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 T.<S.DENISON 6c COMPANY CHICAGO - 
 
DENISON'S ACTING PLAYS. 
 
 A Partial List of Successful and Popular Plays. Large Catalogue Free. 
 Price 15 Cents Each, Postpaid, Unless Different Price is Given. 
 
 DRAMAS. COMEDIES. ENTER- 
 TAINMENTS, Etc. 
 
 M. F. 
 
 After the Game, 2 acts, 1 Y\ 
 
 hrs (25c) 1 9 
 
 All a Mistake, 3 acts, 2 hrs. (25c) 4 4 
 All That Glitters Is Not Gold, 
 
 2 acts, 2 hrs 6 3 
 
 Altar of Riches, 4 acts, 2y 2 hrs. 
 
 (25c) 5 5 
 
 American Hustler, 4 acts, 2 l / 2 
 
 hrs (25c) 7 4 
 
 Arabian Nights, 3 acts, 2 hrs... 4 5 
 Bank Cashier, 4 acts, 2 hrs. (25c) 8 4 
 Black Heifer, 3 acts, 2 hrs. (25c) 9 3 
 
 Bonnybell, 1 hr (25c).Optnl. 
 
 Brookdale Farm, 4 acts, 2 J4 hrs. 
 
 (25c) 7 3 
 
 Brother Josiah, 3 acts, 2 h. (25c) 7 4 
 Busy Liar, 3 acts, 2J4 hrs. (25c) 7 4 
 
 Caste, 3 acts, 2V 2 hrs 5 3 
 
 Corner Drug Store, 1 hr. (25c) 17 14 
 Q-icket on the Hearth, 3 acts, 
 
 f 1 54 hrs 7 8 
 
 panger Signal, 2 acts, 2 hrs... 7 4 
 [Daughter of the Desert, 4 acts, 
 
 2J4 hrs (25c) 6 4 
 
 Down in Dixie, 4 acts, 2J4 hrs. 
 
 (25c) 8 4 
 
 East Lynne, 5 acts, 2J4 hrs.... 8 7 
 
 Editor-in-Chief, 1 hr (25c) 10 
 
 Elma, 1 Y\ hrs (25c) Optnl. 
 
 Enchanted Wood, \y A h.(35c) Optnl. 
 
 Eulalia, lyi hrs (25c) Optnl. 
 
 Fare ?t ihe Window, 3 acts, 2 
 
 hrs (25c) 4 4 
 
 From Sumter to Appomattox, 4 
 
 acts, 2]/ 2 hrs .(25c) 6 2 
 
 Fun on the Podunk Limited, 
 
 \y 2 hrs (25c) 9 14 
 
 Handy Andy (Irish), 2 acts, l^h. 8 2 
 Heiress of Hoetown, 3 acts, 2 
 
 hrs (25c) 8 4 
 
 High School Freshman, 3 acts, 
 
 2 h (25c) 12 
 
 Home, 3 acts, 2 hrs 4 3 
 
 Honor of a Cowboy, 4 acts, 2^4 
 
 hrs (25c) 13 4 
 
 Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 
 It's All in the Pay Streak, 3 
 
 acts, \Y\ hrs (25c) 4 3 
 
 Jayville Junction, \y 2 hrs.(25c)14 17 
 Jedediah Judkins, J. P., 4 acts, 
 
 2V 2 hrs (25c) 7 5 
 
 Kingdom of Heart's Content, 3 
 
 acts, 2^4 hrs (25c) 6 12 
 
 Light Brigade, 40 min (25c) 10 
 
 Little Buckshot, 3 acts, 2J4 hrs. 
 
 (25c) 7 4 
 
 Lodge of Kye Tyes, 1 hr.(25c)13 
 Lonelyville Social Club, 3 acts, 
 
 \y 2 hrs (25c) 10 
 
 M. F. 
 
 Louva, the Pauper, 5 acts, 2 h. . 9 4 
 Man from Borneo, 3 acts, 2 hrs. 
 
 (25c) 5 2 
 
 Man from Nevada, 4 acts, 2^2 
 
 hrs (25c) 9 5 
 
 Mirandy's Minstrels (25c) Optnl. 
 
 New Woman, 3 acts, 1 hr 3 6 
 
 Not Such a Fool as He Looks, 
 
 3 acts, 2 hrs 5 3 
 
 Odds with the Enemy, 4 acts, 
 
 1 K hrs 7 4 
 
 Old Maid's Club, l l / 2 hrs. (25c) 2 16 
 Old School at Hick'ry Holler, 
 
 1J4 hrs (25c) 12 9 
 
 Only Daughter, 3 acts, 1% hrs. 5 2 
 On the Little Big Horn, 4 acts, 
 
 2y 2 hrs (25c) 10 4 
 
 Our Boys, 3 acts, 2 hrs 6 4 
 
 Out in the Streets, 3 acts, 1 hr. 6 4 
 
 Pet of Parson's Ranch, 5 acts, 2 h. 9 2 
 
 School Ma'am, 4 acts, 1^4 hrs.. 6 5 
 
 Scrap of Paper, 3 acts, 2 hrs. . 6 6 
 
 Seth Greenback, 4 acts, 1 % hrs. 7 3 
 
 Soldier of Fortune, 5 acts, 2 l / 2 h. 8 3 
 
 Solon Shingle, 2 acts, 1^4 hrs.. 7 2 
 
 Sweethearts, 2 acts, 35 min.... 2 2 
 Ten Nights in a Barroom, 5 
 
 acts, 2 hrs 7 4 
 
 Third Degree, 40 min.... (25c) 12 
 Those Dreadful Twins, 3 acts, 
 
 2 hrs (25c) 6 4 
 
 Ticket-of-Leave Man, 4 acts, 2^4 
 
 hrs 8 3 
 
 Tony, The Convict, 5 acts, 2 J/2 
 
 hrs (25c) 7 4 
 
 Topp's Twins, 4 acts, 2 h. .(25c) 6 4 
 
 Trip to Storyland, 1^4 hrs. (25c) 17 23 
 
 Uncle Josh, 4 acts, 2% hrs. (25c) 8 3 
 
 Under the Laurels, 5 acts, 2 hrs. 6 4 
 Under the Spell, 4 acts, 2 l / 2 
 
 hrs (25c) 7 3 
 
 Yankee Detective, 3 acts, 2 hr-. 8 J, 
 
 FARCES. COMEDIETTAS, Etc. 
 
 April Fools, 30 min 3 
 
 Assessor, The, 10 min 3 2 
 
 Aunt Matilda's Birthday Party, 
 
 35 min 11 
 
 Baby Show at Pineville, 20 min. 19 
 
 Bad Job, 30 min 3 2 
 
 Betsy Baker, 45 min 2 2 
 
 Billy's Chorus Girl, 25 min... 2 3 
 
 Billy's Mishap, 20 min ....2 3 
 
 Borrowed Luncheon, 20 min.. 5 
 
 Borrowing Trouble, 20 min.... 3 5 
 
 Box and Cox, 35 min 2 1 
 
 Cabman No. 93, 40 min 2 2 
 
 Case Against Casey, 40 min... 23 
 Convention of Papas, 25 min... 7 
 
 Country Justice, 15 min 8 
 
 Cow that Kicked Chicago, 20 m. 3 2 
 
 T. S. DENISON & COMPANY. Publishers, 163 Randolph St., Chicago. 
 
AT THE END OF THE 
 RAINBOW 
 
 A COLLEGE COMEDY IN 
 THREE ACTS 
 
 BY 
 
 LINDSEY BARBEE 
 »» 
 
 AUTHOR OF 
 
 'After the Game" "The Kingdom of 
 Heart's Content ," Etc. 
 
 CHICAGO 
 
 T. S. Denison & Company, Publishers 
 163 Randolph Street 
 
AT THE END OF THE RAINBOW 
 
 
 
 CHARACTERS. V 
 
 Robert Preston . . . .A Lazvyer 
 
 Douglas Brown A Football Player 
 
 Dick Preston The Groom 
 
 Stanley Palmer "Hawkins, the Butler" 
 
 Ted Whitney Captain of the 'Varsity Team 
 
 Jack Austin Preston's Secretary 
 
 Marion Dayton A Ward of Preston 
 
 Nellie Preston \A Bride 
 
 Louise Ross. . . Known us Miss Grayson 
 
 Phyllis Lane A Football Enthusiast 
 
 Kathleen Knox Chairman of the Rushing Committee 
 
 The Imp A Freshman 
 
 Emily Elliott With a Conscience 
 
 Jane A Maid zvith a Taste for Literature 
 
 Mrs. Brown Step-Mother of Douglas Brown 
 
 Polly Price ") 
 
 Elsa Ernest 
 
 Marjorie Arnold )■ Of the Theta Phi 
 
 Marie Swift 
 Molly Bruce 
 
 Scene — A College Town. 
 
 Time — Present Day. 
 
 Time of Playing — About Two Hours and Fifteen Minutes. 
 
 Act I— "Den" in the Theta. Phi House 
 
 Early in the College Year 
 
 Act II — Library in the Preston Home 
 
 Marion's Mask Ball — Two Weeks Later 
 
 Act III — Interior of Athletic Club House 
 
 Afternoon and Evening of Day of Game 
 
 COPYRIGHT, 1910, BY T. S. DENISON & COMPANY. 
 
 2 
 (gd.D 22130 
 
AT THE END OF THE RAINBOW. 
 
 SYNOPSIS FOR PROGRAM. 
 
 Act I — Phyllis and the "Imp" at their studies. Emily and 
 Polly have trouble finding things. Ted's plea to Phyllis to 
 help the college. The promise. Robert's story of his client's 
 troubles. "At the end of the rainbow." The bride and 
 groom. Jane sees some things. Nell comes to the rescue 
 of Theta Phi. Molly becomes a maid. Dick employs a but- 
 ler. A domestic rumpus. Jane alarms the butler. "Hawkins" 
 makes love. Louise plays with Jack. Phyllis wins Douglas. 
 The luncheon. The agreement. "Douglas Brown will play !" 
 
 Act II — The supper. Dick defends the butler. Maid and 
 butler discuss affairs. Molly is taken in. Robert and Marion 
 exchange confidences. The old story, "Hearts and Masks." 
 The substitution of papers. The plot to steal the packet. 
 Louise deceives Robert. The combination of the safe. Doug- 
 las visits Phyllis clandestinely. The lesson. The candidate. 
 Louise secures the packet. The "Imp" makes a startling 
 discovery. Marion's sacrifice. "I sought the pot of gold at 
 the end of the rainbow !" 
 
 Act III — The football game. Louise betrays Phyllis. 
 Douglas in despair. "I have lost him forever!" Ted is hurt. 
 A player's lament. The victory and jubilation. Robert's sus- 
 picions are aroused. Molly is jealous, but Palmer's candy 
 works a marvelous cure. Louise is exposed. The "Imp" is 
 indignant. "My wings haven't sprouted yet." Phyllis and 
 Douglas. "We'll hold on to the old homestead." Robert and 
 Marion find "the pot of gold at the end of the rainbow." 
 
 First presented February 19, 1909, by the Gamma Phi 
 Beta Sorority of Denver University. 
 
AT THE END OF THE RAINBOW. 
 
 STORY. 
 
 The scenes of the play are located in a college town. The 
 students are practicing for a football game with a rival col- 
 lege team and much interest in the outcome is shown. It 
 develops that Douglas Brown, a football expert from an- 
 other college, is in town on business connected with his 
 father's estate, and to distract attention enters this college. 
 Phyllis Lane induces him to consent to play with the team 
 at the request of the captain, a love romance being created 
 thereby. 
 
 Robert Preston, a lawyer, secretly loves Marion Dayton, 
 his ward, and she reciprocates, lie intrusts the combination 
 of his safe to her and tells her of a packet of important 
 papers lying therein. Louise Ross and her mother. Mrs. 
 Brown, stepmother of Douglas, learn that a second will dis- 
 inheriting them has been found and is among the papers in 
 Preston's safe. They plot to obtain possession of the docu- 
 ment at a mask ball given by Marion. Louise wears a cos- 
 tume identical with that of Marion's, deceives Preston, learns 
 from him the combination of the safe, obtains the papers 
 by the aid of Jack Austin, unaware of the fact that the 
 original packet has been removed by Preston and other doc- 
 uments substituted. The "Imp," a girl student, sees and 
 recognizes her. 
 
 Preston enters and 'recognizes Jack, who is assisting 
 Louise in the belief that she is Marion, and convinced that 
 Jack meditates robbery, upbraids him. Marion enters and 
 comprehending the situation as she fancies, she shields Jack 
 by assuming the guilt. Her innocence is finally established 
 by the "Imp," who exposes Louise. Meanwhile Douglas 
 wins the game for the team and realizes that he loves 
 Phyllis, but when he learns that she has trifled with him 
 
AT THE END OF THE RAINBOW. 5 
 
 he becomes cool. This, however, passes away and happiness 
 follows. 
 
 When Marion's self-sacrificing effort to save Jack is 
 brought to Preston's attention through the exposure of 
 Louise's duplicity, he discovers that he loves her and their 
 dream of the pot of gold at "the end of the rainbow" is 
 happily realized. 
 
 COSTUMES. 
 
 Robert — Act I : Street suit. Derby hat. Act II : Evening 
 clothes. Act III : Street suit. 
 
 Douglas — Act I : Light flannel suit, soft hat. Act II : 
 Light suit, sweater, cap. Act III : Football suit, street suit 
 and soft hat. 
 
 Dick — Act I : Street suit, soft hat. Act II : Fancy cos- 
 tume. Act III : Street suit, soft hat. 
 
 Stanley — Act I : Light suit, soft hat. Act II : Tuxedo or 
 evening clothes. Act III : Light flannel suit, soft hat. 
 
 Ted — Act I : Football suit. Act III : Football suit, street 
 suit and soft hat. 
 
 Jack — Act I : Street suit, Derby hat. Act II : Evening 
 clothes. Act III : Street suit, soft hat. 
 
 Marion — Act I : Light silk gown with large hat. Act II : 
 Colonial costume in lavender and white. White wig and 
 large bunch of violets. Mask. Act III : Simple gown of 
 some light material. 
 
 Nellie — Act I : Stunning tailor suit with large hat Act 
 II : Any fancy dress. Act III : Coat suit or long coat suitable 
 for game. Corresponding hat. 
 
 Louise — Act I : Trained gown, large hat. Act II : Gown 
 a counterpart of Marion's, also black domino and mask. 
 Act III : White serge tailor suit and hat or light brown 
 gown of some description. 
 
 Phyllis — Act I : White duck suit, college sweater, soft 
 college hat. Act II: Gipsy costume, mask. Act III: Coat 
 suit of white serge or linen, large hat. 
 
 Molly — Act I : Light summer gown. Act II : Maid's 
 costume. Act III : Wash gown of heavy light material. 
 
6 AT THE END OF THE RAINBOW. 
 
 Kathleen, Elsa, Marjorie, Marie— Act I : Light sum- 
 mer gowns. Act III : Coat suits and hats suitable for game. 
 
 Emily, Polly— Act I : White suits, bright sweaters, soft 
 hats. Act III: Coat suits and hats suitable for game. 
 
 The Imp — Act I: White suit, sweater and cap. Act II: 
 Imp's costume. Act III : Linen suit and hat. 
 
 Mrs. Brown — Trained black gown, black hat and furs. 
 
 Jane — Maid's costume, black gown, white collar and 
 cuffs, apron and cap. 
 
 With the exception of Robert Preston and Mrs. Brown, all 
 the characters in the play are young students averaging about 
 twenty years. Robert is forty and Mrs. Brown fifty years 
 old. It is not essential that every suggestion as to costumes 
 made in the foregoing should be adopted, but it is merely 
 intended to give an outline of the various gowns and suits 
 to be employed. The costumes may be supplied according 
 to the taste and desires of the people playing the various 
 parts, all of whom are presumed to be conversant with the 
 dress employed by college folk everywhere. 
 
 PROPERTIES. 
 
 Act I — Small parlor table with lamp, books, magazines, 
 inkstand, pens, paper, newspapers. Three or four uphol- 
 stered chairs. Lounge with pillows. Two or three rugs. 
 Several pictures for walls. Hat rack. Piano and stool. A 
 number of college pennants, flags, etc. Writing pad and 
 pencil for the "Imp." Some rice for Nell. Pictorial news- 
 paper for Jane. Candle for Marjorie. Stage currency for 
 Dick. Hassock for Marion. 
 
 Act II — Library table with four easy chairs. Small serv- 
 ing table with chafing dish, cups, saucers, coffe pot, knives, 
 forks, edibles, sandwiches, etc. Piano with stool. Two or 
 three potted palms. Lounge with pillows. Hassock. Packet 
 of papers for Preston. 
 
 Act III — Rough table with three or four chairs. Two or 
 three pairs of boxing gloves to hang on wall. Horns for 
 students. Flags and college colors for use during football 
 game. Document for Preston. Box of chocolates for Palmer. 
 
AT THE END OF THE RAINBOW. 
 
 SCENE PLOT. 
 
 Act I. 
 
 I Door | r— — - l 
 
 Piano' 1 Window 
 
 O 
 
 Chair 
 D 
 
 \ 
 
 Jty Chair D O O Chair 
 
 Chairn 
 
 ^7/ Table 
 
 Act II. 
 
 1 Door I —————— 1 I . 
 
 , uur , | | Window ^O \ 
 
 Table Piano o Palm 
 
 Door 
 
 Chair 
 Door 
 
 Chair □ O D Chair °c\\ ^V 
 
 Chair 
 
 / 
 
 Door 
 
 n Chair 
 
 Act III. 
 
 H Door I 
 
 Lounge 
 
 Table Door 
 
 Chair □ □ Chair 
 
 STAGE DIRECTIONS. 
 
 R. means right of stage ; C, center ; R. C, right center ; 
 L., left ; R. D.', right door ; L. D., left door, etc. ; 1 E. } first 
 entrance ; U. E., upper entrance, etc. ; D. F.. door in flat, or 
 scene running across the back of the stage ; 1 G., first groove, 
 etc. The actor is supposed to be facing the audience. 
 
AT THE END OF THE RAINBOW 
 
 Act I. 
 
 Scene: "Den" of the Theta Phi House, in 3. College 
 colors, pennants, flags, bunting, etc., on walls. Round top 
 curtained entrance C. Practical doors R. 2 E. and L. 2 
 E. Small table with lamp, candle, books, magazines, news- 
 papers, inkstand, pens, etc., down C. Upholstered chairs on 
 either side of table. Lounge, with pillows, R. C. Large win- 
 dow L. U. E., with curtains, showing landscape view out- 
 side. Chairs here and there against walls, R. and L. Wains- 
 cot backing in 4, which is visible through entrance C. Hat 
 rack may be placed against wainscot. Pictures on walls 
 and rugs on floor, in front of table and lounge. Piano and 
 stool to R, of C. D. See Scene Plot for stage setting. 
 
 At rise discovered Phyllis at table C. and Imp lying on 
 lounge R. C, Phyllis is writing and Imp is marking paper 
 pad with lead pencil. Stage well illuminated, it being after- 
 noon. 
 
 Imp {immediately after rise, to Phyllis). Please, Phyl, 
 help me with my English. 
 
 Phyllis (as she writes). Hush, Imp! Genius is sim- 
 mering. (Looks about as she rummages among things on 
 table.) Now, where did I put that memorandum? Oh, yes. 
 In the French die — (to* Imp). Reach it for me. 
 
 Imp (giving a book to Phyllis). There you are. 
 
 Phyl. That's a good child. Thanks. Wait till I copy 
 this name, and — (works feverishly at writing). 
 
