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 IFW^ 
 
 9 
 
Who Kissed Barbara? 
 
 A Farce in One Act 
 
 By 
 
 FRANZ and LILLIAN RICKABY 
 
 NOTICE 
 
 This play is published for free performance by amateurs only. 
 Professional companies are forbidden the use of it in any form 
 or under any title, without the consent of the author, who may 
 be addressed in care of the publishers. 
 
 BOSTON 
 
 WALTER H. BAKER COMPANY 
 
 1 92 1 
 
*$& 
 
 & ^ 
 
 1fl 
 
 Who Kissed Barbara? 
 
 CHARACTERS 
 
 (In the order of their appearance.} 
 
 Barbara Nicols, the bridesmaid. (Petite, lithe, impulsive, and 
 distractingly pretty. Would much rather win a bet than 
 lose it.) 
 
 Katherine Blake, the bride. (Paul's sister. Slightly older than 
 Barbara, but not too much ; also slightly taller. Ordinarily a 
 very sane and sensible person, but hardly to be held responsible 
 under present conditions. ) 
 
 James, the butler. (Not quite so pompous as we usually ntake but- 
 lers, but plenty at that! He does not have side-burns, though 
 for the sake of the argument he does wear a dress suit. He has 
 been with the B lakes so long that he can express himself rather 
 freely, but also so long; that he takes a great deal from them, es- 
 pecially the young fry.) 
 
 Paul Blake, the best man. (Katherine s brother. Blonde, boyish, 
 susceptible ; keen for a joke, always enthusiastic over that which 
 impresses him ; witty at times, though frequently not so until 
 some time after the opportunity to be so has gone ; distinctly 
 eligible. He appears in a dress suit. He is also cultivating a 
 modest little mustache, so tiny and light in color that it might 
 easily escape detection altogether, ) 
 
 Horace Gregory, the groom. (Practical, efficient, but deeply in 
 love just the same. He is to Paul what Katherine is to Barbara. 
 He also appears in a dress suit, and it so happens that he, Paul, 
 and James could wear the same dress suit, though of course 
 they don I.) 
 
 Copyright, 1921, by Walter H. Baker Company. 
 
 JUL 2771 
 
 ©CI.Q '5825 
 
Who Kissed Barbara? 
 
 SCENE. — The drawing-room in a wealthy suburban 
 home. It is spring. Some time after dinner, the 
 evening before the wedding. 
 
 {The curtain rises on the drawing-room of the Blake 
 home, in darkness except for the semi-glow of the 
 coals in a large fireplace at l., and such light as 
 enters from a heavily curtained door on r., evidently 
 from another room. Before the fireplace one can 
 see the outlines of a large and comfortable daven- 
 port and a tall floor-lamp hovering over it from 
 behind. On the other side of the room, outlined in 
 the same way, are a large library table and a deep 
 leather-upholstered chair. Fidl light would reveal 
 another large chair near the table on the farther 
 side, another curtained door at the back and numer- 
 ous bookcases, chairs, pictures, etc. There is invit- 
 ing comfort in every detail.) 
 
 Barbara {outside, r.). Katherine, have you seen that 
 piece of paper I had before dinner — the one Horace and 
 I were laughing at ? I can't find it anywhere. 
 
 Katherine {also outside, but evidently in a different 
 room). No, dear, I haven't seen anything of it. — But 
 come here a minute and tell me which of these negligees 
 to keep. 
 
 Barb, {evidently moving about): In a moment. But 
 I've got to find that paper first. 
 
 Kath. Why is it so important? Have you looked in 
 the drawing-room? You were in there just before din- 
 ner. 
 
4 WHO KISSED BARBARA t 
 
 Barb. I'll bet that's where it is. 
 
 (We see Barbara enter through the lighted doorway 
 and grope her zvay carefully across the room tozvard 
 the floor-lamp. Suddenly the figure of a man is 
 dimly outlined in the doorway at the rear. He 
 silently overtakes the girl on her way to the lamp. 
 There is the sound of a boisterous kiss. The girl 
 screams. The man exclaims "Damn!" and escapes 
 through the rear door. By the light of the lamp, 
 which Barbara flashes on as soon as she can reach 
 it, she sees only the flying coat-tails of a dress-suited 
 man. Barbara rushes to the rear door and looks 
 down the hall in the direction taken by the assailant, 
 then turns back into the room, dabs at her lips with 
 her handkerchief, glares back at the door as though 
 it were in part responsible, then stamps to the daven- 
 port and throws herself down on it, burying her 
 head in the pillows, registering all the while the 
 anger derived largely from its own helplessness.) 
 
 Kath. {entering from r.). For heaven's sake, Bar- 
 bara, what made you scream like that? You frightened 
 
 me to (Sees Barbara and goes anxiously to her.) 
 
 Why, Bob, dear, what has happened? Are you crying? 
 
 Barb, (sitting up suddenly and dabbing at her eyes). 
 Yes, I — No, I'm not ! (Stands up and flounces across 
 the room.) I'm perfectly furious. I never was so mad 
 in my life. It's simply outrageous. And he did it on 
 purpose (Throws herself into the easy chair and wails) 
 just so I'd lose my bet! I hate him! And if it wasn't 
 for you I wouldn't be bridesmaid at his d-darned old 
 wedding. 
 
 Kath. (aghast, goes toward Barbara). Barbara, 
 what are you talking about? (Gives her a little shake.) 
 What has happened ? And what do you mean about my 
 wedding? 
 
