as every
actor except Vida and Guy and herself wailed at the loss of a single
line, she was defeated. She told herself that, after all, a great deal
could be done with direction and settings.

Sam Clark had boastfully written about the dramatic association to his
schoolmate, Percy Bresnahan, president of the Velvet Motor Company
of Boston. Bresnahan sent a check for a hundred dollars; Sam added
twenty-five and brought the fund to Carol, fondly crying, "There!
That'll give you a start for putting the thing across swell!"

She rented the second floor of the city hall for two months. All through
the spring the association thrilled to its own talent in that dismal
room. They cleared out the bunting, ballot-boxes, handbills, legless
chairs. They attacked the stage. It was a simple-minded stage. It was
raised above the floor, and it did have a movable curtain, painted with
the advertisement of a druggist dead these ten years, but otherwise
it might not have been recognized as a stage. There were two
dressing-rooms, one for men, one for women, on either side. The
dressing-room doors were also the stage-entrances, opening from the
house, and many a citizen of Gopher Prairie had for his first glimpse of
romance the bare shoulders of the leading woman.

There were three sets of scenery: a woodland, a Poor Interior, and a
Rich Interior, the last also useful for railway stations, offices, and
as a background for the Swedish Quartette from Chicago. There were three
gradations of lighting: full on, half on, and entirely off.

This was the only theater in Gopher Prairie. It was known as the "op'ra
house." Once, strolling companies had used it for performances of "The
Two Orphans," and "Nellie the Beautiful Cloak Model," and "Othello" with
specialties between acts, but now the motion-pictures had ousted the
gipsy drama.

Carol intended to be furiously modern in constructing the office-set,
the drawing-room for Mr. Grimm, and the Humble Home near Kankakee.
It was the first time that any one in Gopher Prairie had been so
revolutionary as to use enclosed scenes with continuous side-walls. The
rooms in the op'ra house sets had separate wing-pieces for sides, which
simplified dramaturgy, as the villain could always get out of the hero's
way by walking out through the wall.

The inhabitants of the Humble Home were supposed to be amiable and
intelligent. Carol planned for them a simple set with warm color. She
could see the beginning