 Imp. What are you doing, anyway? 
 
 Phyl. Wait a minute, can't you? (Writes rapidly.) Now 
 that's done. Thank goodness ! What did you ask me ? Oh, 
 yes. This is my weekly contribution to the (name local col- 
 
AT THE END OF THE RAINBOW. 9 
 
 lege paper). Oh, dear! Here are only sixteen pages and 
 it takes eighteen of my writing to make a column. 
 
 Imp (laughing). Why don't you tell about the new chapel, 
 gymnasium and all the new improvements which are going 
 to be made some day or other? 
 
 Phyl. (indignantly). Imp, do you realize this is (name 
 college paper). 
 
 Imp. Then put in some of the Chancellor's statistics. 
 They're awfully thrilling. 
 
 Phyl. Perhaps. But I don't believe people read them 
 with — well, emotion. 
 
 Imp. Oh, I didn't know you wanted it to be read — 
 
 Emily (offstage R. 2 E., calls). Phyl! 
 
 Phyl. What is it? 
 
 Emily (offstage). Where's my belt? 
 
 Phyl. In the top drawer of the dresser. 
 
 Imp (holding up pad). I can't go to football practice until 
 I finish this. It's a genuine word picture. 
 
 Polly (offstage L. 2 E., calls). Phyl! 
 
 Phyl. (annoyed). Well? 
 
 Polly (offstage). Where's my rat? 
 
 Imp. I gave it to the Dean. He needed an automobile 
 tire. 
 
 Polly. Shut up, Imp ! What did you say, Phyl ? 
 
 Phyl. Top drawer, I think. 
 
 Imp (to Phyl.). As I was saying, Phyl, it's a word pic- 
 ture and — 
 
 Loud noise offstage at L. 2 E. Polly shouts and throzvs 
 things on floor zvith clatter. 
 
 Phyl. (annoyed) . What's going on in there? 
 
 Polly (offstage, grunting). Shoes at present. 
 
 Phyl. (glancing at her watch). At this rate we'll never 
 be ready for football practice. Polly Price, you were putting 
 on your shoes fifteen minutes ago ! 
 
 Polly (offstage). Well, they're all on but one, and I 
 can't find that one. (More noise.) 
 
 Phyl. (rises and turns L.). Did you look in the top 
 drawer? 
 
10 AT THE END OF THE RAINBOW. 
 
 Polly. No; I'll see. 
 
 Imp (sighingly) . Now, this is a word picture. 
 
 Phyl. How do you mean? 
 
 Imp. Why, we take somebody we know, and weave a 
 romance about him — 
 
 Polly (thrusting her head out of door L. 2 E.). I've 
 found it, Phyl ! 
 
 Phyl. Found what? 
 
 Polly. The shoe, of course. It was in the top drawer. 
 
 Imp (resuming) . Somebody we know, so I thought — 
 
 Emily (thrusting her head out of door R. 2 E.). Phyl, 
 shall I wash my hands or wear my gloves? Haven't time 
 for both. 
 
 Phyl. (horrified) . Mercy! Wear your gloves, of course! 
 
 Imp. I've written something about Miss Grayson, the 
 new girl. Everybody's crazy about her. 
 
 Phyl. (at table C). Oh, no; not everybody. 
 
 Imp. But I've written her up as a woman with a his- 
 tory. What are women with histories, Phyl? 
 
 Phyl. Book agents, usually. 
 
 Polly (her head thrust out of door L. 2 E.). Phyl ! 
 
 Phyl. (turning to Polly). Yes? 
 
 Polly. Did you go to the lecture given by the famous 
 freak ? 
 
 Phyl. You bet I did ; — two hours long. 
 
 Polly (laughing). What was it all about? 
 
 Phyl. He didn't say. 
 
 Imp (dreamily). Then I have a corker about Dr. Roberts. 
 (Name local instructor of prominence.) 
 
 Emily (at R. 2 E., interrupting). Phyl, don't you let her 
 hand it in. It's dreadful ! Represents him as a peaceful pro- 
 fessor half the time and a raging anarchist the other half. 
 The type that' wears long hair and writes recipes for bombs. 
 (Exit R. 2 E.) 
 
 Polly (at L. 2 E.). Phyl, where's my sweater? It has 
 all the tickets for the game in the pocket and — 
 
 Phyl. (interrupting). Look in the top drawer under the 
 pile of handkerchiefs. 
 
 Polly. Thanks. (Exit L. 2 E.) 
 
AT THE END OF THE RAINBOW. 11 
 
 Imp (going to window up L.). Here comes Ted in his 
 football suit. Oh, isn't he lovely ! I'll let him in ! (Runs to 
 C. D.) 
 
 Phyl. Freshmen should be neither seen nor heard. 
 
 Imp (coming to Phyllis at table). Oh, please, Phyl ! Just 
 this once ! I won't say a word. Honest ! He's the captain, 
 you know. 
 
 (Telephone bell rings offstage R. 2 E.) 
 
 Phyl. Answer the 'phone, Imp. 
 
 Imp. Answer it yourself. 
 
 Phyl. (sternly). What? 
 
 Imp (turning to R. 2 E.). Oh, yes, I'll answer it. Miss 
 Miller says you shouldn't say 'phone. (Bell rings again.) 
 Oh, shut up! (Exits R. 2 E., reappearing immediately and 
 thrusting her head out of door.) I said "shut up" to the 
 'phone, not you, Phyl. (Exit R. 2 E.) 
 
 Enter Ted C. D. He comes down C. hastily. 
 
 Ted (to Phyllis). You don't mind my coming in without 
 ringing, do you? I'm in a tearing rush — due at practice, you 
 know. 
 
 Phyl. Not at all, Ted. 
 
 Ted (goes to zvindow up L.). I'll stand here by the win- 
 dow and keep an eye open for Koehler. 
 
 Polly appears at L. 2 E. simultaneously with Emily and 
 Imp, who appear at R. 2 E. All listen to conversation of 
 others. 
 
 Phyl. (at zcindow up L., to Ted). How's everything 
 going, Ted? Did the trick play work? 
 
 Ted. Every time. Oh, Phyl, it's keen to be a part of it — 
 to butt your shoulder against somebody — to fall underneath 
 the pile — to — to — why, I'd rather make a touchdown with 
 the knowledge that the dear old college is on top than — oh, 
 pshaw ! It's a funny sort of feeling, Phyl. There's a big 
 lump in your throat that you can't swallow. You love the 
 old 'varsity that you're fighting for, and oh! I just can't 
 explain. 
 
12 AT THE EXD OF THE RAINBOW. 
 
 Phyl. (enthusiastically). Oh, how I 'wish I were a man! 
 How I should love it — the struggling, the fighting, the gain- 
 ing of the victory ! It's a wonderful thing, this love for 
 one's college. It's almost like loving a woman ! 
 
 Ted. Well, I don't know about that — never experienced 
 it. But, gosh ! How I am wasting time ! Phyl, will you help 
 the team ? 
 
 Phyl. Help the team? To the last ditch! 
 
 Ted. Well, then, you know there's a new man in the 
 law school — Brown. 
 
 Phyl. Yes, I've heard of him — 
 
 Ted (interrupting ). Quiet sort of fellow, but yesterday 
 he was out at practice, and heavens ! how he can kick ! How 
 he can play! How he can — 
 
 Phyl. (eagerly). So he made the team? 
 
 Ted. Hold on. He can make the team all right, but he 
 won't play. 
 
 Phyl. (shocked). Won't play ! Why? 
 
 Ted. Something queer about him. He sa} r s he's here to 
 study! Just think of it — to study! (Laughs.) 
 
 Phyl. Study ! When he can make the team ? Study ! 
 I don't understand. 
 
 Ted. Neither do I. Lots of funny people in the world. 
 (Takes Phyllis' hands suddenly.) But he's going to play, 
 all right ! 
 
 Phyl. (surprised). How? 
 
 Ted (significantly). That's for you to say, Phyl. 
 
 Phyl. (amazed). Me! 
 
 Ted. You and the girls. Here's my scheme. You're to 
 interest him — -work him — flirt with him — any old thing, just 
 so you win him over — make him promise — 
 
 Phyl. (indignantly) .'You've come to the wrong girl, Ted. 
 Fascinations are not in my line. I can't flirt, I can't do any- 
 thing, but — 
 
 Ted (enthusiastically). Be a good fellow — that's it, ex- 
 actly ! He's the man for that sort of thing. Get the girls 
 to help you, and we'll win out. 
 
 Phyl. (protestingly). Oh, I can't, Ted! It isn't right; it 
 isn't straightforward ; it isn't — 
 
AT THE END OE THE RAINBOW. 13 
 
 Ted (interrupting). Think a minute now. If we get him 
 it means a victory in the State. 
 
 Phyl. No, Ted. 
 
 Ted ( fiercely ) . It means the championship for the college ! 
 
 Phyl. (with emotion, after a pause). Well, Ted, I'll try! 
 I'll do more than that — 1 promise! 
 
 Ted {taking her hands and dancing about with her down 
 to C). Bully for you Phyl! It's all right now. and — well. 
 I'm much obliged. 1 must be off. (Turns upstage.) 
 
 Enter Emily and Imp R. 2 E. and Polly L. 2 E. They 
 conic C, Ted and Phyllis looking at them in surprise. 
 
 Emily (putting on her hat as she enters). Ted. you're 
 mean not to stay. I'm just about ready, and — 
 
 Polly (struggling to put on her sweater). I have my 
 rat all over one ear just from hurrying. 
 
 Ted. I'll see you at practice, girls. Honest, I will ! 
 Koehler's probably hot-footing it after me now. 
 
 Emily. Remember, now ! You promised me your shoe 
 laces. 
 
 Polly. And you said you'd give me your nose guard. 
 
 Ted (at C. D.). You bet I will! I'll tear myself into sou- 
 venirs if it will help any! (Exit, running C. D.) 
 
 Emily (at R. C. to Phyllis, who stands back of table, fac- 
 ing audience). It isn't right, Phyl. It's never right to de- 
 ceive people. My own conscience— 
 
 Phyl. (interrupting laughingly). My dear, you have an 
 ulcerated conscience. 
 
 Polly (at L. C. ). Who's deceiving anybody ? Providence 
 intended us poor women to be fascinating, and — and — 
 
 Emily. But that's bordering upon flirtations and flirta- 
 tions are vulgar. My conscience — 
 
 Imp (at lounge R. C). Hang your conscience! "It's bet- 
 ter to lie a little than be unhappy much." 
 
 Polly (going up C). Come on; we're late. 
 
 Exeunt Phyllis, Imp, Polly and Emily C. D., going L. 
 As they exit they noisily greet nezveomers and then enter 
 
14 AT THE END OF THE RAINBOW. 
 
 Marion and Robert. They stand at C. D. and wave their 
 hands L. 
 
 Marion {calls, off). Hope you have a good time, girls! 
 {Others anszver laughingly, their voices gradually dying 
 away.) 
 
 Robert {sitting on lounge R. C). I'm glad for a chance 
 to sit down, Marion. That was a delightful run we had. 
 
 Marion {drawing hassock to lounge and sitting beside 
 Robert, her arms on his knees). I'll sit here just as I used 
 to do when I first came to you. Do you remember, Robert? 
 
 Robert. Ten, years ago ! Yes, I remember. 
 
 Marion {musingly) . I was very lonely then, very fright- 
 ened, and I dreaded it all. Then, you were so good to me, 
 and ever since I have been happy — oh, so happy, Bob ! 
 
 Robert {caressing her). Your father was my best friend, 
 Marion. When he left me his little girl it was indeed a 
 precious gift. 
 
 Marion {laughingly). Have I been worth while? 
 
 Robert. Worth while ! What would auntie do without 
 her tyrant, or Dick without his right-hand man? Or how 
 could I manage without you? 
 
 Marion. It will be different now. Auntie's gone, Dick 
 doesn't need me now, and Nell will be the head of the house. 
 But you must not think that I do not wish it to be so, for 
 I love Nell with all my heart. But you won't let her take 
 my place with — with you? 
 
 Robert. Why, child ! As if anybody could ! Haven't you 
 always been the company in the firm ? 
 
 Marion {clasps her hand joyously). Preston and Com- 
 pany ! Oh, it's been such fun ! And you have trusted me. 
 {Pauses.) 
 
 Robert. With everything. Have I ever tried a case until 
 you have passed judgment upon its merits? Have I ever 
 written a speech without your criticism ? Why, I've even 
 told you the combination to the safe. 
 
 Marion. I am proudest of that. I am truly, Bob. No- 
 body else knows it but you and me? 
 
 Robert. Nobody. 
 
AT THE END OF THE RAINBOW. 15 
 
 Marion. Not even Dick or Jack. Why, I say it over 
 and over again to myself lest I forget, and then I close my 
 eyes and see the big door open. There's the compartment 
 with all the queer legal documents. I never could under- 
 stand them. There's the upper left hand drawer which holds 
 my own stocks and bonds. Dear me. Stocks and bonds. I 
 feel like a plutocrat. 
 
 Robert (laughingly). And your eighteenth birthday isn't 
 far off. Remember that, Marion. 
 
 Marion. Do I get them all — all? 
 
 Robert. All. 
 
 Marion. Oh, Bob ! Really ? Then there's the drawer 
 with all the Preston jewels. Some will go to Nell now, won't 
 they? And the others, why, to your — your wife, Bob — your 
 wife. Somehow I never thought of your — your wife. (Med- 
 itates.) 
 
 Robert (after a pause). There's no special reason why 
 you should think of her now, is there? 
 
 Marion (meditatively). No, but — (becoming suddenly 
 vivacious). Then there's the drawer with the quaint little 
 knob, which is always empty. 
 
 Robert (interrupting). But it isn't empty now, Marion. 
 All the papers of the Brown estate are safely locked therein. 
 
 Marion. Tell me of this Brown estate. 
 
 Robert. Rather a peculiar case, Marion. About four 
 years ago I became legal adviser to Mr. Brown, a wealthy 
 merchant, a widower with an only son to whom he was 
 devotedly attached. About two years since, I was told, he 
 married a dashing widow with a beautiful daughter. 
 
 Marion. Have you seen her? 
 
 Robert. No, nor the son, who at the time of my hur- 
 ried trips to his father's home always was at college. I 
 knew Mr. Brown but slightly, but I observed that he was 
 eccentric, irritable and easily duped. 
 
 Marion. How interesting! 
 
 Robert. Taking' advantage of a quarrel between father 
 and son, the wife, who I suspect is a bit of adventuress, 
 doubtless persuaded the old man to make a will disinher- 
 
16 AT THE END OF THE RAINBOW. 
 
 iting his son and devising the bulk of his estate to his widow 
 and daughter. The death of Mr. Brown two months ago 
 brought a sealed packet to me with a letter in his own hand- 
 writing, instructing me not to open the packet until a cer- 
 tain date which he specified. 
 
 Marion. And you believe this packet contains another 
 will? 
 
 Robert. I think so. It is well enough, therefore, that 
 we be on our guard. 
 
 Marion. You "mean — ? 
 
 Robert. That the widow and daughter may feel a nat- 
 ural desire to learn the contents of the packet. 
 
 Marion (uneasily). But they couldn't take it from the 
 safe. 
 
 Robert (laughingly) . Not unless they used dynamite or 
 bribed you to open it for them. 
 
 Marion. The second supposition is quite out of the ques- 
 tion, Mr. Bob. And if anybody attempted the first, he would 
 be obliged to walk over Jack's dead body ! 
 
 Robert (admiringly). The Old Guard, up to date! 
 
 Marion. You're fond of Jack, aren't you ? If he were to 
 prove unworthy of your confidence or trust you would be 
 deeply hurt? 
 
 Robert. There's nothing that hurts more deeply, child, 
 than a trust betrayed. But why do you ask such a question? 
 
 Marion (somewhat confused). It just popped into my 
 head, that's all. But there's Miss Grayson. 
 
 Robert. Who's Miss' Grayson? 
 
 Marion. The new student. She's really caused a great 
 sensation — very stunning, very fascinating, but — but I don't 
 like her. 
 
 Robert. What has this to do with Jack? 
 
 Marion. She's bewitched him. 
 
 Robert. Let the boy have his chance. He never cared 
 for girls — 
 
 Marion (interrupting). That's just it. He's going into it 
 blindly. And a man needs experience with a girl like her. 
 
 Robert (laughingly places hand on her forehead). Such 
 a washboard of a brow ! Smooth out your wrinkles. Don't 
 
AT THE END OF THE RAINBOW. 17 
 
 bother about Jack, for your old guardian is all you are 
 to manage. 
 
 Marion (vexed). Don't call yourself old. It hurts me. 
 
 Robert. How can I help it, Marion? How can I, when 
 I compare the gray, shadowy mist of my forty years with 
 the cloudless blue sky of your fresh youth? 
 
 Marion. Youth isn't so free from care as you would 
 have us think it. The clouds are small, perhaps, but they 
 are very real, and sometimes they make the sky seem, oh, 
 so dark and cheerless. 
 
 Robert. A sombre gray only until the light makes it 
 silver, until the sun brings out the rainbow hues. A pretty 
 path to travel with one's heart's desire — at the end of the 
 rainbow. 
 
 Marion (fervently). At the end of the rainbow! One's 
 heart's desire! Oh, if it might be so — if — (meditates). 
 
 Robert. Are you hoping for the traditional pot of gold ? 
 
 Marion (softly). One's heart's desire. (Looks at Rob- 
 ert meaningly.) 
 
 Robert. Come, Marion, tell it to me. 
 
 Marion (rising). I can't, Bob, for you wouldn't under- 
 stand. (Turns to window up L. and looks off.) 
 
 Robert (aside, as he looks at Marion). I wouldn't under- 
 stand. What does she mean ? 
 
 Marion (as she looks out of zvindow). Oh, Bob, do come 
 here ! 
 
 Robert (going to Marion up L.). What's the matter? 
 
 Marion. See the bride and groom ! Isn't it funny ? 
 
 Robert (looks out of window, laughs). Dick and Nellie 
 Preston ! 
 
 Marion. Let's go meet them. 
 
 Robert. All right. 
 
 Exeunt Robert and Marion C. D., turning L. Voices and 
 laughter heard offstage up L., then enter Dick and Nell, 
 the latter struggling zvith a mass of white ribbons which 
 fall from her parasol. 
 
 Dick (coming down C. with rueful face). When will 
 they stop laughing at us, I wonder ? 
 
18 AT THE END OF THE RAINBOW. 
 
 Nell (fumbling with ribbons). Those abominable girls! 
 Nobody would have suspected, if it hadn't been for this 
 ribbon. 
 
 Dick. And the rice ! It drops from your hat every step 
 you take. I declare I'm tired of picking it up. (Stoops and 
 picks up rice from floor.) 
 
 Nell. I hope you're saving it, Dick. 
 
 Dick. Saving what? 
 
 Nell. The rice. 
 
 Dick (amazed). Why on earth should I save it? 
 
 Nell (going to table C). For a rice pudding, stupid! 
 I am determined not to be wasteful at the very beginning 
 of our married career. 
 
 Dick (sitting on lounge R. C). Married career! Doesn't 
 it sound queer? Just think, Nell, we've been married more 
 than a month. 
 
 Nell (sitting R. at table). More than a month, indeed! 
 I should think it is ! We've actually been married five weeks ! 
 
 Dick. That's no reason why you should be sitting on 
 that chair when there's a much softer seat here, Nell. 
 
 Nell (rising). Somebody might be around. Oh, yes, we 
 did come to see the girls, didn't we? Maybe we'd better — 
 just for appearances, you know — I'll ring for the maid. 
 (Rings bell on table, then sits beside Dick on lounge.) 
 