 Barb, (looking up). Katherine, I think Horace 
 Gregory is a nasty, horrid thing; and I don't think you 
 ought to marry him. He's not to be trusted. 
 
 Katit. (anxiously). Barbara, please, please tell me 
 
WHO KISSED BARBARA ? 5 
 
 what has happened. You worry me to death. What 
 makes you talk so? Why don't you like Horace? 
 
 Barb. I tell you he is not to be trusted — in anything. 
 
 Kath. {strangely close to tears). But why? Why? 
 What has he done? {More angrily.) Barbara, you've 
 got to tell me what happened. 
 
 Barb, {rises and crosses back to the davenport, rather 
 nervously, perhaps). I don't know how. 
 
 Kath. {drops into the chair that Barbara has just 
 left). Don't know how? Barbara Nicols, you're the 
 most exasperating woman I ever knew. Why can't you 
 tell me ? 
 
 Barb. Well — I — I just can't. I — I — they — some- 
 body — Horace 
 
 (Breaks off and buries her head in the pillows, kicking 
 viciously against the davenport with a free foot.) 
 
 Kath. Well, I — they — somebody — Horace did what ? 
 Barb, {raises her head to wail). Kissed me ! 
 
 (And buries her head again.) 
 
 Kath. {vaguely, hardly knowing whether to be re- 
 lieved or not). Kissed you? Kissed you! Are you — 
 are you sure it was Horace? {Puzzled.) How did it 
 happen ? 
 
 Barb, {rises again from her pillows). He did it just 
 to make me lose my wager, and I think it's the meanest, 
 dirtiest, most ungentlemanly thing I ever heard of. 
 Especially since I made the wager with him! {Petu- 
 lantly.) He's a tight- wad, a cheat, and I hate him ! 
 
 Kath. {has come over and sat down beside Barbara). 
 Bob, I simply insist on an explanation, right from the 
 beginning. And first of all, what is the wager you're 
 talking about ? 
 
 Barb. Well, if you must know. First of all, I was 
 silly enough to tell Horace Gregory that I had never been 
 kissed 
 
 Kath. {politely surprised). Never been kissed! 
 Why, what do you mean ? 
 
 Barb. Just what I say. In all my life, — that is, after 
 
6 WHO KISSED BARBARA ? 
 
 I was old enough to have anything to say about it and 
 up until about ten minutes ago, no man had ever kissed 
 me. (Begins to lose what calmness she has regained.) 
 
 Kath. Well, go on. Do be sensible now. What has 
 that to do with the wager? 
 
 Barb. When I was talking to Horace this afternoon, 
 I told him about it, and about the vow too that I made 
 on my sixteenth birthday 
 
 Kath. {whose eagerness, seemingly well in hand, steps 
 ahead of her). What was that? 
 
 Barb, {coolly). Now Katherine, dear, I can talk only 
 so fast. — The vow was that I would never, never let 
 a man kiss me, except the man I was to marry; and 
 of course, any one can see that if he happened to be a — 
 that sort of a man, there'd be no preventing it in that 
 case. {A slight pause, each girl with her own thoughts.) 
 
 Kath. {slowly). And the wager, I suppose, was that 
 you 
 
 Barb. No use supposing. That's just what it was. 
 When I told Horace all this, he shrieked and howled 
 and thought that my aversion to kissing was quite the 
 most humorous thing he had ever heard. At first he 
 wouldn't believe me, but after I had convinced him 
 
 Kath. {uneasily). Convinced him? 
 
 Barb. He wanted to make a wager with me that I 
 would be kissed before he was a married man. I told 
 him, not unless I got engaged too. I felt so absolutely 
 sure of winning that I made him write it down. {Turns 
 and faces Katherine directly.) Why, I knew he'd be a 
 married man in twenty-four hours, and I didn't see how 
 any one could possibly appear, get himself in love with 
 me, and me with him, and kiss me, all in twenty-four 
 hours. And now — and now — {Evidences of rising tem- 
 perature, and the handkerchief suggests tears) the 
 wager's lost, and my vow broken. {Angrily.) I never 
 thought he'd cheat ! I didn't have him specify my — my 
 fiance on the paper. I wish I had. — Where is it, any- 
 way? {Rises and looks for the paper, on the mantel and 
 around the davenport. Katherine sits looking thought- 
 fully into the fire. Barbara finds the paper on the 
 
WHO KISSED BARBARA ? J 
 
 table.) Oh, here it is. (Returns quickly to Katherine 
 holding it out to her.) Here it is. Look. 
 
 Kath. (takes the wager, looks at the signatures first, 
 as is her prerogative, but says only). Foolishness! 
 
 (As she apparently begins reading it.) 
 
 Barb. Read it aloud, Katherine. I haven't any idea 
 how things like that sound. (Struck by a happy thought.) 
 There may be an error in it somewhere too ! 
 
 Kath. (reads). " Here followeth a wager between 
 Horace Gregory, party of the first part, and Barbara 
 Nicols, party of the second part. The party of the first 
 part wagereth that the party of the second part will be 
 kissed by a man before the party of the first part will 
 have entered the ancient and honorable state of matri- 
 mony, that bourne from which no sensible man returneth. 
 Which wager the party of the second part doth duly 
 accept. The losing party to this wager shall furnish 
 forth a dinner for twelve at Le Blanc's, the winning party 
 to set the time, appoint the menu, and choose the guests. 
 Horace Gregory — Barbara Nicols." 
 
