theatre at 42nd street and 7th avenue. We were able to set up our equipment in the morning, try out the motor and do some rehearsing.
Literally, millions had seen me flying around in the air by this time. When millions see you and miles of printed columns are printed about you, from a showman's point of view, you have a potential value as a drawing card that is recognized by showmen. This was the reason why Arthur Hopkins was able to make a contract for the airship in vaudeville. It had all the elements of a great drawing attraction which would undoubtedly bring a contract for a much longer engagement, possibly over the entire Orpheum Circuit. It did not turn out as anticipated.
When the curtain rolled up I was seated on the frame, the motor sputtering away making a fearful racket, the propeller revolving, everything looking real except the balloon which was very small and would not even lift his own weight. The audience did not know this, and it looked from the front like a real airship. I stopped the motor and stepped down from the frame and walked down toward the footlights. As I did so a curtain with a screen on it was lowered behind me, as I was to give a lecture on the construction and operation of the ship to be illustrated by the motion pictures taken in Chicago. All this had been rehearsed and I felt that I was letter perfect. I believed that it would be the easiest thing I had ever attempted.
I started to talk all right and then, without warning, I forgot everything I had memorized. I was terribly embarrassed, as a matter of fact, I think the audience was embarrassed as well,