 Dick (putting his arm about her). It was in this very 
 room, Nell, that we first became friends. 
 
 Nell (snuggling up to him). Yes, such close friends. 
 
 Dick. And it was here that I first learned to love you. 
 
 Enter Jane R. 2 E. reading a newspaper. She sees them 
 and stands watching them in surprise. 
 
 Nell. And where you asked me to be your wife. 
 Dick. And where I first kissed you. (Kisses her.) 
 Jane (uttering a cry and averting her face). Oh, my! 
 Dick (springing up, indignantly to Jane). Hello! Who's 
 •this? 
 
 Jane (humbly). Did you ring, my lady? 
 Dick. Did you ever see such a freak ! 
 
AT THE END OF THE RAINBOW. 19 
 
 Jane (walking C, melodramatically). Hist! Speak not! 
 The villain waits in yon room — he is mad with love for you — 
 he bides his time — he — (takes Dick's arm, Nell standing 
 C. aghast). Fly, Lord Algernon. Fly before it is too late! 
 
 Dick. I would if my flying machine hadn't broken down 
 yesterday. 
 
 Jane (melodramatically). He would have your blood! 
 Even now he plots a terrible revenge — even now, in that 
 very room(points R.), where walks the specter of his mur- 
 dered love, he mutters curses as he whets his blade ! Fly, 
 Lord Algernon. Fly 1 The coach awaits ! 
 
 Dick. She means Koehler. What does he want? 
 
 Jane. Last night I heard them plot your death — at mid- 
 night in the haunted room ! Your beautiful bride is to be 
 torn from your side, while you are to be tied helpless to the 
 railroad track ! The train comes, the ground quivers, in an- 
 other moment you will be a mangled corpse ! (Hides her 
 face in anguish.) 
 
 Nell (affrightedly). She frightens me, Dick. She's mad! 
 
 Dick. Wait a minute. (Takes paper from Jane and 
 looks at it.) Hum! I thought so. (Shakes Jane.) Come 
 back to life ! Why do you read such trash as this? (Points 
 at paper.) 
 
 Jane. It's a beautiful story — Golden-haired Gwendolyn, 
 or the Shopgirl's Secret. 
 
 Dick. Charmingly alliterative. 
 
 Jane (pointing to picture in newspaper). There she is — 
 Gwendolyn walking the cruel streets without shoes, food, but 
 always pursued by the villain. 
 
 Dick (looking at nczvspapcr). A regular sprint. Couldn't 
 he ever catch up with her? 
 
 Jane. No. That's Lord Algernon there (pointing at pic- 
 ture). You look like him, except that he had a curling mus- 
 tache through which his teeth gleamed like pearls. 
 
 Dick. Awfully careless of me to cut off my mustache ! 
 
 Jane (melodramatically). Oh, he's the — 
 
 Nell (interrupting and shaking Jane by shoulder). 
 Would it be too much trouble for you to tell us if anyone is 
 at home? 
 
20 AT THE EXD OF THE RAINBOW. 
 
 Jane. Nobody. This is a deserted house — a wasteless 
 wild — 
 
 Nell (interrupting, severely). That will do. Leave us ! 
 
 Jane (going to R. 2 E., turns melodramatically). So you 
 dared, to thwart my plans, Lord Algernon ! You dared to 
 oppose my power ! Now, who is victor— whose bride is she 
 to be? (Laughs, then exits R. 2 E.) 
 
 Nell (to Dick C). Isn't it dreadful? I must speak to 
 the girls about this — (loud laughter of several girls off L. 
 U. E. Both start.) 
 
 Dick (sitting on lounge). You have the chance, for they'll 
 all be here in a minute. 
 
 Enter Kathleen, Marjorie and Elsa C. D. They come 
 down C. 
 
 Elsa (as she comes dozen, points to Dick and Nell at 
 lounge). Well, I declare! Here are the bride and groom! 
 (Kathleen and Marjorie laugh. The three then hum a 
 zvedding march.) 
 
 Dick (aside, annoyed). Wouldn't it jar you! 
 
 Kathleen. What's the matter with Dick? He looks 
 bored. 
 
 Marjorie. He looks hen-pecked. Poor old Dick! 
 
 Nell. Never mind about Dick. He's completely subju- 
 gated. 
 
 Dick (ruefully) . Getting married is a serious thing. 
 
 Kathleen. Not half so serious as not getting married. 
 
 Elsa. I don't see how a fellow ever gets sufficient cour- 
 age to attempt it. 
 
 Marjorie (at L. C). Particularly when most of them 
 haven't enough cheek to' kiss a girl. 
 
 Kathleen (at L. of table). They don't need the cheek — 
 the girl furnishes that. 
 
 Dick (rising). Heavens! What philosophy! Where's my 
 hat! (Takes it from table and runs to C. D.) I'll have a 
 smoke to quiet my nerves. (Exit C. D. hastily.) 
 
 Kathleen (sitting L. at table). I'm so glad he's gone! 
 Come, girls. 
 
AT THE END OF THE RAINBOW. 21 
 
 Elsa (sitting R. at tabic). I want to tell her! (To Nell, 
 zvho is seated on lounge.) You'll do it, Nell, won't you? 
 
 Nell (surprised). Do what, Elsa? 
 
 Marjorie (sitting at head of table, facing audience). Just 
 guess, Nell. 
 
 Kathleen. You remember Molly Bruce, the girl we 
 rushed so violently ? 
 
 Nell. 'Deed I do. What about her? 
 
 Elsa. She's matriculated here — Soph — and — 
 
 Marjorie. We've pledged her ! 
 
 Kathleen (annoyed). Now you've done it, Marjorie! 
 
 Nell (mystified) . But when and where? 
 
 Elsa. Here, last night. 
 
 Kathleen (interrupting). Don't you talk, Elsa. I'm 
 chairman of the Rushing Committee, and it's my place. 
 
 Nell (impatiently) . Stop your wrangling. Tell me — 
 
 Kathleen (interrupting). Right here — last night — 
 
 Elsa (eagerly). We want you to take her as maid, Nell. 
 
 Nell (astonished). As what! 
 
 Kathleen. It's this way, Nell. She isn't to enter regu- 
 lar work till Thanksgiving. She's tutoring, and as we can't 
 initiate her now, we thought it such a good chance for a 
 lark, and decided — 
 
 Elsa (interrupting) . That it would be just the thing for 
 her to act as your maid during the period of — 
 
 Kathleen (interrupting). Subjugation! 
 
 Nell. But it's out of the question ! 
 
 Kathleen. It isn't ! Marion said that the Preston maid 
 had just left, and that your hiring another wouldn't excite 
 the least suspicion. Of course, you understand, her identity 
 is to be known only to the Sorority girls. 
 
 Marjorie. Mr. Preston and Dick must not even suspect. 
 
 Nell. Oh, but I must tell Dick ! 
 
 Elsa (protcstingly). Please, Nell — 
 
 Nell. We promised to tell each other everything. He 
 has no secrets from me, I none from him. 
 
 Kathleen. Well, that's different — 
 
 Elsa (interrupting) . You must promise, Nell! It spoils 
 everything if you don't. 
 
22 AT THE END OF THE RAINBOW. 
 
 t 
 
 Marjorie (pleadingly) . Marion said it would be all right. 
 Nell. Please, Nell, for the sake of Theta Phi ! 
 
 Nell (after a pause). Have it so — I will! 
 
 Kathleen. Good ! She's out there with Marie. Call 
 them, Elsa. 
 
 Elsa (rising and going up C). All right. (Goes to C. D. 
 and beckons off L. ) 
 
 Kathleen (to Nell). Down with the blinds, Nell. 
 
 Nell (rising and going to zvindozv up L.). I suppose I. 
 must. (Draws blinds dozen. ) 
 
 Kathleen (to, Marjorie). Light a candle, Marje. It's 
 ever so much more impressive. 
 
 Marjorie (lighting candle on table). Isn't it lovely! 
 
 Enter Marie and Molly C. D. Marie leads Molly, who 
 is blindfolded, down C. They stop before table down C. and 
 others group themselves about the two, Kathleen stands 
 with back to table, Nell and Elsa R. C. and Marjorie L. C. 
 
 Marie (to Kathleen). The candidate, I regret to say, 
 is in a rebellious frame of mind. She does not comprehend 
 the value of domestic training, nor see that the true glory of 
 woman lies in her ability to wield a broom or flourish a 
 dustpan. 
 
 Kathleen (sternly, to Molly). We trust that you real- 
 ize the honor that has been conferred upon you. 
 
 Molly (dubiously). I think I'm beginning to. 
 
 Kathleen. And you understand that during your pro- 
 bation you are to serve as Mrs. Preston's maid, your identity 
 to be known only to the Theta Phis ? 
 
 Molly. I think my feeble intelligence has grasped that 
 fact. 
 
 Kathleen. And that upon your proficiency as a domes- 
 tic servant depends upon your admission to the Sorority? 
 
 Marie (stands in listening attitude for an instant, then 
 runs to the zvindozv and looks off). 
 
 Molly. Perfectly. 
 
 Kathleen. Then for two weeks you may be subject to 
 our rules, and — 
 
AT THE END OF THE RAINBOW. 23 
 
 Marie (at window, turns and runs to others, warningly) . 
 The men are coming! 
 
 Kathleen (annoyed). Quick! Upstairs, all of you! 
 (Crosses to L. 2 E.) This way! Hurry! 
 
 Marie takes Molly by the hand and leads her to L. 2 E. 
 They, with Elsa, Nell and Marjorie exeunt L. 2 E., fol- 
 lowed by Kathleen. Enter Dick and' Jack C. D. They 
 come down C, looking about. 
 
 Dick (surprised) . Hello! Where are the girls? Sit down, 
 Jack. I'll hunt them up. • 
 
 Jack' (at table). No, don't. I want to see you alone for a 
 minute. 
 
 Dick (at L. of table). Fire away, Dick. 
 
 Jack (sitting R. of table). It's about Palmer, our new 
 pledge, the Princeton man. 
 
 Dick. With the bank account? 
 
 Jack. Aye, verily. 
 
 Dick. How did you get him? 
 
 Jack. Chiefly through Langham, '08, and we've been 
 shrewd enough to keep the other frats quite unaware of his 
 existence. 
 
 Dick (admiringly). Pretty work! 
 
 Jack. He's ahead of Senior work — has only one class at 
 present, so we thought it a good stunt to put him through 
 some antics. 
 
 Dick. How can I help you? 
 
 Jack. By taking him as a butler. 
 
 Dick (surprised). Butler ! Good heavens, man ! I couldn't. 
 The Prestons never had a butler. 
 
 Jack. Then it's time they begin now. Every well regu- 
 lated family needs a butler. 
 
 Dick. It's preposterous ! Absolutely out of the question ! 
 
 Jack. But it isn't. We spoke to Mr. Preston and he 
 thought it a great joke. 
 
 Dick. I'd be obliged to tell Nell— 
 
 Jack (interrupting). Oh, no, you wouldn't. Understand 
 that this is a frat affair. Nobody else must even suspect. 
 
24 AT THE END OF THE RAINBOW. 
 
 Dick. But Nell and I promised to tell each other every- 
 thing. She has no secrets from me, I none from her. 
 
 Jack. That's quite proper, but this is different. Come, 
 Dick, do it for the fellows. 
 
 Dick (wavering) . It sure would be a lark. 
 
 Jack. A lark ! A brace of them, my boy ! Say you'll agree. 
 
 Dick (after a pause). Well, I will! But I won't answer 
 for the consequences. 
 
 Jack (rising). We'll risk the consequences. Now, what 
 shall I do with him? He's on my hands, you know. 
 
 Dick (rising). Bring him here. I'll break the news to 
 Nell, and we'll start him going. (Pauses in thought.) Gosh ! 
 What will we do with him? 
 
 Jack (going to C. D.). All right, old chap. 
 
 Dick (going up C. after Jack). Here, Jack! I'll back 
 out! I'll— 
 
 Jack. Too late, Dick. So long. (Exit C. D.) 
 
 Enter Nell L. 2 E. She comes C.and meets Dick, who 
 comes down C. on seeing her. 
 
 Nell. I thought I heard your voice, Dick. I've just been 
 arranging for a maid. 
 
 Dick (surprised). Maid! You mean butler. 
 
 Nell. I don't at all ! The maid left yesterday and I've 
 engaged a new one. It's my first official act since becoming 
 head of the house, and I'm almost overcome. 
 
 Dick. Well, you're not ahead of me. I've just signed for 
 a butler. 
 
 Nell (amazed). Butler ! Dick, you don't mean butler ! 
 
 Dick. Sure. B — u — t — 1 — e — r, butler. What's the use 
 of being married if you can't have a butler? (Struts about 
 from R. to L.) 
 
 Nell (following Dick as he walks). But Dick, the ex- 
 travagance of it ! Bob never had a butler. 
 
 Dick. Then Bob needs reforming! I've always dreamed 
 of a butler, I've always lived in hopes of owning a butler, 
 I've always vowed I'd have a butler, and a butler I will have ! 
 (Walks excitedly.) 
 
 Nell. But we can't afford it, Dick ! 
 
AT THE END OF THE RAINBOW. 25 
 
 Dick (stopping C. and taking roll of bills from pocket). 
 Here's scads of lucre ! A hundred dollars left from our wed- 
 ding trip. Can't afford a butler ! Bah ! (Continues walking.) 
 
 Nell. But we don't need — 
 
 Dick (interrupting). We do need — I need! I want some- 
 body to lay out my clothes for me — to — „ 
 
 Nell (interrupting triumphantly). But a butler doesn't 
 have anything to do with clothes. I knew you didn't under- 
 stand. 
 
 Dick. Understand ? I have made butlers my life study. 
 
 Nell. You act and talk strangely, Dick. 
 
 Dick (halting C). Nell, this is the first favor I've asked 
 since we were married. Let's keep him two weeks, and 
 then — 
 
 Nell (angrily). I suppose I must consider the matter 
 settled ! Will you engage the valet, the chauffeur and the 
 chef, or shall I ? ( She looks at him indignantly , then exits 
 haughtily L. 2 E.) 
 
 Dick (running to L. 2 E). Nell! She is angry, sure! 
 Nell! Wait a minute for a fellow, can't you? (Exit hastily 
 L. 2 E.) 
 
 Enter Jack and Palmer C. D. They come down C. to 
 table. 
 
 Jack (to Palmer). Here you are, Palmer. Sit down 
 and wait for Preston. You understand, I suppose, what 
 you're to do? 
 
 Palmer (sitting L. at table). Very clearly. Merge my 
 identity into that of Hawkins, the butler, until my brothers 
 in authority see fit to release me. 
 
 Jack. That's the stuff! (Looks at watch.) Sorry I can't 
 wait, but I have to meet a girl. 
 
 Palmer (looking about). Would you mind telling me 
 where I am ? 
 
 Jack. Most fellows find it rather a dangerous place, so 
 look out for the inmates. (Exit CD.) 
 
 Palmer (alone). Lunatic asylum, probably. Well, after 
 the butler proposition I can expect anything. 
 
26 AT THE END OF THE RAINBOW. 
 
 Enter Jane R. 2 E. She comes C. and on seeing Palmer 
 stops and gazes at him in strongly defined attitude of aston- 
 ishment mingled with terror and surprise. 
 
 Jane (melodramatically). The ghost! 
 
 Palmer (looking about). Ghost! Where? 
 
 Jane. It walks again ! 
 
 Palmer. Good ! Only a temporary disablement, it seems. 
 
 Jane (dreamily) . Ever and anon it shows the glitter of 
 awful eyes behind its filmy veil. 
 
 Palmer. Now, Bridget, be sensible. 
 
 Jane. My lord, it is the Lady Clementina who stands 
 before you, in all simplicity. 
 
 Palmer. There's where you've hit it ! 
 
 Jane (sadly). Duped, betrayed, and — 
 
 Palmer (interrupting). Daffy! Nice girl! Too bad! 
 
 Jane. My lord ! 
 
 Palmer. My lady, you see no ghost. You have an ordi- 
 nary hallucination, which in itself is only the extreme of 
 the perceptive process in which the secondary cerebral reac- 
 tion is out of all normal proportion to the peripheral stimulus 
 which occasions the activity. 
 
 Jane (melodramatically). Down the corridor, as dark 
 and cold as a tomb, it glides, a candle in its wasted hands — 
 
 Palmer. Oh, a pseudo hallucination in sporadic form — 
 
 Jane (interrupting, as she goes to table). Are you my 
 father's ghost? 
 
 Palmer. "Doomed for a certain time to walk the earth ?" 
 No, my lady, I'm only Hawkins, the butler, doomed for a 
 certain time to play the fool. 
 
 Jane (surprised) . The butler! Then you can tell me the 
 secret of the spoons. 
 
 Palmer. No, I shouldn't like to do that. 
 
 Jane (in tragic whisper). You are not what you seem! 
 
 Palmer. Very few of us are. 
 
 Jane. I have pierced your disguise, Lord Montmorency ! 
 
 Palmer (starts). Discovered! Don't give me away, 
 please. 
 
 Jane. I must feel your arms about me! (Goes to him.) 
 
AT THE END OF THE RAINBOW. 27 
 
 Palmer (rising). Not on your life! (He walks about 
 stage, she following him step for step.) 
 
 Jane. You have turned against me, my lord. 
 
 Palmer. That's a mistake. I'm just crazy about you ! 
 Crazy is an appropriate word. 
 
 Jane. The knife ! I say, the knife ! (Looks at Palmer 
 for moment, then exits R. 2 E. with tragic stride.) 
 
 Palmer (going to table). This is a madhouse, sure! It 
 begins to tell on my nerves. (Loud voices offstage L. 2 E. 
 Starting and walking toward L. 2 E.) What's that? Some- 
 body's coming. (Hides behind chair down L.) 
 
 Enter Marie, leading Molly, who is still blindfolded, L. 
 2 E. They walk to C. slowly. Palmer watches them from 
 his place of concealment behind chair. 
 
 Marie (to Molly). Mr. Preston will be here in a mo- 
 ment. You are to wait for him. Of course, you can't go 
 without being properly guarded, and he will see you to your 
 destination. (Exit CD.) 
 
 Palmer (leaving hiding place and going to Molly C). 
 Properly guarded ! Another one ! I wonder what Preston 
 has to do with her? 
 
 Molly (groping about at C). I won't stand this bandage 
 about my eyes another minute ! 
 
 Palmer (removing bandage). Allow me. 
 
 Molly (surprised). Mr. Preston! I didn't know you had 
 come. 
 
 Palmer (aside). So I'm Preston now ! It's best to humor 
 them, I'm told. 
 
 Molly. Thank you so much. I don't think I need the 
 bandage any longer. 
 
 Palmer (bowing). Not when it covers such eyes. 
 (Aside.) So young, so exquisite, and mad! 
 
 Molly (scanning Palmer closely). You don't look a bit 
 as I thought you would, Mr. Preston. 
 
 Palmer. Oh, I shaved my mustache off since I saw you. 
 
 Molly. Oh, but I never saw you — only your picture. 
 
 Palmer. Of course ! It's a corking good picture. 
 
28 AT THE EXD OF THE RAINBOW. 
 
 Molly. They say it looks — almost intelligent, but I don't 
 see a bit of resemblance. 
 
 Palmer. It was taken years before my marriage. 
 
 Molly. But I thought you had been married only a few- 
 weeks. 
 
 Palmer. Perhaps. I'd forgotten. It seemed years. 
 
 Molly. How strange of you to say so. 
 