 Barb, (slowly). I don't see any flaws in it — any legal 
 ones, that is. If I had only made him write " By her 
 fiance " instead of " by a man " ! That was the spirit of 
 it anyway, and he's taken a mean advantage, that's what 
 he has. The very idea of his kissing me himself rather 
 than lose the wager ! 
 
 Kath. (defending her stronghold bravely). But Bar- 
 bara, dear, are you sure it was Horace ? It certainly 
 doesn't sound like him. I don't believe he'd do a thing 
 like that. He isn't that sort. I think I know him much 
 better than you do, and cheating or otherwise taking 
 advantage of any one is utterly beneath him. — He's the 
 man I'm going to marry to-morrow morning, and my 
 faith in him is not easily shaken. 
 
 Barb, (significantly). I'm glad it isn't. 
 
 Kath. Barbara, darling, can't you take my word for 
 it that he didn't do this — this 
 
 Barb, (mischievously). Dastardly deed? Will that 
 do? 
 
8 WHO KISSED BARBARA ? 
 
 (Barbara quite naturally can hardly help feasting her- 
 self on Katherine's uneasiness, which grows in the 
 face of a most stubborn resistance.) 
 
 Kath. (convincing herself). I just know you're — 
 there's been a mistake in it somewhere. What makes 
 you so sure it was he ? 
 
 Barb. Who else could it be? 
 
 Kath. But didn't you see him? The light? 
 
 Barb. Yes, I did get the light on finally. But the 
 room was dark when he — when it happened. 
 
 Kath. (relieved). Then, silly, how do you know it 
 was Horace? 
 
 Barb, (exasperated). Katherine, who else could it 
 possibly have been? Consider: (Business of pointing 
 out each element of the demonstration very definitely.) 
 There's the wager ; here am I, temptation : to yield means 
 winning the wager; to withstand means losing it He 
 yielded, as you or I or any one else might have done. 
 That's all there is to it. — Besides, if it wasn't Horace, 
 who could it possibly have been ? 
 
 Kath. (quietly). James. 
 
 Barb. ( terror-stricken) . James ! James ! ! James ! ! ! 
 A butler — kiss me? (Dazed at the possibility.) Why, 
 Katherine, I'd rather think it was Horace ! 
 
 Kath. You flatter Horace, dear. And anyway, re- 
 member, Bob, that our chief obligation is to find out 
 who's guilty, not to consult your preference. 
 
 Barb, (thoroughly frightened). Oh, Katherine ! 
 
 Kath. And why not James? There in the dark he 
 might easily have mistaken you for one of the maids and 
 simply stolen a kiss in passing. Such a thing is entirely 
 possible, it seems to me. 
 
 Barb. Oh, no, Katherine ! How perfectly terrible ! 
 
 (Slight pause. Barbara unconsciously rubs her lips 
 with her handkerchief.) 
 
 Kath. (relents somezvhat. Having solved the enigma 
 to her ozvn satisfaction, she is at perfect ease, and in this 
 position is disposed to pity Barbara). Was there any- 
 
WHO KISSED BARBARA ? 9 
 
 thing about him, dear, that made you think it was Horace 
 especially ? 
 
 Barb, {very meek, all assurance gone). I couldn't get 
 the light on soon enough, Katherine. I didn't get any- 
 thing but a glimpse of him as he flew out the hall door 
 there. He was in full dress, and that's why I thought it 
 was Horace. I never thought — I forgot that James 
 
 (Dangerously near tears.) 
 
 Kath. A dress suit, Bob ? Well, that's something to 
 start on — even if it doesn't get us anywhere. Wasn't 
 there anything else ? 
 
 Barb. No-o. — Oh, Katherine, there was too! His 
 breath smelled terribly of peppermint. He had just 
 been eating opera sticks, I'm sure. And {hopefully) 
 James wouldn't likely be making away with them so 
 soon after dinner, would he? 
 
 Kath. {feels the dart of this possibility, but stops the 
 wound). You don't know James like I do, Bob. — But 
 is peppermint all ? Didn't he say anything? 
 
 Barb. He didn't have a chance to {Startled 
 
 pause.) Katherine, he did too! When I screamed, he 
 said " Damn ! " 
 
 Kath. {shocked). Barbara, are you sure? 
 
 Barb. Absolutely. 
 
 Kath. {quickly). But Horace's voice — you know it. 
 Was it his ? 
 
 Barb, {trying to recall). The voice? Oh, Katherine, 
 if I could only remember! It wasn't a voice at all; it 
 was just an exclamation of — of — anger, or surprise, or 
 something. 
 
 Kath. {victorious again, but not vaunting). But 
 Barbara, why would Horace be surprised or angry if he 
 had intentionally waylaid you to win his wager? 
 
 Barb, {innocently) . Why, he wouldn't be, would he? 
 And — and James would, wouldn't he, Katherine! 
 
 (Rises and crosses nervously to the easy chair.) 
 
 Kath. Well, that doesn't give us a great deal, does 
 it? But it's better than nothing at all. Let's see, dress 
 
10 WHO KISSED BARBARA ? 
 
 suit, peppermint, and — and " Damn ! " (More to herself 
 than to Barbara.) I'm sure Horace never swears. 
 
 Barb, (assertively). But, Katherine, I'll not have it 
 so. Everything in reason points to Horace: the wager 
 and all. James' making that mistake at this particular 
 time would have to be an almost unheard-of coincidence, 
 now, wouldn't it? 
 
 Kath. (thoughtfully). Yes, it would. I think we 
 ought to see who's at the bottom of this. 
 
 Barb, (vanquished by her own thought). But, Kath- 
 erine, if it should turn out to be James ! It would be 
 perfectly awful ! Do let's let it go. I'll pay the wager 
 and show old Horace Gregory 
 
 Kath. But Bob 
 
 Barb, (determined). — that I'm a real sport anyway. 
 
 Kath. (also determined). No, my dear. There's a 
 principle involved. It's not so much the fact that he — 
 that some one kissed you, though that is quite enough; 
 but you see, I've got to justify my faith in Horace and 
 his sportsmanship. — Dear, whatever it costs, we've just 
 got to find out who kissed you. 
 
 Barb, (wildly). But think how I'd feel if it were 
 James ! 
 
 Kath. (archly). And I if it were Horace. (Then 
 as though throwing off the burden in the name of friend- 
 ship.) But cheer up, dear; it may be the man of your 
 early vow. You never can 
 
 Barb. But how could it be? What men are there 
 around here now except Horace and — James? Your 
 father's in the city, and your brother hasn't come yet — 
 {hopefully) has he? 
 
 Kath. No, he hasn't. He's always late too. And 
 I'm so afraid he'll be late to-morrow. Wouldn't that 
 be awful? Paul's never on time anywhere or for any- 
 thing. I don't think he ever made a train in his life. — 
 But you'll like him, Bob. He's a dear. I do hope he 
 gets here in time to-morrow for you to meet him before 
 we go to the church. It would be like him to come 
 tearing down the aisle just before the benediction. — But 
 we aren't solving this mystery. How shall we go about it ? 
 
WHO KISSED BARBARA? II 
 
 Barb. I don't care much how we go about it. But 
 oh, if it isn't Horace 
 
 Kath. But dear, I feel — I know that it wasn't. 
 
 Barb, (decisively) . Well, let's just send for him and 
 not let him suspect anything, but just let things happen, 
 and I'll wager — no, I won't. I always lose. But I'm 
 sure we'll find that he was the man. 
 
 Kath. (firmly). And I'm just as sure, dear 
 
 James (appears at the c. entrance). Beg pardon, Miss 
 Katherine, but Mr. Paul has just arrived and asks me to 
 tell you that he will be down immediately. 
 
 Kath. (as both girls rise hastily). Paul! How re- 
 markable ! But tell Mr. Gregory, will you, James ? You 
 will find him in the garden, I think. 
 
 James. Yes, Miss Katherine. [Exit James. 
 
 (Katherine sits at the right end of the davenport 
 Barbara sits at her feet on a heavy hassock or foot- 
 stool which she drags from beneath the davenport, 
 and leans her arms and head in Katherine's lap.) 
 
 Kath. I'm so relieved, Bob dear. How fine of him 
 to come to-night. And I do hope you'll like him. But 
 there, I know you will. 
 
 Barb, (uncertainly). Yes, I know I shall. But I 
 wish he had come sooner. Things might have been dif- 
 ferent then — mightn't they? 
 
 Kath. (pensively, stroking Barbara's hair). Yes, 
 Bob, they might. 
 
 Paul (enters c, in evening dress). Hello, Sis! Am 
 I early enough this time ? 
 
 Kath. (rises and goes to him. They meet c. stage). 
 
 You're a dear. How did you ever (Kisses him. 
 
 As she does so, she is apparently startled by something. 
 Draws back, her hands still on his shoulders; then leans 
 closer again. Exclaims.) Peppermint! (Barbara 
 starts, and grasps the davenport, to the left end of which 
 she has withdrawn. Slight pause. Katherine collects 
 herself first, and smiling confidently at Barbara, speaks.) 
 Oh, Paul, I want you to meet Barbara — Barbara Nicols, 
 you remember, my bridesmaid. (Paul starts smilingly 
 
12 WHO KISSED BARBARA ? 
 
 and energetically toward Barbara, who has risen. He 
 prepares to extend his hand to her as he rounds the right 
 end of the davenport, but, with his eyes fixed on Bar- 
 bara, he does not see the footstool, over which he 
 stumbles and falls headlong at the girl's feet. As he 
 sprawls, the girls both hear, low but unmistakable, 
 "Damn!" He is on his feet in an instant, but inex- 
 pressibly embarrassed, he sinks weakly into the daven- 
 port at the far right end. At the sound of the magic 
 word, both Catherine and Barbara start and look at 
 each other, Katherine somewhat triumphant again, 
 Barbara plainly confused.) Paul ! ! 
 
 (Barbara gazes at him a moment as though fascinated, 
 then collapses to the davenport at the extreme right 
 end.) 
 
 Horace {enters briskly, r. entrance. Goes to Paul). 
 Well, well, old boy, but I'm glad to see you! (Paul 
 rises weakly to shake hands, then subsides again.) Fve 
 been having visions all day of a best-man-less wedding 
 to-morrow. Fd be sure to lose the ring, or {looking at 
 Barbara) put it on the wrong girl. 
 
 Kath. {with a little grimace at this sally, comes be- 
 hind the davenport, well toward Barbara). But Paul, 
 how on earth do you happen to be here at this hour? I 
 thought the Van Lynn theatre party was to-night. 
 
 Paul {looks straight ahead and talks dazedly). It 
 was, but I left right after dinner. When the others went 
 to the theatre they dropped me at the station. That's 
 why I've got on my " soup-and-fish. ,, {Indicates his 
 dress-suit.) I vowed Fd be on time once in my life, and 
 make that " once " your wedding. {Doggedly.) Might 
 have been better if Fd been a little late instead, I guess. 
 