 Palmer (sighing). Trouble has marked me for her own. 
 
 Molly. You look very young. 
 
 Palmer. But a youthful face may hide an aged heart. 
 
 Molly. How can you say such things when you have 
 such a lovely wife ? 
 
 Palmer. Don't trust Geraldine — 
 
 Molly (interrupting ). Geraldine! I thought her name was 
 Nell. 
 
 Palmer. Nell? Nell? Oh, yes! Geraldine was my first 
 wife. I forgot. I often get the names confused. 
 
 Molly (aside). He's been drinking. 
 
 Jane (offstage at R. 2 E., knocks at door). I would in, 
 Lord Montmorency. 
 
 Palmer (sitting on table). I would out, Lady Clementina 
 
 Jane (offstage) . I have the knife. It is long and shining. 
 
 Palmer. Take it back to the kitchen ! 
 
 Molly (frightened). How terrible! What does she mean? 
 
 Palmer. Don't be alarmed. I shall protect you. 
 
 Molly. But the knife ! What does she want ? 
 
 Palmer. Only a lock of my hair. You see, she's collect- 
 ing specimens. 
 
 Molly (aside, coming down L.). I'm frightened! He's 
 crazy; and so good looking, too. (To Palmer.) Why are 
 we staying here, Mr. Preston? 
 
 Preston. Because we know not where to go. 
 
 Molly. Wouldn't you go with me ? 
 
 Palmer (enthusiastically) . To the ends of the earth ! m 
 
 Molly (backing away from him). You must not talk so 
 to me. If you do, I'll call your wife. 
 
 Palmer. Call away, for I'd like to see her. 
 
AT THE END OF THE RAINBOW. 29 
 
 Voices heard offstage at L. 2 E., then enter Nell, followed 
 by Dick. They come C. Palmer and Molly stand at R. C. 
 
 Nell (to others). Ah, you are here, Molly. Dick, this is 
 our new maid. Molly, this is Mr. Preston. (Dick and 
 Molly bow. ) 
 
 Molly (confused). Mr. Preston! (Looks at Palmer.) 
 And who. then, is this? Why; oh, well, oh dear! (Shows 
 agitation.) 
 
 Nell (solicitously). Why, what is the matter, Molly? 
 
 Molly. Nothing - . 
 
 Dick (to Nell, pointing to Palmer). Who is this gen- 
 tleman ? 
 
 Nell (shakes head). I'm sure I don't know. 
 
 Palmer (bowing ). I'm Hawkins, the butler, at your serv- 
 ice, sir. 
 
 Dick. Why, to be sure ! I was on the lookout for you, 
 Hawkins. This is our new butler, Nell. You'd both better 
 go to our house. It's No. 8 College Row. You can't miss it. 
 It's the large red brick with the white trimmings. 
 
 Nell. I'll be over in time to direct about dinner, Molly. 
 
 Molly. Yes, Mrs. Preston. 
 
 Dick. I hope you'll like your new place, Hawkins. (All 
 So up C.) 
 
 Palmer. Yes, sir. Thank you, sir. I had my doubts at 
 first, sir, but now I see light ahead, sir — I see light ahead. 
 (Exeunt with Molly C. D. ) 
 
 Dick (at C. D., looking L. after them ). Gee, Nell! She's 
 a good looker. 
 
 Nell (coldly). Indeed ! I thought her very ordinary. Fol- 
 low me, sir! (Exit haughtily L. 2 E.) 
 
 Dick (goin^ to L. 2 E.). Gee! Nell's getting jealous! 
 (Exit L.2E.) 
 
 Enter Louise and Jack C. D. They come doivn C. 
 
 Jack (to Louise). You won't mind waiting a few min- 
 utes, Louise? I must see Phyllis on some college business. 
 
 Louise (looking about). Not a bit. So this is the Sorority 
 House? How attractive it is. I wonder if I know any of 
 
 & 
 
30 AT THE END OF THE RAINBOW. 
 
 the Theta Phi girls. There's Miss Lane, of course, Miss 
 Price, Miss Knox and that bad little Freshman — 
 
 Jack (interrupting laughingly) . Oh, you mean the Imp. 
 
 Louise. Yes. Good name, isn't it? Then there is the 
 beautiful Miss Dayton. 
 
 Jack (at L. of table). Marion? She's Mr. Preston's 
 ward, you know. 
 
 Louise. Yes, I've heard so. Mr. Preston has a great deal 
 of confidence in her, hasn't he ? 
 
 Jack. I'm proud to say he has. 
 
 Louise (at R. of table). Trusts you with legal affairs, I 
 suppose ? 
 
 Jack (hesitatingly). Y — e — s — 
 
 Louise. Tells you the contents of — of — you know, the 
 papers; yes, the papers, for instance. 
 
 Jack. All that I'm supposed to know. Yes. 
 
 Louise (laughingly). Even confides the combination of 
 the safe to you? 
 
 Jack. No, not that. Only one person besides himself 
 knows that. 
 
 Louise. Really? Who is it? 
 
 Jack. Marion. Mr. Preston calls her the Company in the 
 firm. 
 
 Louise. Mr. Preston is my lawyer, too. You didn't 
 know that? 
 
 Jack. No. 
 
 Louise. He has some valuable papers of mine locked up 
 in his safe. 
 
 Jack (surprised). Papers of yours? 
 
 Louise (looking about, then whispering). Hush! That's 
 our secret — yours and mine. Don't even breathe to Mr. 
 Preston that I told you. Promise me that you won't, Jack. 
 
 Jack. Anything you like, Louise. 
 
 Louise. I suppose you wonder why there's so much 
 secrecy about this, but I can't explain it to you now. You'll 
 trust me? 
 
 Jack (after a pause). Don't look at me like that, Louise. 
 You dazzle me. (Turns away sighingly.) 
 
AT THE END OF THE RAINBOW. . 31 
 
 Louise (laughingly). Foolish boy! But you'll trust me? 
 
 Jack. With my life! But why should you care for a 
 boy like me? 
 
 Louise (agitated). Because your friendship — 
 
 Jack (interrupting). It's more than friendship, Louise. 
 It's love ! 
 
 Louise. Because, then, your love is everything to me. 
 
 Enter Phyllis and Douglas C. D. Others start away 
 from each other as they come down C and look disturbed. 
 
 Phyl. (to Jack). Waiting for me, Jack? I was slow, 
 wasn't I? (To Louise.) How lovely to find you here, Miss 
 Grayson. Permit me to introduce Mr. Douglas Brown. 
 
 Douglas (at L. C, bowing to Louise). I'm charmed, to 
 be sure. 
 
 Louise (agitated, aside). He here! 
 
 Phyl. We're going to have a little chafing dish stunt 
 right away. You'll excuse Jack and me for a moment, won't 
 you? Come, Jack, this way. (Goes to L. 2 E.) 
 
 Jack (going to L. 2 E.). All right. Chafing dish stunt 
 goes. (Exeunt with Phyllis L. 2 E.) 
 
 Douglas (down C, to Louise, in zvhisper). Louise ! What 
 are you doing here? 
 
 Louise (at R. C). I might ask you the same question. 
 
 Douglas. My affairs never have been of serious conse- 
 quences to you. 
 
 Louise. Nor mine to you, I fancy. 
 
 Douglas. Come to the point. I find you here under an 
 assumed name. 
 
 Louise. Which fact is no more suspicious than your sud- 
 den desertion of the college you have attended for three 
 years. 
 
 Douglas (laughingly). That's easily explained. I'm here 
 to watch you. 
 
 Louise. I am touched by such devotion. (Sits R. at 
 table.) 
 
 Douglas (sits L. at table). You understand me, I think. 
 When you came to this college town, you knew that it was 
 the home of my father's lawyer. 
 
32 AT THE END OF THE RAINBOW. 
 
 Louise (laughing nervously). I suppose I'm in for a lec- 
 ture now. 
 
 Douglas. You knew that the papers in Mr. Preston's 
 custody doubtless contained a second will executed by my 
 father. You knew that a stroke of the pen might deprive 
 you of the wealth you have so dishonestly acquired; that 
 fate might make me my father's heir. 
 
 Louise. How ridiculous ! 
 
 Douglas. Your schemes and wiles are beyond me, Louise. 
 I only know that your presence here bodes me no good, and 
 that you intend to do me mischief. 
 
 Louise (laughingly). Really? 
 
 Douglas (emphatically) . But I warn you that I intend to 
 stand my ground here, first, last and all the time ! 
 
 Louise (suddenly indignant). How dare you say such 
 things to me ? 
 
 Douglas. How dare I ? Bah ! Your mother and you en- 
 tered my father's house only to destroy its peace ! You poi- 
 soned my father's mind against me, and as a result he cast 
 me off without a penny. 
 
 Louise. We could not help the disposal by your father 
 of his money. 
 
 Douglas (contemptuously). Money! Have I any reason 
 to love or to covet it ? Has it brought me anything but hard- 
 ship, sorrow and biting heartache ? Thank God ! I made no 
 God of it, but I learned to battle against the world — to trust 
 to my strong arm ! It has made a man of me ! 
 
 Louise. If money is no consideration, why should you 
 trouble yourself about the will? 
 
 Douglas. For a reason that you cannot understand ! I 
 loved my father — he loved me ! He trusted me — once. I shall 
 be true to that love and trust, true to his memory, acquiescent 
 to his wishes ! Whether I share in his estate or not, I shall 
 guard his interests, as he would wish me to do were he alive ! 
 
 Louise (pleadingly). Can there never be friendship be- 
 tween us, Douglas? 
 
 Douglas. Friendship must be based upon respect. 
 
 Louise. If you only were not so cold, cruel — if you cared 
 for me — 
 
AT THE END OF THE RAINBOW. 33 
 
 Douglas (interrupting). Care for you! In spite of you, 
 in spite of your mother, I have not lost my faith in woman; 
 but if love comes to me, it must be without guile, without sel- 
 fishness, without duplicity ! 
 
 Louise (angrily). Then I warn you, Douglas Brown — 
 Douglas (laughingly). You threaten me? Well, we un- 
 derstand each other now ! Put your cleverness and charm to 
 their best use ; but remember ! This time you are not duping 
 an old man, but dealing with the strength of his son, a 
 strength that has been embittered by the past, that is invig- 
 orated by the present, that will have its own reward in the 
 future ! 
 
 Loud shouting offstage L. U. E., then enter Jack and 
 Phyllis L. 2 E. They come C. to table. 
 
 Phyl. We finished our business just in time. The crowd 
 is returning from football practice. (Goes to Douglas L. 
 at table.) Aren't you glad you've met them all, Douglas? 
 Douglas. Delighted. ( They confer aside.) 
 Jack (goes to Louise R. at table. They confer aside.) 
 
 Enter Imp, Ted, Emily and Polly C. D., follozved imme- 
 diately by Marion and Preston. 
 
 Imp (sings). Scrub he was, 
 
 Captain he is — 
 Coach he shall be, 
 Hail, all hail ! 
 
 Imp, Emily, Polly, Marion and Preston clasp hands 
 and dance around Ted. Enter Dick, Nell, Kathleen, 
 Elsa, Marie and Marjorie C. D. They join others in sing- 
 ing, "Cheer, cheer," etc. One of the number goes to piano 
 up R. and plays a two-step, in which dance they all engage. 
 There is much hilarity, college yells, remarks, etc. 
 
 Marion (getting upon table and waving college colors). 
 Friends, fellows and football players, lend me your ears ! 
 
 All (in a voice). Flear! Hear! (All group themselves 
 upstage in semi-circle and watch Marion.) 
 
34 AT THE END OF THE RAINBOW. 
 
 Marion (oratorically). We are not met today to exalt 
 your names to the stars, to extol your prowess because you 
 have won 'first place in bar examination, nine times out of 
 ten. 
 
 All (in a voice). Hurrah! 
 
 Marion (resuming). No; we have gathered together, 
 rather to conquer the conquerors, to be victors over the vic- 
 torious, to win out over the winners, for we seek the con- 
 quest of your hearts ! 
 
 All (together). Hurrah! 
 
 Marion. How shall we do it? By flirtation? No. Flir- 
 tation is too temporary a thing. By flattery ? No ; it is too 
 superficial. By force ? No ; force is not the weapon of the 
 college girl. How, then, shall we accomplish this subjuga- 
 tion? Even as I ask the question, the voices of the past 
 thunder the reply, "Feed the brutes !" 
 
 All (shouting wildly together). Hurrah! 
 
 Marion (when applause has subsided). Now, will the 
 young gentlemen march quietly out and arm themselves 
 with chafing dishes? And will the young ladies be respon- 
 sible for all necessary culinary implements? Along with 
 you! Help me down, somebody. (Preston helps Marion 
 off the table amid applause. Then all except Phyllis and 
 Douglas exeunt noisily L. 2 E. Phyllis sits R. at table 
 and Douglas sits opposite.) 
 
 Phyl. (to Douglas). We're a noisy lot, Mr. Brown. You 
 see, we're football mad. You must see our trophies some 
 day. 
 
 Douglas. I shall be pleased to, I assure you. Football 
 is the greatest game on -earth. 
 
 Phyl. Then why don't you play? 
 
 Douglas. Because I'm here for other reasons. My loy- 
 alty is with another college, and a half-hearted allegiance 
 would be unfair to your institution. 
 
 Phyl. Unfair? 
 
 Douglas. Surely, unless I could give the very best that 
 is in me. 
 
AT THE END OF THE RAINBOW. 35 
 
 Phyl. And why could you not? Are you any the less 
 loyal to your own Alma Mater because you fight under our 
 flag ? Do you not see our needs ? Cannot you give your help ? 
 Won't you love this college ? It's yours now, you know. We 
 want you on the team. 
 
 Douglas (meditatively) . Ah, the glory of it! The strug- 
 gle, the knowledge that you are helping to win ; that you're 
 part of it, that you're doing your share. (Pauses.) 
 
 Phyl. (eagerly). Yes, yes ! 
 
 Douglas. That the shouting is for you, the singing, the 
 uproar, all for you ! That the fair fame of your college lies 
 with you — your love, your faith, and your loyalty ! 
 
 College song is sung softly offstage L., continuing to end 
 of act. All join in. 
 
 Phyl. Listen ! The college calls you ! Won't you come ? 
 
 Douglas (after pause, takes her hand across table). And 
 if I do ; if I promise to battle with the team, what of you ? 
 
 Phyl. (agitated). Of me? 
 
 Douglas (rising and crossing R. to Phyllis). Will you 
 let me fight — fight for you? (Leans over her.) 
 
 Phyl. (agitated). I will! Oh, I will! 
 
 Douglas. Then I'll play! 
 
 Enter everybody, singing the college song. They arrange 
 themselves across upstage in semi-circle, watching Douglas 
 and Phyllis, zuho stand down C, back of table. 
 
 Phyl. (excitedly to others). Stop singing! (Song ceases.) 
 Let us all rejoice ! The gods have smiled upon us — Douglas 
 Brown will play ! 
 
 Douglas and Phyllis stand down C, hand in hand. 
 Others continue to sing, while the boys shout and throw up 
 hats and caper about madly until — 
 
 CURTAIN. 
 
36 AT THE END OF THE RAINBOW. 
 
 Act II. 
 
 Scene : The Preston library, full stage. Furnishings rich 
 and tasty. Practical door R. C., L. U. E. and R. 2 E. 
 Library table with four chairs R. C. and small serving table, 
 on which are dishes, chafing dish, teapot, etc., near by. 
 Piano next to door in Hat L. C. Palms here and there. These 
 are not essential. If not easily procurable, may be omitted. 
 Practical window with curtains L. C. Lounge down L. Pic- 
 tures on walls and rugs on floor. Small safe L. 2 E. See 
 Scene Plot for stage setting. 
 
 At rise discovered Robert, Marion, Nell and Dick at 
 table R. C. Palmer in role of butler is serving party. Scene 
 well illuminated. 
 
 Marion {at head of tabic, facing audience, to Robert). 
 No, Bob, we couldn't have the table in the dining-room as 
 we are using" it for the dancing. I think this is great sport. 
 Just like a picnic lunch. 
 
 Nell (sitting L. at table). Now, don't eat too much. It's 
 dreadfully late and the guests will be coming soon. 
 
 Dick (sitting at foot of table, with back to audience). 
 Don't eat much ! I don't see much to eat ! (Calls to Palmer.) 
 Hawkins ! Some coffee. 
 
 Palmer (at serving table, coming to table with coffeepot). 
 
 Nell (taking cup from Dick). No, Dick, you shall have 
 no more coffee. It's bad for your nerves. 
 
 Dick (protestingly) . Oh, come now, Nell ! A fellow needs 
 some sort of stimulant to endure the strain of a mask ball. 
 Let's have that coffee, Hawkins. (Holds up cup.) 
 
 Nell (to Palmer). You need not trouble with the coffee, 
 Hawkins. Give me the pot. 
 
 Palmer (giving Nell coffeepot). 
 
 Nell (looking into the pot). It's all gone. 
 
 Dick {to Palmer). Try the kitchen for more, Hawkins. 
 
AT THE END OF THE RAINBOW. 37 
 
 Palmer (going to R. 2 E.) 
 
 Nell (to Palmer). No, Hawkins, you need not try the 
 kitchen. 
 
 Palmer (halts irresolutely at serving table). 
 
 Dick (rises and goes to Palmer, aside to him). You trot 
 that coffeepot to the kitchen, Hawkins. You'd better do as 
 I say, or — well, you know. (Looks significantly at Palmer.) 
 
 Palmer (after thoughtful pause. Exit R.2 E.). 
 
 Robert (laughingly) . Well, that's rich! 
 
 Nell (indignantly). I never saw such absolute defiance 
 of my authority. And before a servant, too ! I don't see any- 
 thing to laugh at, Bob ! 
 
 Dick (sitting dozvn at foot of table). No, this is a crying 
 matter, Bob. Don't forget that — a crying matter ! 
 
 Nell (angrily). Really, the way you descend to the level 
 of the butler is disgusting. 
 
 Dick. Isn't he a good butler, perfect in every way? 
 
 Nell. He is too perfect. He gives me the creeps. 
 
 Dick. You can't find a single thing against him. 
 
 Nell. Yes, I can. He flirts with the maid ! 
 
 Dick (laughingly). That's nothing. Every man does that 
 when he has the chance. 
 
 Nell. I won't have that man — 
 
 Dick (interrupting). Now, Nell, go slowly. That man, 
 as you call him, has a perfect right to flirt with Molly if she 
 encourages him. 
 
 Nell. Oh, but she never would — 
 
 Dick (interrupting). Oh, wouldn't she! I know what I'm 
 talking about. 
 
 Robert. Come, this butler seems to be the rock on which 
 the matrimonial ship is prone to split. 
 
 Marion. I don't think he is a butler. In fact, I know 
 he isn't ! 
 
 Dick (surprised). How do you know? Who told you ? 
 
 Marion (insinuatingly). Then — he isn't? And you know 
 
 Dick (confused). Did I say I knew anything? 
 
 Marion (in low -z'oice). Last night I was studying until 
 late. I heard three peculiar whistles. I put out my lights, 
 
38 AT THE END OF THE RAINBOW. 
 
 looked through the window and distinctly saw Hawkins join 
 several men in the yard. 
 
 Nell (excitedly). Then he isn't what he is — I knew it! 
 
 Enter Palmer R. 2 E. with coffeepot. He stands at serv- 
 ing table and listens unseen. 
 
 Dick (disgustedly). Of course, you knew it all the time! 
 
 Nell (aff right e dly) . I know we shall all be murdered 
 in our beds, or this man will get away with our wedding 
 presents. 
 
 Palmer (drops cup. All start. Goes to table and prepares 
 to serve others with coffee). 
 
 Nell (confused). I was speaking of wedding presei-ts, 
 I believe. (To Palmer, who holds coffeepot towards her.) 
 No, Hawkins, I don't want any coffee. That reminds me, 
 Dick. Mr. Jones is coming tonight. 
 
 Palmer (still stands by gesticulating) . 
 
 Nell (coldly). No! Fill Mr. Preston's cup, since he must 
 have it. 
 
 Palmer (-filling Dick's cup). 
 
 Nell. We must put that awful rug he gave us in plain 
 sight. It's up in the sewing room. 
 
 Enter Molly L. U. E. She comes down L. 
 
 Molly (to Nell). Please, Mrs. Preston, the musicians 
 have come. 
 
 Nell (rising). I must hurry. Molly, you may help Haw- 
 kins clear the table. Punch will be served here later on. 
 (To others.) Pardon me, but I must be going. (Exit L. 
 U. E.) 
 
 Dick (rising and following Nell). I'll have to look after 
 those musicians. See you later, folks. (Exit L. U. E.) 
 
 Marion (rising). We might as well try that two-step 
 before the crowd arrives, Bob. 
 
 Robert (rising). I'll be pleased to try it with you, 
 Marion. (Exeunt zvith Marion L. U. E.) 
 
 Molly (sitting L. at table). I think I'll help a lot more 
 by just looking at you, Hawkins. 
 
AT THE END OF THE RAINBOW. 39 
 
 Palmer (taking up dishes). Very well. I'm liable to 
 drop from heart failure any minute. 
 
 Molly. Due to the work, I suppose? 
 
 Palmer. Rather to being worked. 
 
 Molly (sighingly). Oh, I'm so tired of work! I never 
 want to see a feather duster again as long as I live. 
 
 Palmer. But Carlyle says, "An endless significance lies 
 in work; in idleness alone is there perpetual despair." 
 
 Molly (suspiciously). What do you know about Carlyle? 
 
 Palmer. Why, that quotation happened to be our class 
 motto once. 
 
 Molly (surprised). Class motto? 
 
 Palmer (starting). Yes, of course — the Butler Training 
 School. Never heard of it? (Removes crumbs from table.) 
 
 Molly. Hawkins, do you always tell the truth ? 
 
 Palmer. Always, Molly, except when I don't. 
 
 Molly. I don't believe you're a butler any more than 
 I'm a maid — 
 
 Palmer (interrupting). Oh, then you're not a maid? 
 
 Molly (confused). I meant to say that this is the first 
 time I have ever done second work. 
 
 Palmer (laughingly) . Are your fingers crossed? 
 
 Molly. Maybe you are butlering for sociological rea- 
 sons? 
 
 Palmer. Now, what do you know about sociology? 
 
 Molly. Why, it is required in the curriculum of the 
 Preparatory School for Domestics, of which I was the star 
 student. 
 
 Palmer. "Twinkle, twinkle, little star, how I wonder 
 what you are." 
 
 Molly (leaning forward on table). What do you think 
 of me anyway? 
 
 Palmer (leaning toward her on table). Think about you, 
 Molly? Do you dare me to tell you? 
 
 Molly (confused). Don't you dare tell me, Hawkins! I 
 don't want you to tell me ! I don't want to know. (Rises.) 
 
 Palmer (rising and taking hold of tablecloth, which he 
 folds up, Molly taking hold of the other end). Then you 
 don't care whether I chuck my job or not. 
 
40 . AT THE END OF THE RAINBOW. 
 
 Molly. You're not thinking of leaving? 
 
 Palmer. Butlering isn't what it is cracked up to be. 
 
 Molly. Aren't you satisfactory, or satisfied ? 
 
 Palmer. What I've broken amounts to more than my 
 wages, so I can't conscientiously stay without asking for a 
 raise. 
 
 Molly. Won't I see you again? 
 
 Palmer. As often as you have a night off. 
 
 Molly. Night off! Why, oh, I won't be here long! In 
 fact, my two weeks are just up. {They come to the last fold 
 in the cloth and Palmer catches hold of her hands and looks 
 steadily at her.) 
 
 Palmer. Your two weeks? 
 
 Molly (struggling in confusion). Let go my hands, 
 Hawkins ! Stop looking at me so ! (Breaks away from him.) 
 Let's finish with this. You take the tray and I will follow 
 with the coffeepot. 
 
 Exit Palmer with tray R. 2 E. Molly stands at door. 
 
 ■ Molly (alone). Molly Bruce! To think that you would 
 ever fall in love with a butler. 
 
 Enter Palmer R. 2 E. He stands behind Molly. 
 
 Palmer (aside). She loves me! 
 
 Molly (aside). To think that I should be so taken in. 
 {Turns and rushes into Palmer's arms.) 
 
 Enter Dick L. U. E. He stands and watches them. 
 
 Palmer (as he embraces Molly). Taken in is good! 
 
 Molly (making my effort to release herself). Don't you 
 think, Hawkins, the coffeepot ought to be taken — out? 
 
 Dick (coming C). Perhaps I can assist you. (Palmer 
 and Molly separate in confusion. Laughingly). Pardon me 
 for interrupting you, but Mrs. Preston desires to see Molly. 
 ( To Palmer.) I wish to have a heart to heart talk with you, 
 Hawkins. 
 
 Molly (aside, as she goes to L. U. E.). Isn't it terrible! 
 (Stands at entrance and listens.) 
 
AT THE END OF THE RAINBOW. 41 
 
 Dick (at C, taking Palmer's hand). You're a brick, old 
 fellow ! Your record as a butler has been exemplary. 
 
 Palmer (confused). Thank you, sir. 
 
 Dick. And the Kappa Beta Sigma's have instructed me 
 to declare your servitude ended. I hereby adorn you with 
 the button that proclaims you no longer the Preston butler, 
 but the pledge of Kappa Beta Sigma. (Places button in 
 Palmer's coat lapel.) 
 
 Palmer. Gee, but I'm glad ! I'd do most anything to 
 make the frat, Preston, but this butler job would surely 
 have proved my finish, had it not been for — 
 
 Dick (interrupting, laughingly). The maid! I under- 
 stand. (Exit Molly L. U. E., shaking finger.) Sorry you 
 can't splurge your colors at the dance tonight, but we'll show 
 you off at the game tomorrow. 
 
 Exeunt Dick and Palmer R. 2 E. Enter Robert L. U. E. 
 
 Robert (as he conies C). So tomorrow the packet is to 
 be opened. (Takes letter from his pocket and looks at it 
 closely.) My correspondent informs me that the daughter 
 is away and that the mother has departed suddenly. That 
 is significant, and I think it will not be amiss to take suitable 
 precautions. (Goes to safe at L. 2 E., opens door, takes 
 packet from it, places it in his pocket and then substitutes 
 another packet for it in the safe, after which he closes door 
 and turns combination.) 
 
 Enter Marion L.U. E. She sees Robert at safe and 
 watches. 
 
 Marion. Why, Bob ! That isn't playing fair. You prom- 
 ised that you wouldn't even think of business on this, my 
 eighteenth birthday. 
 
 Robert. The princess has only to command. 
 
 Marion. Then, will you be her prince? 
 
 Robert. Her prince? The prince should be gay, hand- 
 some, young. I'm better as the Lord Chamberlain. 
 
 Marion (protestingly). Oh, Bob, why do you persist in 
 talking so ? You know that it troubles me. 
 
42 AT THE END OF THE RAINBOW. 
 
 Robert (gayly). Then not a word more to mar your hap- 
 piness ! You've not even asked me how I liked your gown. 
 
 Marion (removing mask). Do you like it? Would you 
 know me anywhere even with this mask over my eyes? 
 
 Robert. Anywhere, Marion. There's nobody like you. 
 
 Marion. And incidentally, there's no other dress like 
 mine. 
 
 Robert. Even if there was, I'd know you. 
 
 Marion (roguishly) . I might test you beautifully. 
 
 Robert. How ? 
 
 Marion. Why, I might ask vou to whisper the combi- 
 nation of the safe. If you really knew me, you wouldn't 
 hesitate, would you? 
 
 Robert. Surely not, my birthday lady. 
 
 Marion (seriously). I won't, joke any more now. I'll be 
 serious. 
 
 Robert (laughingly). Serious, with a gay mask ball to 
 start you toward the next milestone? (They sit on lounge 
 L. 2 E.) 
 
 Marion. A mask ball ! Bob, think how symbolical it is. 
 All my life I've been care free, so happy, so frank, so open 
 minded in everything. Not a thought, not an impulse to be 
 hidden. But now I'm eighteen. I'm older, wiser, and I must 
 wear the mask. If I suffer, no one must suspect. If I dream, 
 no one must share it. If I love, he must never know. 
 
 Robert. It's the same old story, Marion — hearts and 
 masks. And it ever will be so. The mask of friendship for 
 enmity, of charity for hatred, of love for selfishness. 
 
 Marion. But yet, there are the helping masks. What 
 would we do without them ? For our tenderest thoughts, 
 our sweetest dreams, our noblest aspirations are not for the 
 world to read, but only for — the other ! 
 
 Robert (wondcringly) . The other? 
 
 Marion (after a pause). Oh, Bob, I can't explain! Per- 
 haps, some day, when I'm old and peaceful, when the masks 
 are away forever, you'll understand. For then, dear Bob, 
 I'll be living in the garden of memories. 
 
 Robert. The garden of memories ! Ah, child, many of 
 us have planted the passion flower of ideals to have it yield 
 
AT THE END OF THE RAINBOW. 43 
 
 us only bare and leafless stalks ! Many of us have tenderly 
 laid the seeds of heartsease to realize only the bitterness of 
 rue. Many of us have tended the beautiful blossoms of our 
 heart's best love to find in its fruition the mockery of thorns ! 
 Marion. But I have planted my flower, Bob. It's my 
 love and faith in you. Its roots are deep, dear Bob ; its stalk 
 is sturdy; its blossom perfect. It's my flower, and no one 
 can take it from me. 
 
 Robert (meditatively) . I, too, have my perfect rose. It 
 was a wee bud when I first began to care for it ; but it has 
 grown and strengthened. One by one the petals have been 
 folded back ; the golden heart has been opened to the sun, 
 and my rose has bloomed ! 
 
 Marion. Dear Bob — (they rise and walk slowly to L. 
 U.E.) 
 
 Robert (interrupting) . And even when the flower itself 
 is mine no longer, the elfin spirit of the rose will be with me, 
 with its sunny hair, its eyes of blue, its heart of gold ! 
 
 Marion (with emotion). Oh, Bob! I'm almost crying! 
 It's all so strange, so new, so mysterious ! Won't you give 
 me a birthday wish before you send me out into the future ? 
 
 Robert. Ah, Marion, in the new land of the days to 
 come, may you find your heart's desire — at the end of the 
 rainbow ! 
 
 Marion (taking his hand, at L. U. E.). At the end of the 
 rainbow ! 
 
 Exeunt Marion and Robert, hand in hand, L. U. E. En- 
 ter Louise, in black domino, and Mrs. Brown, R. C. They 
 come down C, looking about. 
 
 Louise (at R. of table). Come, we may talk here. Why 
 did you take such a risk tonight, of all nights ? 
 
 Mrs. B. I left home several days ago. My train tonight 
 was late, but it was imperative that I should see you and I 
 came directly here. (Siis L. at table.) Tell me, what have 
 you accomplished? 
 
 Louise. Nothing ! Give me time, mother ! 
 
44 AT THE END OF THE RAINBOW. 
 
 Mrs. B. Grve you time! How have you been spending 
 these days, when all the time I have been plotting and plan- 
 ning. Idling, I suppose. 
 
 Louise (indignantly). Hush! You shall not say such 
 things to me ! 
 
 Mrs. B. Come to the point ! The packet is to be opened 
 tomorrow. Whatever we do, must be done tonight ! 
 
 Louise. I have planned for tonight. (Throws back her 
 domino.) See, my costume is the counterpart of Miss Day- 
 ton's. She alone knows the combination of the safe. I am 
 trusting that our identities may be confused. Let me think ! 
 I shall find a way to get the combination ; never fear ! 
 
 Mrs. B. If the will is not in the packet, re-seal and re- 
 turn it to the safe before morning. I must trust to your 
 cleverness for that. 
 
 Louise. And if there be a will ? 
 
 Mrs. B. Acknowledging Douglas as heir? A gust of 
 wind might blow it away, a careless gesture bring it too 
 near the fire, and who would be the wiser? But the other 
 papers must be returned to the safe. You understand? 
 
 Louise. But if I fail ? 
 
 Mrs. B. (annoyed ) . You must not think of failure! 
 
 Louise (terrified). Oh, I'm frightened! I wish I had never 
 promised. If anything should happen to me ! 
 
 Mrs. B. What could happen ? 
 
 Louise. Douglas suspects me. 
 
 Mrs. B. (laughing disdainfully). Douglas! We tricked 
 him once, and can do it again ! 
 
 Louise. But it's different now. lie frightens me. 
 
 Mrs. B. This is ridiculous ! What is likely to happen 
 if we do not take this risk? Genteel poverty, threadbare 
 clothes, made-over hats, street cars instead of automobiles, 
 work instead of pleasure ! The picture does not suit your 
 fancy, evidently. Well, it rests with you to change it. 
 
 Louise (rising and going to L. U. E., then returning 
 quickly). Hush! Someone is coming! You must not be 
 seen here. Come this way. 
 
 Mrs. B. (rising and going to R. 2 E.). Be cautious, 
 Louise. 
 
AT THE END OF THE RAINBOW. 45 
 
 Louise. Trust to me, mother. Follow the hall there. Tt 
 leads to a side entrance. You cannot make a mistake. 
 ( Thrusts Mrs. B. off R. 2 E., then runs to piano, her eyes 
 fixed upon L. U. E.) 
 
 Enter Robert L. U. E. He conies down C. to table. 
 Louise runs to L. U. E. } throws off her domino and puts 
 on her mask. 
 
 Louise {to Robert, calling laughingly). Bob! 
 
 Robert {turning in astonishment). Marion! Why, I saw 
 you dancing just now. 
 
 Louise {dancing down stage toward him). I'm every- 
 where tonight! I'm a witch, a fairy, anything you please! 
 {Sidles up close to him.) If I were to tell you I'm not Ma- 
 rion, you wouldn't believe me? 
 
 Robert {laughingly) . Certainly not, you witch ! 
 
 Louise. And if I deny it? 
 
 Robert. I challenge you ! 
 
 Louise. Then who am I, Bob? Who am I? 
 
 Robert {putting arm about her shoulder). My Marion! 
 
 Louise. Then, if you are so sure of it, it's perfectly right 
 for you to whisper the combination of the safe to me. 
 
 Robert {starts, then laughs). So this was the test you 
 spoke of, Marion? Well, here it is. {He whispers a few 
 words in her ear.) 
 
 Louise. You have done well, Bob. Shall I whisper it 
 back to you? {She whispers in his ear.) Have I said it cor- 
 rectly ? 
 
 Robert. You did not miss a single number. 
 
 Louise {dancing about). Isn't it fun to have a secret all 
 to ourselves? I must go now, Bob. Turn your face while 
 I vanish. {As he turns his back she takes up her domino 
 and throw's it out of door at L. U. E.) Now you may look 
 again, Bob. I'm a witch, a fairy, I'm gone! {Exit L. U. E.) 
 
 Robert {alone). Dear Marion! Strange that she should 
 have asked me for that combination. I wonder what her 
 purpose could have been? {Sighs.) Well, it's hard to make 
 her out, and yet I fancy I love her and she — she? {Exit sigh- 
 ingly R. 2 E.) 
 
46 AT THE END OF THE RAINBOW. 
 
 Enter Imp L. U. E., and a moment later Phyllis, un- 
 masked, R. C. Phyllis is disturbed. 
 
 Phyl. (to Imp). Will you do me a favor, Imp? 
 
 Imp (with foot on chair R. at table, tying her shoe laces). 
 What do I get out of it, Phyl ? 
 
 Phyl. Will a box of candy do ? 
 
 Imp. How big? 
 
 Phyl. A pound. 
 
 Imp. Chocolates? 
 
 Phyl. Yes. 
 
 Imp. What else? 
 
 Phyl. (indignantly). You mercenary wretch! Isn't that 
 enough ? 
 
 Imp. Will you answer the telephone for a month? 
 
 Phyl. (impatiently). Yes; anything you wish. 
 
 Imp. All right. What is it you want me to do? 
 
 Phyl. (whispering). Listen. Douglas is coming over 
 tonight. He's outside now. 
 
 Imp (disgustedly). Why, this is treason! The big game 
 comes off tomorrow and Koehler is keeping the men close. 
 
 Phyl. Well, he's coming just the same. He's got to get 
 the outline of the psychology lecture, which he missed. 
 
 Imp. You can't stuff me, Phyl, even if I am a Freshman. 
 
 Phyl. Really, there's a quiz Monday, and he's got to 
 have it ! 
 
 Imp. And he's coming over here to get it? 
 
 Phyl. (impatiently). Yes, yes ! 
 
 Imp. For a person who doesn't know how to flirt, Phyl 
 Lane, you make a pretty good stab at it. 
 
 Phyl. I'm to meet him here. 
 
 Imp. But where do I come in? 
 
 Phyl. You don't come in — you stay out ! 
 
 Imp. (turning up her nose). Humph! 
 
 Phyl. You must warn us if anybody approaches. It 
 would be dreadful for him to be discovered. 
 
 Imp. It is perfectly dreadful for him to come at all, and 
 the big game to come off tomorrow. (Goes to L. U. E., stops 
 
AT THE END OF THE RAINBOW. 47 
 
 and turns.) Look here, Phyl ! I won't promise unless you 
 
 agree to sweep the Lodge all this month. 
 Phyl. (impatiently). Yes, I agree! 
 Douglas (offstage at R. C, knocks three times.) 
 Phyl. There he is! Run along, Imp! (Goes to R. C.) 
 Imp (at L. U. E.). May the patron saint of imbeciles 
 
 catch me, if ever I lose my mind over a mere man ! (Exit 
 
 L.U. E.) 
 
 Enter Douglas R. C. Phyllis closes door after him. 
 
 Phyl. (as they come down C.) Oh, Douglas, I'm scared! 
 Just suppose Koehler — oh, dear ! Perhaps you shouldn't have 
 come. (She sits R. at table.) 
 
 Douglas (sits L. at table). Nonsense! I'll be back in half 
 an hour, and no one will be the wiser. 
 
 Phyl. But it's dangerous, isn't it? (Takes book from 
 table.) 
 
 Douglas (laughingly). A little, of course. Why, Phyl, 
 I'd risk a dozen Koehlers just to see you ! 
 
 Phyl. (playing with book). Would you, really? (She 
 drops book and Douglas snatches for it as she leans for- 
 ward. They bump their heads.) Oh, I see stars! 
 
 Douglas (rubbing his head). And I see constellations, 
 moons and crescents. 
 
 Phyl. (taking up book). Let us get down to business. 
 The first point was, "Every state tends to be a part of a per- 
 sonal consciousness." (Holds up mask suddenly). Would 
 you know me with this on, Douglas? 
 
 Douglas (changing his scat to chair at end of table). 
 Know you? Do you think that any disguise could hide you 
 from me? 
 
 Phyl. We are neglecting our work. "Every state tends 
 to be — " Oh, Douglas, do you like my dress ? 
 
 Douglas. Look in my eyes and see. 
 
 Phyl. (confused). Now, where were we? Oh, yes. Did 
 you get that first point? 
 