 (Horace meanwhile takes out his cigarette case and 
 removes a cigarette. Turns to go over to the easy 
 chair, tapping the cigarette on the closed case. Bar- 
 bara draws Katherine's attention, indicating by 
 vigorous sign language that Horace must not be 
 allowed to smoke a scent-destroying cigarette. 
 
WHO KISSED BARBARA f 13 
 
 Katherine catches on, and overtaking Horace, 
 takes gentle hold of the cigarette, removing it from 
 his hand.) 
 
 Kath. {coaxingly). Horace — are you that nervous? 
 
 Horace (a little surprised). Why, dear, I haven't 
 smoked since dinner. And really, you know, I'm not a 
 bit nervous; not a particle. (Katherine hangs on his 
 arm, sniffing every time she finds an opportunity, or can 
 make one.) I think you're the nervous one. 
 
 Kath. I nervous? Not a bit. {Leads him to the 
 easy chair.) Gome on; you sit down here and calm 
 yourself. {Pushes him into the chair. During this Bar- 
 bara and Paul sit at their respective ends of the daven- 
 port, stealing curious glances at each other occasionally, 
 one or two of which collide. Barbara finally turns away 
 and begins drumming the end of the davenport with the 
 fingers of one hand. Paul, still incapacitated by his re- 
 cent experience, fusses with his collar, vest, etc. As 
 Katherine pushes Horace into the easy chair she gives 
 a big sniff and exclaims tragically. ) Peppermint ! ! 
 
 (Barbara springs to her feet with an I-told-you-so 
 expression. ) 
 
 Paul {grimly). Those were her remarks about me 
 too, old man. 
 
 Kath. {in confusion, sinking into a chair). Well 
 
 Barb, {with finality). Well. 
 
 Paul {interrogatively) . Well? 
 
 Horace {impatiently). Well — I don't see — I told you 
 I hadn't smoked since dinner, and the last thing I ate 
 was an opera stick. It seems to have been a peppermint 
 one. Now what's remarkable about that? 
 
 Kath. {dazed; more enthralled by the phenomenon 
 itself than by the explanation of it). But — and Paul 
 
 Paul {with a slight shrug of his shoulders, as though 
 there weren't enough foolishness in the world already). 
 Those infernal Van Lynns are always up to something 
 funny. To-night they had onions fixed up to look like 
 those frozen rose things, and we all ate a lot before it 
 
14 WHO KISSED BARBARA ? 
 
 dawned on us what was the matter. I didn't want to 
 come here smelling like a Yiddish bakery, so I ate about 
 a package of life-savers on the way here. They must 
 have been peppermint ones, though I didn't notice at the 
 time. 
 
 Horace {exasperated). Well, if peppermint affects 
 beautiful women this way, let's have James bring in the 
 rest of the opera sticks, and we'll all eat a clove one. {He 
 rings for James as he speaks. James appears at the c. 
 entrance.) Bring in the dish of opera sticks that were 
 left from supper, James. 
 
 James {turning). Yes, sir. 
 
 Kath. And James 
 
 James. Yes, Miss Katherine? 
 
 Kath. Will you bring some iced grape juice too, 
 please ? 
 
 James. Yes, Miss Katherine. [Exit. 
 
 (Katherine very coolly ignores Horace. Barbara 
 ignores both men. The air is clearly charged with 
 something icy already. Horace, trying to appear 
 unconcerned, takes out a cigarette again, and carries 
 the opened case to Paul, who nervously takes one. 
 They both start to light up when Horace catches 
 sight of Katherine's face and remembers.) 
 
 Horace {penitentially). Oh, Katherine — I forgot. 
 I'm sorry. {Puts cigarette back in the case, as he goes 
 toward the table. Paul is about to light his when he 
 suspects that perhaps he too ought not to smoke just now. 
 After some pantomime of uncertainty, he gives up and 
 lays the cigarette carefidly on the arm of the davenport. 
 Horace, at the table.) I guess I am a little nervous — or 
 something. {Straightens shoulders.) Oh, well, I guess 
 if there's any time in a fellow's life that he has a right 
 to get nervous, to-night's that time. 
 
 Kath. {very cool). Indeed! And what about the 
 woman? {Significantly.) She has a great deal more at 
 stake ; and you see, / am not nervous in the least. 
 
 (She sits very straight and stiff to prove the fact. 
 
WHO KISSED BARBARA ? 15 
 
 Nervous? Of course she isn't; no one ever saw a 
 nervous iceberg! To her assertion both men reply 
 together, very ingratiatingly.) 
 
 Paul. ) Of course 
 
 ,5 
 
 Horace, j Certainly not. 
 
 Paul {alone). — not. 
 
 Kath. (witheringly) . Now you needn't both be idiots ! 
 
 Horace. ) Of course 
 
 Paul. ) Certainly not. 
 Horace (alone). — not. 
 
 (Katherine is plainly disgusted. Barbara conceals 
 her momentary amusement only with difficulty. The 
 men rage inwardly at their helplessness. James 
 enters, c, with a tray holding a decanter of grape 
 juice, glasses with ice, and a dish of opera sticks. 
 He stops c. stage, as Katherine rises and goes to- 
 ward him to take the opera sticks. She suddenly 
 looks closely as though at something in one of the 
 glasses. Barbara rises also and comes around the 
 rear of the davenport to where Katherine and 
 James stand.) 
 
 Kath. (severely). James, what is that? 
 