 Douglas. I'd get it much better if you'd let me hold 
 your hands. You know Dr. Smith (name local instructor of 
 
48 AT THE END OF THE RAINBOW. 
 
 prominence) always advocates it as a means of thought 
 transference. 
 
 Phyl. Does he, honest? 
 
 Douglas. Of course. That's why people always hold 
 each others' hands at spiritualistic seances. 
 
 Phyl. (reluctantly giving her hand to Douglas). Oh, I 
 see ! Now, he reduces everything to this : "Absolute insula- 
 tion, irreducible pluralism. Neither contemporaneity nor 
 proximity in space, nor similarity of quality are able to fuse 
 thoughts which are sundered by the barrier of belonging to 
 different personal minds." (After a pause.) Why don't you 
 say something? 
 
 Douglas (caressing her hand). Say something! Heav- 
 ens ! What have you left for me to say ? 
 
 Phyl. Aren't you interested? 
 
 Douglas. I'm simply thunderstruck with interest. 
 
 Phyl. We'd better go on to the next point. (Reads.) 
 "Within each personal consciousness — " (suddenly) Is your 
 cough better, Douglas? 
 
 Douglas (rapturously). Do you care, Phyl? 
 
 Phyl. (with dignity). As I was saying, when you inter- 
 rupted, "Within each personal consciousness, states are al- 
 ways changing — " 
 
 Douglas (interrupting). Then if they're constantly chang- 
 ing, why should we bother with them? Come, now, Phyl. 
 You don't care, I don't care, and here goes. (He throws 
 book upstage.) Why should we trouble when we're young, 
 when we're gay, when there's a game tomorrow ! 
 
 Phyl. Oh, the game, the game ! How we shall yell for 
 you, sing for you, glory in you ! 
 
 Douglas. And how we shall play, and fight, tumble and 
 twist ! 
 
 Phyl. Everybody shouting, singing and waving colors ! 
 
 Douglas. A writhing mass of arms and legs and hair, 
 all tangled ! * 
 
 Phyl. And then a figure with the pigskin will dash out, 
 pushing, hammering, dodging, going on, on, until he's be- 
 tween the goal posts ! And it will be Douglas, Douglas ! 
 
AT THE END OF THE RAINBOW. 49 
 
 Douglas. Oh, I'll play as I never played before! I'll 
 struggle as I've never dreamed of struggling! I'll help to 
 win, Phyl ! To win ! (Puts arm about Phyllis.) And it will 
 be for you, sweetheart, all for you ! 
 
 Enter Imp L. U. E. She sees them, turns with a cougJi 
 and comes dozvn C. 
 
 Imp. Watch out! Somebody's coining! (They separate 
 in confusion.) Don't come in until you hear me say 'rah. 
 three times. (To Douglas.) Move out of this. 
 
 Douglas (to Phyllis). Good-bye! (Exit hastily R. C.) 
 
 Imp. 'Rah, rah, rah! 
 
 Enter Palmer L. U. E. with punch bowl. As he goes to 
 table Phyllis exits L. U. E., followed by Imp. Enter 
 Molly R. 2 E. She comes C. 
 
 Palmer (as he puts punch bowl on table, to Molly). Why 
 that far-away look, my gypsy queen ? Are you seeing things ? 
 
 Molly. Come, cross my hand with silver, and I'll look 
 into the future, my lord. 
 
 Palmer (giving her his hand). I'd do most anything, 
 Molly, to have you hold my hand. 
 
 Molly (looking at his hand). The sensation ought not 
 to be an unusual one to you with all your experience. 
 
 Palmer. Play ball. 
 
 Molly (as she looks at his hand). Have you a micro- 
 scope ? 
 
 Palmer. What on earth do you want with a microscope ? 
 
 Molly. I thought it might enable me to find the head 
 line. It is very faint. 
 
 Palmer. Well I like that ! 
 
 Molly. It is all heart line here. I wonder why ? 
 
 Palmer. Don't bother about a little thing like that. 
 
 Molly. Your life line stops short — it means you won't 
 live long. 
 
 Palmer. I don't expect to. The good die young, you 
 know. 
 
 Molly. Oh, no, Hawkins. The young die good; so 
 either way, I won't worry. (Drops his hand.) 
 
50 AT THE END OF THE RAINBOW. 
 
 Palmer. See here, Molly. Unless you hold my hand, I 
 won't let you tell my fortune. 
 
 Molly (taking his hand again). Oh, now I see something 
 that will please you — a girl ! 
 
 Palmer (eagerly). What does she look like? 
 
 Molly. Tall, blond, and — 
 
 Palmer. You're color blind, Molly. Look again. 
 
 Molly (scanning his hand). She is blond, terribly blond! 
 
 Palmer. You're wrong. Her hair is dark. 
 
 Molly. Why, so it is.! Since I last looked, she has used 
 a twenty-five-cent bottle with wondrous effect. 
 
 Palmer. Now, weren't you mistaken about her being 
 tall? 
 
 Molly. How stupid of me ! She is small. I wonder 
 what is the matter with me? 
 
 Palmer. Seeing double, that's all. It will happen. 
 
 Molly. I see here a lot of criss-cross lines. They mean 
 hidden identity. 
 
 Palmer. How strange ! 
 
 Molly (sternly). Aren't you really a butler? 
 
 Palmer. I surely am — at present. 
 
 Molly. But your palm says not. 
 
 Palmer. Molly, this disregard for truth is the great sin 
 of the modern age. 
 
 Molly (looking closely at his hand). I see — a college, a 
 lot of men, and — and a goat! 
 
 Palmer. What the deuce is he trying to butt in for? 
 
 Molly. I see nothing but mystery — mystery, everywhere ! 
 
 Palmer. You're a mystery. 
 
 Molly. You're a mystery. 
 
 Palmer. Then we- both are mysteries. 
 
 Marjorie, Marie and others talk volubly offstage L. U. 
 E. Palmer hides behind piano tipstage. Then enter Mar- 
 jorie, Marie and five or six maskers, who come down C. 
 and surround Molly. 
 
 Marjorie. Is the candidate willing to change this period 
 of domestic bliss for the larger life of the Sorority? 
 Molly (fervently). I am! 
 
AT THE END OF THE RAINBOW. 51 
 
 Marie. Oh, Molly, you've been such a dear, and we're 
 very proud of you ! Tomorrow you'll be no longer the maid, 
 but Theta Phi's very own pledge ! 
 
 All circle around her, singing, "You must be a good 
 Theta Phi." They then exeunt two by two, except Molly. 
 Enter Imp L. U. E., after they have passed out, and unseen 
 by Molly or Palmer, sits on lounge and, yawning, appar- 
 ently falls asleep. Palmer conies down C. to Molly. 
 
 Molly (to Palmer). You heard — you understand? 
 Palmer (laughingly). I understand. You are not the 
 maid. 
 
 Molly. And you're not the butler. 
 Palmer. And, no Thursday nights off? 
 Molly. But I'll see you— again. 
 Palmer. Isn't it jolly? 
 
 They look at each other for an instant, then laugh and 
 exit L. U . E. Enter Jack and Louise L. U. E. They come C. 
 
 Jack. Here we are, Marion. Now, what was it you 
 wanted of me? 
 
 Louise. I just wanted you to help me find a certain 
 paper that Bob wants. 
 
 Jack. I can't understand why Bob should choose this 
 time to — 
 
 Louise (interrupting) . Oh, he's deep in some legal ques- 
 tion. Do you want to see me open the safe, Jack? (Kneels 
 before safe.) 
 
 Jack. Of course it's no affair of mine. Strange how 
 alike you and Miss Grayson appear tonight. 
 
 Louise (as she works with knob of safe). Isn't it, Jack? 
 She has a long black domino and hood, and was in the con- 
 servatory as we passed. She is a wonderful girl in many 
 respects, is Miss Grayson. (Opens door of safe.) Here we 
 are, Jack. What a queer little place it is. 
 
 Jack. You'll find some papers in the little drawer, 
 Marion. I'll help you. (Kneels down and goes over papers.) 
 
52 AT THE END OF THE RAINBOW. 
 
 Louise (taking up packet). This must be the packet Bob 
 wants. (Goes to table, lifts her mask for an instant as she 
 examines packet.) 
 
 Imp (awakening and looking at Louise, aside). Good 
 heavens ! It's Miss Grayson ! 
 
 Louise (thrusting packet beneath her dressj. I have it at 
 last! (She creeps upstage to R. C, drops handkerchief and 
 exits, followed by Imp after picking up handkerchief.) 
 
 Jack (working at safe). Think you'll find the papers all 
 right, Marion. 
 
 Enter Marion L. U. E. She comes down L. and shows 
 surprise when she sees Jack at safe. 
 
 Marion (to Jack). What does this mean, Jack? 
 
 Jack (looking up). Shall I close the safe, Marion? 
 
 Marion (tearfully, as she places hands on Jacic's shoul- 
 der). Jack! How could you? Oh, how could you? 
 
 Jack (astonished). What in the world do you mean, 
 Marion ? I don't understand. 
 
 Marion (pleadingly). It isn't too late, Jack! Put it all 
 back, or wait, there is money here in my own drawer. Hurry, 
 hurry ! No one shall ever know. (Kneels dozvn at safe be- 
 side Jack.) 
 
 Enter Robert L. U. E. ■ He comes dozvn L. and starts 
 upon seeing Marion and Jack on their knees. 
 
 Jack (amazed). I don't know what you're talking about, 
 Marion ! 
 
 Robert. Jack ! 
 
 Jack (rising, abashed). Bob! 
 
 Robert (sternly). And this is the reward for my faith 
 in you, Jack, to find you here — a thief ! 
 
 Jack (hotly). I am no thief! 
 
 Marion (springing between them at C). Bob! You must 
 not speak to Jack so, for it is my fault ! 
 
 Robert. Your fault ! 
 
 Marion (chokingly) . I opened the safe and I — I forced 
 him to help me seek what I wanted. (Hides face in her 
 hands.) 
 
AT THE END OF THE RAINBOW. 53 
 
 Jack (going to R. C, aside). There's a mystery here, and 
 I shall unravel it! (Exit R. C.) 
 
 Robert. I do not know' why you did this, Marion. But 
 why did not you trust me, give me back my faith — my love ! 
 
 Marion (emotion). Love! 
 
 Robert. Yes, love ; for I love you, Marion. 
 
 Marion (softly). You love me, Bob — -love me? (Then 
 suddenly.) But you must not — you must not — for — I have 
 not kept your faith — T have betrayed your confidence. For — 
 I'm eighteen — the money's all mine — the stocks and bonds — 
 all mine — and I couldn't wait. I wanted to hold them — to 
 feel that they're my own — to dream of all they'll purchase — 
 jewels — laces — the beautiful things that a girl must have. 
 Oh, it's the money, Bob, the money ! It's the pot of gold 
 that I want — the pot of gold — at the end of the rainbow ! 
 (She falls weeping at table, Robert standing over her, 
 until — ) 
 
 CURTAIN. 
 
54 AT THE END OF THE RAINBOW. 
 
 Act III. 
 
 Scene: Interior of Athletic Club, in 3. Place may be 
 rough looking and furniture should be plain and simple. 
 College colors tacked to walls here and there. Boxing gloves 
 hang to wall R. of C. D. Chair dozvn R. Rough table and 
 two chairs well dozvn stage L. C. Lounge up L. Large open 
 doorway C, through which a landscape view is had, showing 
 a ball field or parade ground. Practical door L. 2 E. An- 
 other door R. U. E. See Scene Plot for stage setting. 
 
 Just before rise, a college song is sung, and as curtain 
 rises, all join in a college yell. Scene grows animated, stu- 
 dents rushing R. and L. back of entrance. Horns are blown 
 and noise making instrument utilized. Discovered Nell, 
 Dick, Jack, Polly, Elsa, Imp, Marjorie, Molly, Emily, 
 Kathleen, Molly and Stanley, moving about stage near 
 door, chatting and laughing. A moment after rise, enter 
 Phyllis and Douglas, the latter wearing a football suit. 
 
 Douglas (to Phyllis, as they come down C). Did you 
 see it, Phyl ? Only two yards to gain, the goal in sight, and 
 then that wretched fumble? (Disgustedly.) It's enough to 
 drive one mad ! 
 
 Phyl. (soothingly). You must not lose courage, Doug- 
 las. There's the second half yet. We've only four points 
 against us, and we'll win — we've got to win ! 
 
 Douglas (desperately). But to think I have not helped the 
 team to gain a yard! I've failed, that's all. I've failed! 
 
 Phyl. (taking his hand). You haven't, Douglas ! You had 
 no help, no opportunity. 
 
 Douglas. How can you have faith in me, when I've 
 made no play for you — won no victory for you? 
 
 Phyl. But you will, Douglas. You will ! 
 
 Douglas. But if we lose? 
 
 Phyl. We shall not lose. 
 
AT THE END OF THE RAINBOW. 55 
 
 Douglas (facing her). You will be loyal through every- 
 thing, Phyl? 
 
 Phyl. (taking his hands). I'll be loyal, Douglas. 
 
 Enter Louise C. D. She comes down C. behind them. 
 
 Douglas. You're a jewel, Phyl? 
 
 Louise (laughingly). How delightfully you play your 
 part, Miss Lane. 
 
 Phyl. (confused, as she turns R.). What do you mean? 
 
 Louise (to Douglas). Oh, Miss Lane has not told you 
 of the little drama in which she is playing the star part ? 
 
 Douglas (surprised). Drama? (Looks inquiringly at 
 Phyllis, who displays anxiety as she faces Louise.) ■ 
 
 Louise. You haven't heard of how a football captain 
 came to her and made her promise that she would win a 
 certain new man for the team? No? 
 
 Douglas (nervously). Goon! 
 
 Louise (glancing at Phyllis smilingly). She was to flirt 
 with him, even gain his affections, if she could, but after 
 the game — (pauses.) 
 
 Douglas (impatiently). After the game? 
 
 Louise. She was to laugh at him. 
 
 Douglas (starts, looks at Phyllis in amazement) . I don't 
 believe it ! 
 
 Louise (pointing to Phyllis). Then ask Miss Lane. 
 She cannot deny it. (Phyllis and Douglas show emotion, 
 and she turns up stage laughingly, stopping near C. D. She 
 looks at them with a laugh.) And love was to come to you 
 "without guile, without selfishness, without duplicity." 
 (Exit laughingly CD.) 
 
 Phyl. (with emotion). Douglas! 
 
 Douglas (crossing to her at R. C). Phyllis, this isn't 
 true. It can't be true, for you are not that kind of girl. Say 
 it is false ! 
 
 Phyl. (despairingly). Listen to me, Douglas — 
 
 Douglas (interrupting) . Did Ted come to you? 
 
 Phyl. (chokingly). Yes. 
 
 Douglas. And he asked you — that? 
 
 Phyl. Yes. 
 
56 AT THE END OF THE RAINBOW. 
 
 Douglas (despairingly). Then it is true, after all! 
 
 Phyl. (taking his hand, tearfully). Let me explain, 
 Douglas ! You don't understand ! 
 
 Douglas (sternly). Yes, I do understand! But, thank 
 heaven ! I've found out the truth in time ! 
 
 Phyl. Douglas ! 
 
 Douglas. So I'm no more to you than any one of those 
 eleven men out in the field yonder? (Points to R. U. E.) 
 Your faith and confidence were extended to me only to 
 keep my interest in the cause of your college at fever heat ! 
 Your friendship was the sop thrown to me as a reward for 
 my services. 
 
 Phyl. (tearfully). You don't understand, Douglas — 
 
 Douglas (sadly). I was to strive and struggle for your 
 college. I was to give you my trust, my love, the best of my 
 manhood, and, after it was all over, after I had played my 
 part, and served your purpose, you were to smile at me, 
 thank me, then forget me ! 
 
 Phyl. (in agony). No, no ! 
 
 Douglas (angrily). You shall not be disappointed, your 
 work shall not be in vain ! I have not you to fight for now, 
 but your college ! I shall keep my agreement to the bitter 
 end — nothing shall stop me! (Goes to C. D., then turns to 
 Phyllis, who has followed him with outstretched hands, 
 despairingly) . I'll fight, for my blood is up. I'll fight to 
 win! (Exit C. D., turning R.) 
 
 Phyl. (at C. D., looking off after him). I have lost him 
 forever! (Goes to table dozen L. and sits L., sobbing for a 
 moment. She then d razes herself together with an effort.) 
 When he knows the truth he will forgive me ! (Shouts off- 
 stage. She 7'ises and go-es to C. D. and looks off R.) He is 
 there, fighting for the college, but not for me ! (Exit C. D. 
 tearfully, turning R.) 
 
 Enter Polly, Elsa and Jack, C. D. from L. They stand 
 to L. of entrance and look off, watching game. Shouts 
 heard offstage R. 
 
 Polly (eagerly, taking Jack's arm). We must keep 
 them from scoring this half ! Look, Jack ! Look ! 
 
AT THE END OF THE RAINBOW. 57 
 
 Jack (looking R.). Isn't that a peach of a play! 
 
 Elsa (looking R.). It's Douglas ! (Hides her face.) Oh, 
 I don't dare to look, for fear I'll see them stop him! 
 
 Jack. Stop him? You might as well try to stop a cy- 
 clone ! There he is. Forty yards and straight over the line ! 
 Bully boy ! 
 
 Polly (excitedly). See him kick! (Loud outburst out- 
 side. ) He's done it ! I knew he would ! 
 
 Jack (frantically). We win! We win! (Exeunt with 
 Polly and Elsa C. D., turning R. College yells heard off- 
 stage and great clamor of horns, etc.) 
 
 Enter Imp C. D. She runs down stage rapidly. 
 
 Imp (waving college colors). That's right! Grab him! 
 Down him! Sit on him, and keep sitting! (Runs to C. D. 
 and exits L., running.) 
 
 Enter Nell and Dick C. D. from R. They stand at 
 entrance and look off R. 
 
 Nell (excitedly). What a dreadful mixup, Dick! Some- 
 body's hurt ! Is it one of the other men ? No, it can't be — 
 
 Dick (eagerly). It's Ted! He's badly hurt! (Exit C. D., 
 going R.) 
 
 Enter Ted, supported by Dick, C. D. Ted limps pain- 
 fully. They go to table down L. and Ted falls into chair 
 exhausted. 
 
 Nell (following them, to Ted). It isn't anything serious, 
 Ted, I hope ? 
 
 Ted (groaning). No, nothing much. Only a ligament or 
 two strained and my back broken in three places. Nothing 
 much. 
 
 Dick. I'm sorry, old chap, that you're retired from the 
 game just as victory is in our grasp. 
 
 Nell (sympathetically) . It is dreadful! 
 
 Ted (angrily). It's durned hard lines, that's what it is! 
 After you've worked for weeks and hoped and dreamed of 
 a thing, to have someone else pluck the persimmon ! Leave 
 me now, for I want to be alone! (Exeunt Nell and Dick 
 
5S AT THE END OF THE RAINBOW. 
 
 C. D., turning R. Loud noise off R. Ted alone, despairingly.) 
 They're forming again and somebody else is at quarter and 
 giving my signals — my signals! {Fiercely.) And I ought 
 to be there, to run forward, to run through the line, to fall 
 beneath the pile ! Now, I'm out of it — out of it ! (Rises 
 and limps groaningly to L. of C. D., zvhcrc he crouches and 
 looks off R.) They're too still. Something's doing. (Looks 
 intently.) No, don't do that! Don't do it! Oh! If I were 
 there! Steady now — steady! (Counts.) 2 — 14 — 18 — 1 — 2 
 — 3. Good, good! (Loud cheering off R.) 
 
 Enter Kathleen C. D. from R. She stops near Ted. 
 
 Kathleen (to Ted, sympathetically). I'm so sorry 
 you're hurt, Ted ! 
 
 Ted (annoyed). Don't pity me, Kathleen. A football 
 man who's been knocked out can stand anything but that ! 
 Watch the game! If we can only win. 
 
 Kathleen. We'll win, for Douglas has — 
 
 Ted (interrupting excitedly). Look there! Watch him! 
 That's the stuff, old boy. That's the stuff ! Did you see 
 that, Kathleen? Hold on — (He turns his ankle and sinks 
 to floor with a groan.) 
 
 Kathleen. Poor Teddy ! 
 
 Ted. Don't mind me ! Watch the game and tell me 
 what's doing. 
 
 Kathleen (looking off R.). They've got him,, Ted — 
 
 Ted (despairingly). The devil! 
 
 Kathleen (straining to sec). No, they haven't! Yes, 
 they have! 
 
 Ted (groaning). Wouldn't that jar you! 
 
 Kathleen (wildly).' He's over the line! Hurrah! 
 
 Ted. And they'll kick and I can't see it ! Help me up ! 
 
 Kathleen (excitedly). He's kicked it! There it goes 
 over the post! We win! W T e win! (Drops on knees beside 
 Ted.) 
 
 Enter Emily C. D. from R. She is greatly excited. 
 
 Emily (to others). Wasn't it great? Wasn't it glorious? 
 
AT THE END OF THE RAINBOW. 59 
 
 Ted (groaning). Immense! And I didn't see it! Oh, 
 Lord ! 
 
 Kathleen (sympathetically). You may see the next 
 
 game, Ted. 
 
 Emily (excitedly). Did you see how Douglas held the 
 ball, and how he shook them off? Oh, I'm too excited to 
 talk. I can't think, and all I'm good for is to yell. Whoopee ! 
 
 Ted. Go it, Emily. (Whistle blows, and then loud 
 shouts heard offstage R.) That ends it! We've won! 
 
 Emily (running to C. D.). We've won! (Exit C. D. 
 turning R.) 
 
 Ted (rising with aid of Emily). Give me your arm, 
 Emily. I've got to see the fun. It was a glorious victory, 
 but I'm sorry I wasn't in at the finish. (Exeunt with Emily 
 C. D.) 
 
 Enter Phyllis C. D. She stands and looks off R. Loud 
 shouts heard off R. and tooting of horns. She stands to 
 L. of CD. as if seeking to screen herself from view of those 
 outside. 
 
 Phyl. (alone, as she looks off C. D.). He believes me 
 insincere and false! Have I lost him forever? If I believed 
 that, I should die ! 
 
 Enter a number of football players, carrying Douglas on 
 their shoulders. They are follozved by girl and boy students, 
 all waving college colors, carry horns and make loud noise. 
 
 Player (to others). Three cheers for Douglas! (All 
 cheer.) 
 
 Phyl. (comes down C, seeking to catch the eye of 
 Douglas. As the others carry him down lie sees Phyllis, 
 who turns to him appealingly, and after a searching look 
 averts his gaze). He hates me! He hates me, for he does 
 not understand! (Exeunt all R. U. E. Phyllis follows 
 them to door and looks off, showing emotion. Lights grad- 
 ually dimmed. Phyllis, as she looks off R. U. E.) I have 
 lost him forever! (Exit R. U. E.) 
 
60 AT THE END OF THE RAINBOW. 
 
 Enter Dick, Jack, Stanley and Ted, C. D. from R. 
 Lights arc lowered and shouts die away. They sing a col- 
 lege song, then take out pipes and smoker Dick and Jack 
 sit at table dozen L. and Stanley and Ted stand near 
 door C. 
 
 Jack. What's the program for tonight, fellows? 
 
 Stanley. Bonfire, grand mass meeting, exhortations by 
 the faculty to use the football money for chapel pictures — 
 
 Everybody. Bah ! 
 
 Stanley. Speeches by the coach. 
 
 Everybody: Hurrah ! 
 
 Stanley. The captain — 
 
 Everybody. Hurrah ! 
 
 Stanley. And the man who made the immortal touch- 
 down. 
 
 Everybody. Hurrah! 
 
 Stanley (laughingly). Arise, gentlemen, and give us 
 a slight testimonial of your appreciation. 
 
 Ted. Excuse me. I've had enough physical culture for 
 one day. Sing me to sleep. (All sing college song.) 
 
 Dick. Gosh ! But this is bliss ! A pipe, the fellows, and 
 no girls. 
 
 Ted. Heresy, Mr. Newly-wed. Heresy ! 
 
 Jack. Speaking of girls ; don't we have to get them Jto 
 this stunt tonight? 
 
 Ted [sighingly). I guess we do. 
 
 All sigh extravagantly, then sing the "Stein Song," or 
 some college song } after which they exeunt R. U. E. Enter 
 immediately, Robert C. D. 
 
 Robert (looking about). Where have they gone? 
 
 Enter Jack R. U. E'. He goes to Robert eagerly at C. 
 
 Jack. Ah, it's you, Mr. Preston ! I've been waiting all 
 day to see and talk to you. 
 
 Robert (gloomily) . I haven't felt in the humor to see 
 anyone, Jack. 
 
AT THE END OF THE RAINBOW. 61 
 
 Jack. It's about last night — 
 
 Robert (interrupting). Let us consider that episode closed 
 forever. I'm sorry for my harsh words, and by Marion's 
 statement, your part in the affair is forgiven and — and will 
 be forgotten. 
 
 Jack. There's something wrong about this business. 
 I've been thinking about it all day. It's suspicious — 
 (pauses. ) 
 
 Robert. Why suspicious Marion was led by curiosity 
 to — 
 
 Jack (interrupting). Get the papers of the Brown estate? 
 
 Robert (surprised). The Brown estate ? 
 
 Jack. Didn't you send her for them ? 
 
 Robert. No ; there is some mistake ! 
 
 Jack (joyfully). I knew it. I felt it! And yet it was 
 Marion's dres's, Marion's voice, and who else could open 
 the safe? 
 
 Robert (meditatively). Was she masked? 
 
 Jack. Yes, at first. 
 
 Robert. But why should she mask for you, if she were 
 on my errand ? 
 
 Jack. Funny, isn't it? At the last her mask was off — 
 you saw her — she spoke so strangely that — Mr. Preston, 
 have you given the combination of the safe to any other 
 person ? 
 
 Robert. Never! (Reflects.) Wait a moment. Marion's 
 dress, Marion's voice ! Did she take the packet ? 
 
 Jack. Yes, I gave it to her. 
 
 Robert. Then it was not Marion who received it. It 
 could not have been she ! I begin to understand ! 
 
 Jack. But you saw her, you heard her own statement, 
 and then, the combination, you know — 
 
 Robert (interrupting) . Never mind that! How blind, 
 how credulous, I've been ! W r e've been tricked, Jack ! 
 
 Jack. Guess we have. 
 
 Robert. It was not Marion who opened the safe, but 
 someone who had an interest in the packet ! While your 
 back was turned, she disappeared, the real Marion entered, 
 and — (pauses reflectively) . 
 
62 AT THE END OF THE RAINBOW. 
 
 Jack. Still, what did she mean at the last, when — 
 
 Robert {interrupting). Don't you understand, my boy? 
 She thought you were guilty of robbery, and to save you, 
 to spare me disappointment, she shouldered all the blame 
 like the heroine she is! (Takes keys from pocket.) Here, 
 hurry to the house, unlock the private drawer of my desk, 
 and there you will find the identical packet that was in the 
 safe last night. (Gives keys to Jack.) Rush, my boy! See 
 if the seals have been tampered with. 
 
 Jack (runs to R. U. E.). I'm off like a shot! (Exit R. 
 U. E.) 
 
 Robert (runs to R. U. E.). Jack! Wait a minute and 
 I'll join you in the search! Jack! (Exit R. U. E. hurriedly.) 
 
 Enter Molly C. D. She stands at door and looks off L. 
 
 Molly (as she looks off). He's out there with Emily, 
 but I don't care. (Shows annoyance.) Why should I care? 
 It's nice for her, and I hope (t ear f idly) they're having a 
 good time. No, I don't, either ! There they come ! 
 
 Emily and Palmer cross back of C. D., talking together 
 sweetly. 
 
 Molly (after they have passed off R.) I'm so glad that 
 I didn't get interested in him. Suppose I had fallen in love 
 with him ? 
 
 Emily and Palmer cross from R. back of C. D., still 
 talking lovingly together. 
 
 Molly (after they have passed off L.). Wouldn't it have 
 been dreadful? That girl makes me exceedingly tired! 
 
 Enter Emily C. D. She comes down C. 
 
 Emily (to Molly). Molly, did you see an algebra about 
 here ? 
 
 Molly (crossly). No, I didn't! 
 
 Emily. Mr. Palmer said he would help me with a prob- 
 lem. Oh, isn't he a dear? 
 
 Molly. He may be all right, but he isn't my style. 
 (Pouts'.) 
 
AT THE END OF THE RAINBOW. 63 
 
 Emily. You don't like him, Molly? Why, you ought 
 to be the best of friends after the butler and maid adventure. 
 
 Molly (aside, savagely). I'd like to scratch her eyes out! 
 
 Emily (laughingly). He told me everything about the 
 fun you had. 
 
 Molly (contemptuously). Fun! It bored me greatly. 
 
 Emily (anxiously) . Molly, you must be ill. 
 
 Molly. You're mistaken. I'm quite well. 
 
 Emily. Then you're tired. 
 
 Molly. No, I'm not tired. 
 
 Emily. You'd better go straight to bed. The excite- 
 ment has been too much for you. 
 
 Molly (defiantly) . I won't go to bed. 
 
 Emily. I'll explain to Mr. Palmer. 
 
 Molly (surprised). Explain what? 
 
 Emily. Your absence. He's coming here for you. 
 
 Molly. Coming for me! (Suddenly animated.) Emily, 
 you're the one who is tired. Go straight to bed ! I can't 
 have you here another minute. 
 
 Emily. I can't conscientiously leave you, Molly. 
 
 Molly. I can't conscientiously let you atay, Emily. 
 
 Emily. He might bore you. 
 
 Molly (pushing her to R. U. E.). And you, too! No, 
 Emily, I cannot hurt his feelings, nor let you make the sac- 
 rifice. Go on, now. Hurry! 
 
 Emily (protestingly) . But my conscience — 
 
 Molly (still shoving Emily vigorously). I appreciate 
 your conscience, but this time — will you please go? 
 
 Emily. My conscience tells me — 
 
 Molly (forcing Molly to R. U. E.). To go now! Hurry 
 right along, for the girls are waiting. I'll be with you later 
 on. 
 
 Emily. But— (exit R. U. E.) 
 
 Molly (standing at door and zvaving her hand) . Goodbye, 
 darling ! I wonder if one must really love all of one's soror- 
 ity sisters? I suppose she wanted him, herself. Just wait, 
 I'll show him. (Looks off L. at C. D.) There he comes! 
 (She runs to table down L. and, picking up a magazine, 
 upside dozvn, pretends to read.) 
 
64 AT THE END OF THE RAINBOW. 
 
 Enter Palmer C. D., whistling and carrying a box under 
 his arm. He sees Molly at table and goes to her. He stops, 
 coughs, and receiving no response, sits R.at table. 
 
 , Palmer (to Molly). Molly! Miss Bruce! 
 
 Molly (looks up frigidly). Oh, it's you, is it? 
 
 Palmer (shivers). Ugh! I'm in a draught! (To Molly.) 
 Were you waiting for me, Molly? 
 
 Molly (scornfully) . Hardly. I came here to be alone. 
 
 Palmer. Hum ! Does that signify my dismissal ? 
 
 Molly. Why so? Even with you, am I still not alone? 
 (She turns her back upon him and after a moment turns 
 cautiously, and finding him staring at her, turns away 
 guiltily.) 
 
 Palmer. Is^n't it nice and quiet here, with just each 
 other ? 
 
 Molly. Perfectly stupid. I prefer crowds myself. 
 
 Palmer. Charming inconsistency. A moment ago you 
 said you wanted to be alone. 
 
 Molly (fiercely). And — I am alone! Besides, can't a 
 woman change her mind if she likes? (Reads magazine 
 strenuously.) 
 
 Palmer (after a pause). She has been known to do such 
 a thing. (Another long pause, during which they look at 
 each other covertly.) Dear me! I wonder where Molly is? 
 I promised her some chocolates. 
 
 Molly (starts suddenly). Eh? 
 
 Palmer (holding up box). And here they are going to 
 waste. (Picks up paper and reads.) 
 
 Molly (after a pause). Hawkins! 
 
 Palmer (reading paper). Hawkins left the city last night 
 and will not return. 
 
 Molly (conciliatingly). Mr. Palmer! 
 
 Palmer (still reading). Palmer is an eccentric fellow and 
 objects to being called Mister. 
 
 Molly (desperately). Stanley! 
 
 Palmer (reading). "We rejoice to say that Molly is once 
 more with us — " 
 
 Molly (interrupting). Well? 
 
AT THE END OF THE RAINBOW. 65 
 
 Palmer (reading). "Affairs have come to a crisis. All 
 we can do is to stretch forth a helping - hand. (Extends hand 
 to Molly.) If the object of our solicitude spurns the help- 
 ing hand, there will be war. If she accepts, it is hers, to 
 have and to hold from this time forth." 
 
 Molly (taking his hand). I'm holding it, Stanley! 
 
 Palmer (still reading). Great pressure must be brought 
 to bear — 
 
 Molly (squeezing his hand). How's that? 
 
 Palmer (throwing down paper). Molly! You witch, you 
 tease ! What's the matter with you now ? 
 
 Molly (rising and seating herself on the arm of his 
 chair). I think — I need sweetening. 
 
 Palmer (giving her box of candy). Very little, Molly, 
 very little. 
 
 Molly (unwrapping box). You're not as clever as Haw- 
 kins. He would have said, "Not at all, Molly, not at all." 
 
 Palmer. But Palmer wouldn't quite dare to say, nor do, 
 all that Hawkins did. 
 
 Molly (eating candy). So I've noticed. 
 
 Palmer (putting arm about her). But, Molly, dear — 
 
 Molly (placing candy in his mouth). "Open your mouth 
 and shut your eyes, and I'll give you something to make you 
 wise." 
 
 Palmer. Your inference is wrong", Molly; quite wrong. 
 In this present day and generation, if you shut your mouth 
 and open your eyes, your wisdom will be quite assured. 
 
 Molly. Nonsense ! Hawkins would have agreed per- 
 fectly with me. 
 
 Palmer. Hawkins, the butler, doesn't love you any more 
 than — ■ 
 
 Molly (putting another piece of candy in his mouth). 
 You, Stanley! 
 
 Palmer. Look here! Are you stuffing me? 
 
 Molly (laughingly) . No, just sweetening- you. 
 
 Palmer. You shall listen to me, Molly ! Stop looking at 
 me that way ! 
 
 Molly (glancing nervously over her shoulder). Well, 
 hurry up. 
 
66 AT THE END OF THE RAINBOW. 
 
 Palmer (nervously). Well, would you mind dusting in 
 a family of two ? 
 
 Molly (breaking away from him). Not a bit — if you're 
 the other one! (Runs to R. U. E.) 
 
 Palmer (following her). You've got me hooked, Molly. 
 
 Exeunt Molly R. U. E., Palmer running off after her. 
 Enter Louise C. D. She comes down C. } looking about. 
 
 Louise (at table down L.). All day long I've been wait- 
 ing for a word, for a sign. There is no second will ; of that 
 I've made sure. The papers were valueless to me. I won- 
 der did anyone see me putting them back into the safe this 
 morning? No; impossible! And yet, I'm nervous. 
 
 Enter Douglas C. D., wearing street suit. He goes to 
 Louise dozen L. She starts on seeing him and goes to L. 
 at table and sits. 
 
 Douglas (sitting R. at table — to Louise). I saw you en- 
 ter, Louise, and I was forced — 
 
 Louise (interrupting). You followed me, doubtless, in 
 the hope that I might congratulate you upon your famous 
 touchdown. Don't let excessive adoration quite turn your 
 head, Douglas. 
 
 Douglas (annoyed). Don't let us discuss football — 
 
 Louise (interrupting). I understand Miss Lane herself 
 has given you the laurel crown. 
 
 Douglas (sternly). She has, in spite of you. (Signifi- 
 cantly.) Now, if you understand, let us pass on to another 
 subject. Shall I remind you that this is the day for the 
 opening of the packet my father entrusted to Mr. Preston? 
 
 Louise (carelessly). Why, so it is. I had forgotten. 
 
 Douglas. It was opened by Mr. Preston in my presence 
 this morning. 
 
 Louise. Ah, he knew you, then? 
 
 Douglas. Yes, for sometime. (After a pause.) Well, a 
 second will was found. 
 
 Louise (starts violently). It's not so! There was no will! 
 There were only a few papers, deeds, contracts and the 
 like. 
 
AT THE END OF THE RAINBOW. 67 
 
 Douglas {watching her closely). How do you know, 
 Louise ? 
 
 Louise (confused). I know that the first will still holds! 
 
 Douglas. But this second will, written, signed and prop- 
 erly witnessed, on the day before my father died, is now 
 in his lawyer's possession. 
 
 Louise. It is untrue ! You speak falsely ! 
 
 Douglas (coldly). Shall I proceed? Well, this second 
 will, after declaring all previous wills null and void, and 
 making - some minor bequests to friends and to charity, de- 
 vises the residue of the estate to his only son — me, John 
 Douglas Brown. 
 
 Louise (nervously). You cannot deceive me. Do you 
 think I don't fathom your scheme to defraud me? I know 
 there isn't a second will ! 
 
 Enter Robert C. D. He comes down C. behind them. 
 
 Douglas. Listen, Louise. I am telling you the truth, 
 and I'm trying to do it in the kindliest way. At the same 
 time I want to warn you to leave this place before your 
 identity is discovered. 
 
 Louise (laughing nervously). I presume you have told 
 Mr. Preston who I am. You have dared— 
 
 Robert (interrupting). It was unnecessary for Mr. 
 Brown to dare to do anything, Miss Ross. 
 
 Louise (starts). You here! 
 
 Robert (at C.) I solved the problem for myself without 
 assistance from Mr. Brown or anyone else. Perhaps it will 
 interest you to learn that the packet of papers which you 
 took from the safe last night — 
 
 Louise (rises angrily, interrupting) . It is a lie! 
 
 Robert (resuming, calmly). xAnd which you so cleverly 
 returned this morning, was only a substitute for the original? 
 
 Louise (with emotion). This is a trick — 
 
 Robert (interrupting). Yes, it was a trick, and you 
 gulped the bait! I myself removed the papers and left in 
 their place a packet of documents which — I hope you have 
 found pleasant reading, Miss Ross. 
 
68 AT THE END OF THE RAINBOW. 
 
 Louise (fiercely). I deny it all. I was not in the library 
 last night. 
 
 Robert (laughingly). Oh, yes, you were. The gown yon 
 wore was the duplicate of Miss Dayton's. 
 
 Louise. No ! I wore a plain black domino. 
 
 Enter Imp C. D. She comes down C. behind them. 
 
 Robert. By an artifice you learned the combination of 
 the safe from me. 
 
 Louise. I repeat. I was not in the library last night ! 
 How dare you accuse me of such a thing? 
 