 James (is distinctly startled. He gives a quick em- 
 barrassed little cough which he dutifully averts with one 
 hand which he disengages from the tray, and leans over 
 the tray anxiously). Where, Miss Katherine? 
 
 (But the little cough, diverted from the tray and 
 Katherine, unfortunately reaches Barbara, who 
 starts back in horror and dismay, then runs to 
 Katherine.) 
 
 Barb. Oh, Catherine ! Peppermint ! ! 
 
 (She buries her head on Katherine's shoulder. Paul 
 and Horace look at each other in blank despair.) 
 
 James (a very fountain of apologetic sympathy) . Yes, 
 Miss Katherine, I'm sorry, but I believe they are all pep- 
 
l6 WHO KISSED BARBARA ? 
 
 permint flavor. I'll be glad to send out and get some 
 of the others for Miss Barbara if 
 
 Kath. {thoroughly angry for Barbara's sake). 
 James ! ! 
 
 Jajvies {recoils a step, and by every criterion silently 
 declares himself guilty of something or other). Y-yes, 
 Miss Kath 
 
 Kath. (Barbara stands apart, her face hidden in her 
 hands). How dare you take such liberties in the house 
 of your employer? We expect servants to take a good 
 deal that isn't theirs; but that kind of theft will not be 
 tolerated. 
 
 James {abjectly). But Miss Katherine, I was all 
 through in the dining-room, and just happened to be 
 passing the 
 
 Kath. You were, at all events, distinctly out of your 
 place. My father shall hear of this unmentionable action 
 of yours immediately. 
 
 James. But Miss Katherine, I thought you were 
 
 Kath. {inexpressibly haughty). Unfortunately, it was 
 not I. 
 
 James. I — I took only one, Miss Katherine. Any of 
 the others might have taken 
 
 (Barbara sobs visibly and audibly. Katherine turns 
 from James in supreme disgust.) 
 
 Kath. I think that will be all. Put the tray on the 
 table, please. 
 
 Jajmes {does as he is told. Turns and goes toward c. 
 door. In the door he turns with something of contempt, 
 to say). Beg pardon, Miss Katherine, but I think this is 
 pretty much of a stir to make over — over one opera stick. 
 
 [Exit. 
 
 (There is an eloquent pause. Barbara turns as 
 though suddenly saved from the jaws of death.) 
 
 Paul {dryly). I feel a little that way about it myself, 
 Sis. 
 
 Kath. {sitting). If that were only all! 
 
WHO KISSED BARBARA? 1 7 
 
 (Barbara remains standing, silently miserable.) 
 
 Horace (after a pause). Well, inasmuch as we have 
 the grape juice, we might as well use it. (Rising.) And 
 I seem to be the only one around here sane enough to 
 pour it — or do anything else, for that matter, — without 
 smelling peppermint. " (He pours out a glass. Takes it 
 to Katherine who receives it without any recognition, 
 and sits holding it absently. Returning to the table he 
 pours another, for Barbara. He indicates that it is for 
 her, and hands it tozvard her without turning, at the same 
 time beginning to pour a third glass with his left hand. 
 Barbara steps over toward him, slightly behind him, so 
 that the offered glass is almost over his left shoulder. 
 As he thinks Barbara has the glass, he lets go. Barbara 
 does not have hold of it, and the juice is spilled on 
 Horace's arm and shoulder.) Damn! 
 
 (The word brings the girls sharply back to their 
 problem.) 
 
 Kath. (rises and goes quickly to the fireplace where 
 she places her glass on the mantel). Oh! Horace! How 
 could you ! And I trusted you so ! 
 
 (Horace is plainly embarrassed, but angry as well; 
 makes no reply.) 
 
 Barb. Oh, Horace, I'm so sorry! (Turns toward 
 Katherine.) Really, Katherine, it was all my fault. I 
 should have been more careful. 
 
 Kath. (freezes up). I'll have no double standard of 
 morals in my home, if you please. 
 
 Horace (stopping suddenly in his brushing). Double 
 standard of morals ! Why, bless your souls, I'd not have 
 it either. Morals! Why, dear, I've only acted as any 
 man would act in such a circumstance, and as any woman 
 might act for all I'd care. 
 
 Kath. It's quite bad enough to have done the thing, 
 Mr. Gregory, without boasting about it. 
 
 Barb, (in her womanly concern over the spilled grape 
 juice she has forgotten for a moment the issue of the 
 
l8 WHO KISSED BARBARA ? 
 
 evening. Horace's and Katherine's last speeches re- 
 call it. She becomes indignant at the thought of the 
 wager). I suppose I should be concerned about the 
 morals of it too; but what makes me furious is the bad 
 sportsmanship, the actual cowardice of any one who 
 would 
 
 Horace. Would what? 
 
 Kath. {firing). That's it. You would glorify your 
 weakness by hearing its echo on the lips of one of its 
 victims, I suppose? 
 
 Barb. Modesty does not repeat such things. ( Horace 
 falls into the easy chair in despair, head in hands. 
 Barbara steps toward Paul. ) And do you think, Mr. — 
 Mr. Blake, that you could undertake to drink a little 
 grape juice without incriminating yourself? 
 
 Paul (jumps to his feet, beaming). Thank the good 
 Lord ! I thought you were never going to speak to me. 
 I haven't had any kind of a chance to tell you how glad 
 I am to meet you. 
 
 (Puts out his hand, into which Barbara lays hers de- 
 . murely. Paul, holding Barbara's hand, suddenly 
 looks back at the footstool and kicks it viciously 
 under the davenport. Releases her hand.) 
 