 Imp (coming between them — to Louise). I've been look- 
 ing for you all day, Miss Ross. (Takes handkerchief from 
 pocket and offers it to Louise.) Here's your handkerchief 
 which you dropped in the library last night. 
 
 Enter Jack C. D. He stands up C. and listens. 
 
 Louise. I never saw it before. 
 
 Imp. Then your eyesight is bad. You dropped it when 
 you were with Jack in the library. 
 
 Robert. You saw her in the library, Imp? 
 
 Imp. Sure, unless I saw double, and 1 don't believe I did. 
 
 Louise. She's mad ! 
 
 Robert. Tell us what happened. 
 
 Imp. Can't now. The bonfire's waiting. (Turns up- 
 stage.) 
 
 Robert (restraining her). What were you doing in the 
 library ? 
 
 Imp. Snoozing on the lounge. All of a sudden I woke 
 up and I saw Miss Grayson. I thought it was Marion at 
 first, because their costumes were as like as two peas. 
 
 Louise (scornfully). A wonderful invention! 
 
 Robert. Go on, Imp. 
 
 Imp (angrily at Louise). If she doesn't stop calling me 
 a liar, I'll play hide and seek with her complexion with these. 
 (Holds up her fingers.) Well, I saw Jack hand her a packet 
 of papers which he took from the safe. She went to the 
 table, raised her mask and I at once recognized Miss Gray- 
 son. 
 
AT THE END OF THE RAINBOW. 69 
 
 Louise (alarmed). I deny it! 
 
 Robert (to Imp). And then? 
 
 Imp. She hurried away and dropped her handkerchief. 
 I tried to catch her, but she had wings and escaped me. 
 
 Robert. You could not have been mistaken ? 
 
 Imp (scornfully) . Mistaken? I am a Freshman! 
 
 Robert (laughingly). You're a guardian angel, Imp! 
 
 Imp. But my wings haven't sprouted yet! (To Louise.) 
 Here's your handkerchief. (Throws it down at her feet.) 
 You mav need it — after you get out of jail, perhaps. Good- 
 bye. (Exit C. D.) 
 
 Robert (to Louise). I think the proof is sufficient, Miss 
 Ross. You played a bold game, but you lost. 
 
 Louise (nervously). You think so, Mr. Preston? 
 
 Robert. Fortunately for you, Mr. Brown is not vindic- 
 tive. He agrees to allow you and your mother ten thousand 
 dollars each on condition that vou enter no contest of the 
 will, and that you leave the Brown home forever. 
 
 Louise (meditatively) . Indeed! How generous of him! 
 
 Robert (taking document from pocket). I have here a 
 stipulation which you will please sign. 
 
 Louise. And if I refuse to sign? 
 
 Robert. Then you will not get a dollar ! By signing this 
 document, you will earn ten thousand dollars. Rather an 
 easy way to earn so large a sum, eh? (Places document on 
 table before her.) I think you will sign. 
 
 Louise (after a pause). Very well, I shall sign. (She 
 signs document, then laughs wildly.) It is indeed something 
 to have duped so great a lawyer as yourself Mr. Preston. 
 
 Robert (laughingly). It shows you are a woman of tal- 
 ent, at least. 
 
 Jack (coming down C). Louise! 
 
 Louise (scornfully). Oh, it's you, Jack! Do you think I 
 cared for you, poor boy? 
 
 Jack (despairingly). And don't you, Louise? 
 
 Louise (snapping fingers). Not as much as that! You 
 were a mere puppet in my hands, and women seldom admire 
 puppets. But, goodbye, all of you. (Goes to CD.) I shall 
 
70 AT THE END OF THE RAINBOW. 
 
 leave the stage clear for a more responsive and less sophis- 
 ticated Juliet. (Exit CD.) 
 
 Jack (running to C D. and looking off after Louise). 
 I was a chump to believe in her. (Exit CD.) 
 
 Enter Phyllis R. U. E. She comes C Douglas sees her 
 and starts toward her. 
 
 Robert (zvho does not see Phyllis, gets hold of Doug- 
 las). Now that we are rid of her, let's talk of the old lady. 
 
 Douglas. Hang her! (Eyes Phyllis.) 
 
 Robert (still holding Douglas). I don't mind if they do 
 — after I've got her signature to this document (tapping his 
 coat). How about that investment I mentioned this morning? 
 
 Douglas. Do as you please about it. (Breaks from 
 Robert and goes to Phyllis up C) 
 
 Robert (at table). Then you must consider that bank 
 stock — 
 
 Douglas (taking Phyllis' hands). Blow it in, Mr. 
 Preston. 
 
 Robert. And the Brown homestead? 
 
 Douglas (looking at Phyllis). We'll hold on to that, 
 for we may need it. Eh, Phyl? 
 
 Phyl. (shyly). Perhaps, Douglas. 
 
 Robert (turning, sees them, then laughs). I understand! 
 Well, you have my blessing, my children. (Douglas and 
 Phyllis exit laughingly C D. College song is sung softly 
 offstage L. Robert goes upstage and listens. Looking off 
 at C D.) They're happy while I — (sighingly) I am groping 
 about in the dark. (Turns and goes down C) 
 
 Enter Marion R. U. E. She sees Robert at C D. and 
 laughingly creeps up behind him and follozvs to C 
 
 Robert (at C). Da what I may, I cannot help thinking 
 of her. Will she forgive me the wrong I unintentionally 
 did her? 
 
 Marion (placing her hands over his eyes). Bob! 
 
 Robert (turning and taking her hands). Marion! Can 
 you forgive me? 
 
AT THE END OF THE RAINBOW. 71 
 
 Marion. For making me happy? For telling me what 
 I wanted most to hear? 
 
 Robert. What do you mean? 
 
 Marion. Listen, Bob. You were so blind. You would 
 not see. You would not understand. Did you not know that 
 the love which meant so much to the child, would be the only 
 love to satisfy the woman? 
 
 Robert (putting arm about her). I am unworthy of that 
 love, Marion. 
 
 Marion. Have you not given me all the sweetness of 
 the past? Aren't you offering me the happiness of today? 
 Oh, Bob, what would the future be without your love — 
 without you? (Nestles close to him.) 
 
 Robert (embracing her). It's a very beautiful old world, 
 dear. The clouds are gone, the sun is out and the rainbow 
 is in the sky. 
 
 Marion. A pretty path to travel, with one's heart's de- 
 sire — at the end of the rainbow! (They stand C. in close 
 embrace until — ) 
 
 CURTAIN. 
 
The Heiress of Hoetown 
 
 By HARRY L. NEWTON AND JOHN PIERRE ROACH. 
 Price, 25 Cents 
 
 A rural comedy, 3 acts; 8 m., 4 f. Time, 2 h. Scenes: 2 ex- 
 teriors. Characters: Jimmie Blake, a physical culturist. Jack 
 Wright, a civil engineer. Ezra Stonyboy, the postmaster. Count 
 Picard, waiting at the church. Corporal Cannon, a veteran. White 
 Blackstone, dealer in titles. Congressman Drybottle, a power in 
 politics. ' Doolittle Much, constable and proprietor of the village 
 hack. Mary Darling, an heiress. Jane Stonyboy, with ideas. Tillie 
 Tung, the village pest. 
 
 SYNOPSIS. 
 
 Act I. — Borrowing a screen door. Blackstone, a dealer in titles. 
 Mary comes back home. Blackstone wants Jimmie to travel for his 
 health. "One hundred thousand dollars as expense money." "No, 
 I am going to a strawberry festival and that's worth more to me." 
 The lost necklace. The proprietor of the village hack discovers 
 something. "She's a fine gal, she is." 
 
 Act II. — The Strawberry Festival. Blackstone schemes a quick 
 marriage. A busy time for Doolittle Much. "Search that man, 
 Constable!" The necklace is found on the wrong man. "Any man 
 caught with no visible means of support can be arrested as a com- 
 mon vag." The Count is "pinched." 
 
 Act III. — The siege of Hoetown. The Count works out his fine 
 on the highway. "Shark, you're a liar!" The financial panic and 
 the loss of Mary's money. The Count and Blackstone get "cold 
 feet" and hike for old Broadway. Mary loses her home. "Come 
 on, kid, I've got carfare." 
 
 Mirandy's Minstrels 
 
 By SOPHIE HUTH PERKINS. 
 
 Price, 25 Gents 
 
 A Female Minstrel entertainment. A complete ladies' minstrel 
 show, full of novel ideas for costumes, finale, etc. Contains new 
 jokes, gags, cross-fires, monologues and stump speeches. Ending 
 with a most laughable farce, "Mrs. Black's Pink Tea." for 10 
 female characters, which is a gem of humor. Those that have 
 "put on" female minstrels and know the difficulty of obtaining suit- 
 able material, will be delighted with this book. It is highly humor- 
 ous, yet refined enough for any audience. 
 
 The Third Decree 
 
 By MAYME RIDDLE BITNEY. 
 Price, 25 Cents 
 
 A female burlesque initiation: 12 f. and any number of members. 
 Time, about 40 m. Scene: Any lodge room. Characters: Elead 
 Officer, Instructors, Assistants. Marshal, Doorkeepers, etc. It is 
 unique, as it can be used as an initiation for any society or lodge or 
 as an entertainment. Brim full of fun and action, yet not too bois- 
 terous. Will please all women. 
 
 T. S. DENISON & COMPANY, Publishers 
 
 163 Randolph Street, CP1ICAGO 
 
DENISON'S ACTING PLAYS. 
 
 Price 15 Cents Each, Postpaid, Unless Different Price is Given. 
 
 M. F. 
 
 Documentary Evidence, 25 min. 1 1 
 
 Dude in a Cyclone, 20 min.... 4 2 
 
 Family Strike, 20 min 3 3 
 
 Pirst-Class Hotel, 20 min 4 
 
 lor Love and Honor, 20 min.. 2 1 
 
 Fudge and a Burglar, 15 min.. 5 
 Fun in a Photograph Gallery, 
 
 30 min 6 10 
 
 Great Doughnut Corporation, 
 
 30 min 3 5 
 
 Great Medical Dispensary, 30 m. 6 
 Great Pumpkin Case, 30 min. ..12 
 
 Hans Von Smash, 30 min 4 3 
 
 Happy Pair, 25 min 1 1 
 
 I'm Not Mesilf at All, 25 min. 3 2 
 Initiating a Granger, 25 min.. 8 
 
 Irish Linen Peddler, 40 min... 3 3 
 
 Is the Editor In? 20 min 4 2 
 
 Kansas Immigrants, 20 min.... 5 1 
 
 Men Not Wanted, 30 min 8 
 
 Mike Donovan's Courtship, 15 m. 1 3 
 
 Mother Goose's Goslings, 30 m. 7 9 
 
 Mrs. Carver's Fancy Ball, 40 m. 4 3 
 Mrs. Stubbins' Book Agent, 30 
 
 min 3 2 
 
 My Lord in Livery, 1 hr 4 3 
 
 My Neighbor's Wife, 45 min... 3 3 
 
 My Turn Next, 45 min 4 3 
 
 My Wife's Relations, 1 hr 4 6 
 
 Not a Man in the House, 40 m. 5 
 
 Obstinate Family, 40 min 3 3 
 
 Only Cold Tea, 20 min 3 3 
 
 Outwitting the Colonel, 25 min. 3 2 
 
 Pair of Lunatics, 20 min 1 1 
 
 Patsy O'Wang, 35 min 4 3 
 
 Pat, the Apothecary, 35 min... 6 2 
 
 Persecuted Dutchman, 30 min.. 6 3 
 
 Regular Fix, 35 min 6 4 
 
 Rough Diamond, 40 min 4 3 
 
 Second Childhood, 15 min 2 2 
 
 Slasher and Crasher, 50 min... 5 2 
 
 Taking Father's Place, 30 min.. 5 3 
 
 Taming a Tiger, 30 min 3 
 
 That Rascal Pat, 30 min 3 2 
 
 Those Red Envelopes, 25 min . 4 4 
 Too Much of a Good Thing, 45 
 
 min 3 6 
 
 Treasure from Egypt, 45 min. 4 1 
 
 Turn Him Out, 35 min 3 2 
 
 Two Aunts and a Photo, 20 m. . 4 
 
 Twn ttnnnvcastles. 45 min 3 3 
 
 VAUDEVILLE SKETCHES. MON- 
 OLOGUES, ETHIOPIAN PLAYS. 
 
 M. F. 
 
 Ax'in' Her Father, 25 min 2 3 
 
 Booster Club of Blackville, 25 m.10 
 Breakfast Food for Two, 20 m. . 1 1 
 
 Cold Finish, 15 min 2 1 
 
 Coon Creek Courtship, 15 min.. 1 1 
 Coontown Thirteen Club, 25 m. 14 
 
 Counterfeit Bills, 20 min 1 1 
 
 Doings of a Dude, 20 min 2 1 
 
 Dutch Cocktail, 20 min 2 
 
 Five Minutes from Yell College, 
 
 15 min 2 
 
 For Reform, 20 min 4 
 
 Fresh Timothy Hay, 20 min..'. 2 1 
 Glickman, the Glazier, 25 min.. 1 1 
 Handy Andy (Negro), 12 min.. 2 
 
 Her Hero, 20 min 1 1 
 
 Hey, Rube! 15 min 1 
 
 Home Run, 15 min 1 1 
 
 Hot Air, 25 min . . 2 1 
 
 Jumbo Jum, 30 min 4 3 
 
 Little Red School House, 20 m. 4 
 
 Love and Lather, 35 min 3 2 
 
 Marriage and After, 10 min... 1 
 Mischievous Nigger, 25 min... 4 2 
 
 Mistaken Miss, 20 min 1 1 
 
 Mr. and Mrs. Fido, 20 min 1 1 
 
 Mr. Badger's Uppers, 40 min.. 4 2 
 One Sweetheart for Two, 20 m. 2 
 Oshkosh Next Week, 20 min.. 4 
 
 Oyster Stew, 10 min 2 
 
 Pete Yansen's Gurl's Moder, 10 
 
 min 1 
 
 Pickles for Two, 15 min 2 
 
 Pooh Bah of Peacetown, 35 min. 2 2 
 Prof. Black's Funnygraph, 15 m. 6 
 
 Recruiting Office, 15 min 2 
 
 Sham Doctor, 10 min 4 2 
 
 Si and I, 15 min 1 
 
 Special Sale, 15 min 2 
 
 Stage Struck Darky, 10 min... 2 1 
 Sunny Son of Italy, 15 min... 1 
 
 Time Table, 20 min 1 1 
 
 Tramp and the Actress, 20 min. 1 1 
 Troubled by Ghosts, 10 min... 4 
 Troubles of Rozinski, 15 min.. 1 
 Two Jay Detectives, 15 min... 3 
 
 Umbrella Mender, 15 min 2 
 
 Uncle Bill at the Vaudeville, 15 
 
 1 
 
 ff , 25 min 5 2 
 
 s de Reward? 30 min.. 5 1 
 
 One copy del. to Cat. Div. 
 
 A dreat number of 
 lard and Amateur Plays 
 9und here are listed in 
 enison's Catalogue. 
 
 s, 163 Randolph St., Chicago. 
 
LIBRARY OF CONGRESS 
 
 POPULAR ENTERIC 
 
 Price, Illustrated Paper C I llllll Hill Hill IIHI Will IHIiHWiiii ^ 
 
 018 604 639 g 
 
 LITTLEPLTO 
 
 Wfl DRILLS 
 
 'TSDENISON&COMEW)" 
 
 PUBLISHERS 
 3 CHKXGO c 
 
 ¥N this Series 
 are found 
 books touching 
 every feature 
 in the enter- 
 tainment field. 
 Finely made, 
 good paper, 
 clear print and 
 each book has 
 an attractive 
 individual cov- 
 er design. 
 
 DIALOGUES 
 
 All Sorts of Dialogues. 
 
 Selected, fine for older pupils. 
 Catchy Comic Dialogues. 
 
 New, clever; for young people. 
 Children's Comic Dialogues. 
 
 From six to eleven years of age. 
 Dialogues from Dickens. 
 
 Thirteen selections. 
 The Friday Afternoon Dialogues. 
 
 50,000 copies sold. 
 From Tots to Teens. 
 
 Dialogues and recitations. 
 Lively Dialogues. 
 
 For all ages; mostly humorous. 
 When the Lessons are Over. 
 
 Dialogues, drills, plays. 
 Wide Awake Dialogues. 
 
 Brand new, original,- successful. 
 
 SPEAKERS, MONOLOGUES 
 
 Choice Pieces for Little People. 
 
 A child's speaker. 
 
 The Comic Entertainer. 
 
 Recitations, monologues, dialogues. 
 
 Dialect Readings. 
 
 Irish, Dutch, Negro, Scotch, etc. 
 
 The Favorite Speaker. 
 
 Choice prose and poetry. 
 
 The Friday Afternoon Speaker. 
 For pupils of all ages. 
 
 Humorous Monologues. 
 Particularly for ladies. 
 
 Monologues for Young Folks. 
 Clever, humorous, original. 
 
 The Patriotic Speaker. 
 
 M aster thoughts of masterminds. 
 
 The Poetical Entertainer. 
 For reading or speaking. 
 
 Pomes ovthe Peepul. 
 
 Wit, humor, satire; funny poems. 
 
 Scrao-Book Recitations. 
 
 Choice collections, pathetic, hu- 
 morous, descriptive, prose, poe- 
 try. 14 Nos., per No. 25c. 
 
 DRILLS 
 
 The Best Drill Book. 
 
 " Very popular drills and marches. 
 The Favorite Book of Drills. 
 
 Drills that sparkle with originality. 
 Little Plays With Drills. 
 
 For children from 6 to 11 years. 
 The Surprise Drill Book. 
 
 Fresh, novel, drills and marches. 
 
 SPECIALTIES 
 
 The Boys* Entertainer. 
 
 Monologues, dialogues, drills. 
 Children's Party Book. 
 
 Plans, invitations, decorations, 
 
 games. 
 The Days We Celebrate. 
 
 Entertainments for all the holidays. 
 Good Things for Christmas. 
 
 Recitations, dialogues, drills. 
 The Little Folks, or Work and Play. 
 
 A gem of a book. 
 Little Folks' Budget. 
 
 Easy pieces to speak, songs. 
 One Hundred Entertainments. 
 
 New parlor diversions, socials. 
 Patriotic Celebrations. 
 
 Great variety of material. 
 Pranks and Pastimes. 
 
 Parlor games for children. 
 Shadow Pictures* Pantomimes* 
 
 Charades, and how to prepare. 
 Tableaux and Scenic Readings. 
 
 New and novel; for all ages. 
 Twinkling Fingers and Swaying 
 
 Figures. For little tots. 
 Yuletide Entertainments. 
 
 A choice Christmas collection. 
 
 HAND BOOKS 
 
 The Debater's Handbook. 
 
 Bound only in cloth, 50c. 
 Everybody's Letter Writer. 
 
 A handy manual. 
 Good Manners. 
 
 Etiquette in brief form. 
 Private Theatricals. 
 
 How to put on plays. 
 Social Card Games. 
 
 Complete in brief form. 
 
 MINSTRELS, JOKES 
 
 Black American Joker. 
 
 Minstrels' and end men's gags. 
 A Bundle of Burnt Cork Comedy. 
 
 Monologues, stump speeches.etc. 
 Laughland, via the Ha-Ha Route. 
 
 A merry trip for fun tourists. 
 Negro Minstrels. 
 
 All about the business. 
 The New Jolly Jester. 
 
 Funny storie s, jokes, gags, etc. 
 
 Large Illustrated Catalogue Free. 
 
 T. S. DENISON & COMPANY, Publishers, 163 Randolph St., Chicago