 Barb, (pleasantly). I'm glad to meet you too, Mr. — 
 Blake. I finally speak to you, I think, largely because 
 you seem to be the only man present whose immediate 
 past is clear, and in whose care the innocent are safe. 
 
 Paul (bows elaborately). Many thanks, fair lady. 
 Remember, however, that the dependability of the really 
 honest man in such matters is assured by others more 
 often than admitted by himself. 
 
 Barb, (sweetly). Oh, do you mean that? 
 
 Paul. I certainly do. I may even now be guilty of 
 the deepest crimson crime 
 
 Barb, (hastily, touching his sleeve lightly). Oh, no! 
 Not the deepest one. You arrived too late for that. 
 
 Paul (laughing). Too late? Has my cursed habit 
 blessed me for once? And I thought I was early this, 
 time! — Can't we be seated? 
 
WHO KISSED BARBARA? 19 
 
 Barb. Of course. {They sit on the davenport, close 
 together.) I want to ask you a question, — Mr. Blake. 
 
 Paul. All right, just so it isn't one I can answer. I 
 hate responsibility. — But first, since you and I are 
 going to officiate at the (indicates Horace and Kath- 
 erine) obsequies to-morrow — be sort of chief mourners, 
 you know — don't you think we might use each other's 
 first names to some advantage ? I'm Katherine's brother, 
 and know, and you know her very well. And besides, 
 the only reason we haven't known each other for years 
 is that — we — just didn't come together that long ago. 
 
 Barb, (much amused by his argument) . Your reason- 
 ing is quite remarkable. 
 
 Paul. Thanks, ever so much. Furthermore, I think 
 Barbara is a beautiful name, far too beautiful to be made 
 to wait on ceremony and conventionality; and as for 
 Paul, — well, it's more quickly said than " Mr. Blake," and 
 in this age of high speed and quick delivery, that is 
 something. 
 
 Barb. Yes; and I think too that people in affairs of 
 this kind — weddings, I mean — somehow become ac- 
 quainted more quickly than ordinarily, sometimes before 
 they have really had an opportunity. Don't you think 
 so? 
 
 Paul (worshipfully) . I haven't the least doubt of it. 
 
 Horace (raising his head from his hands). Especially 
 true in the case of the bride and groom ! (At this pointed 
 remark, Katherine leaves her place at the mantel, where 
 she has been doing her best to look straight through 
 Horace, and crosses wearily to the chair back of the 
 table. As she does so, Horace rises and goes solicitously 
 toward her.) Katherine dear, I think you should go to 
 bed. You're all tired out. 
 
 Kath. How dare you attempt to send me to bed, 
 Horace Gregory! Oh, I have been so deluded. I 
 wouldn't have believed it. 
 
 Horace. What are you talking about? — My dear, 
 you're simply a nervous wreck. Please go get some rest. 
 (Sentimentally.) Remember, Sweetheart, to-morrow 
 
 Kath. (angrily). Remember? Remember! I wish 
 
20 WHO KISSED BARBARA ? 
 
 it wouldn't come. If only you would own up, confess, 
 explain, apologize, be sorry, something 
 
 Horace (quietly). But dear, why confess something 
 we both know I'm guilty of in the 
 
 Kath. (brokenly). So you did do it after all? 
 
 Horace (still quietly). Of course I did, Sweetheart. 
 Why deny it? Even if I could convince you otherwise, 
 there is still Barbara, who is especially concerned. But 
 why on earth has everything taken on such tragic im- 
 portance to-night ? James with his opera stick, I and my 
 meaningless little oath 
 
 Kath. (coldly quiet). Not the oath so much as what 
 it stands for. 
 
 Horace. What it 
 
 (Throws out his arms in despair, and drops again into 
 the easy chair, his back toward Katherine.) 
 
 Paul (confidentially). Something seems to be ter- 
 ribly wrong here. (Turning to Katherine.) I say, Sis, 
 aren't you being a little rough on some one? 
 
 Barb, (tartly). Now if you are wise, you'll not waste 
 any sympathy on Horace. 
 
 Paul. Well, I'll say the Middle Ages had nothing 
 on you two when it came to holding a man guilty until 
 he was proved guilty — and then giving him no chance to 
 prove anything. Tell me (indicating Horace with a 
 backward nod of the head) what's he done? 
 
 Barb. I'll never tell you. Though he probably will 
 and you'll both laugh over it, as soon as you're alone. 
 
 Paul. Laugh over it ! Over a funeral like this ? 
 
 (Katherine, after her last speech, began fumbling 
 with her engagement ring, finally slipping it off her 
 finger. During Barbara's and Paul's last words 
 she evidently dropped it to the floor.) 
 
 Kath. (quietly, almost unconcernedly). Horace, ring 
 for James, please. 
 
 (All three turn inquiringly. Horace does as he is told. 
 Only Paul speaks.) 
 
WHO KISSED BARBARA ? 21 
 
 Paul. Poor James may be across the state line by 
 this time. 
 
 (Katherine withers him with a look just as James 
 appears, very haughty, at the C. entrance.) 
 
 Kath. James, I have dropped something. 
 
 (Barbara and Paul rise hastily and start toward 
 Katherine, who is searching busily about her 
 chair.) 
 
 Paul. Dropped something? 
 
 Horace. What was it ? 
 
 Barb. Was it anything valuable, Katherine? 
 
 Kath. No — yes — I don't know ; but I didn't want to 
 lose it — just this way. James, will you help find it, 
 please ? 
 
 James (coming forward). Yes, Miss Katherine. 
 What shall I look for? 
 
 Kath. (nervously). It was a Never mind; 
 
 you'll know when you see it. (Business of general 
 search.) It was very small, and it might have bounced 
 almost anywhere — though it ought to be around this 
 chair. — Horace, you please look over around the table 
 there ; and Paul, you over there by the davenport. Bar- 
 bara and James and I will look here. 
 
 (Horace and Paul exchange looks and go to their 
 respective places, Horace moving the easy chair and 
 looking eagerly under the table, Paul rubbering 
 about under and around the davenport, both men on 
 hands and knees.) 
 
 Paul (after a moment). For goodness' sake, Sis, you 
 might tell us what it is. I may have found it and thrown 
 it away three or four times by now. 
 
 Horace (with finality). Well, whatever it was, it's 
 quit being around here. 
 
 (He rises, brushes himself, and sits down in his chair.) 
 
 Paul (continuing the search). There's nothing here 
 
22 WHO KISSED BARBARA ? 
 
 either, but Fm going on; that may be what she lost, for- 
 all I know. She's given us such a vivid description of it ! 
 
 (James is on his hands and knees to the left of Kath- 
 erine's chair, feeling every inch of the carpet under 
 and around it. Barbara, searching just as faithfully 
 in front of it, steps squarely on one of James' 
 groping fingers.) 
 
 James {straightening up on his knees, and grasping the 
 injured member tightly in his other hand). Damn! 
 
 Barb, (as though stabbed with the telltale word). Oh! 
 (Leans weakly against the back of the davenport, regard- 
 ing Jakes with horror. Katherine goes quickly and 
 kneels beside Horace's chair and draws him over to her. 
 He puts his arm around her. Paul ceases his search, 
 but remains on his knees as though fascinated by Bar- 
 bara's terror.) James! What — what did you say? 
 
 James. I'm most sorry, Miss Barbara; but the pain, 
 you know. I forgot myself. I am very sorry. 
 
 (He turns to leave, very ill at ease, still nursing his 
 mashed finger. Barbara follows him with horror- 
 stricken gaze.) 
 
 Kath. (softly). Oh, Horace, how could I have 
 doubted you ? 
 
 James (turning in the doorway). Pardon me, Miss 
 Katherine, but shall I send a maid in to look for the — er 
 — the lost article ? 
 
 Kath. (suddenly remembers the loss, and stands ex- 
 citedly). Why, yes, of course — I mean, no. I — I do 
 not think it is lost any longer. 
 
 James (meaningly, with a curt bow). That is my 
 opinion also, Miss Katherine. [Exit. 
 
 Barb, (wailing). How awful! Oh, how terrible! 
 James ! James, a butler ! 
 
 (She stands near the right end of the davenport, a 
 forlorn picture.) 
 
 Paul (gets to his feet near the left end of the daven- 
 
WHO KISSED BARBARA ? 23 
 
 port). Why, little bridesmaid, you make me feel 
 wretched. If a mere butler swearing has made such an 
 effect on you, think how I feel when I remember that 
 that was the first word I ever said to you, here at your 
 feet. 
 
 Barb, {suddenly lifts her head, as though struggling 
 with a thought. Then the light breaks). Why — you did 
 say — that too, didn't you ? And so did you, Horace ! 
 Katherine ! Do you realize what has happened ? 
 
 Kath. {absent-mindedly, looking furtively around the 
 floor). Yes, dear. 
 
 Barb. Katherine, wake up ! Don't you know that they 
 all smelled of peppermint, and all said — that? Where 
 have we gotten to? 
 
 Kath. {wearily coming back to Horace's side). No- 
 where, Bob ; and worse than nowhere. 
 
 Horace {noting the weariness in her voice takes her 
 hand). How, dear? 
 
 Kath. Nowhere because what was at first a mystery 
 is still a mystery ; and worse than nowhere because — I've 
 lost something that I 
 
 (Her voice trembles and she does not go on.) 
 
 Barb, {all sympathy). Oh, Katherine! 
 
 Horace {rising). Sweetheart, I want to help you, but 
 it's all mystery. Everything this night has been mysteri- 
 ous 
 
 Paul {looking steadily at Barbara). Mystery's no 
 name for it. 
 
 Barb. But Katherine, let's look again, real carefully. 
 
 Paul {planting himself firmly in front of the fireplace, 
 hands behind him). I look for nothing more until I can 
 at least call it by name. 
 
 Barb, {turns full upon him and smiles). It might be 
 under the davenport — Paul. 
 
 {Whereupon Paul succumbs and renews his hunt, 
 much to Horace's amusement.) 
 
 Kath. It's no use. I'm certain now that James told 
 
24 WHO KISSED BARBARA ? 
 
 the truth when he said it was his opinion that the article 
 was not lost any longer. 
 
 (Paul rises and stands again at the fireplace.) 
 
 Horace. But you said so yourself, dear. 
 Kath. I did, because I was sure — he found it, just 
 as I am that he has it now. 
 
 Paul. Poor Jim ! Pie's in bad again. 
 
 (A look from Barbara puts Paul in his proper place.) 
 
 Kath. Horace, dear, HI have to tell you what it was, 
 for we must get it back. It was my — our diamond — our 
 engagement ring. 
 
 Barb. Your ring, Katherine ! 
 
 Paul. Why, Sis ! 
 
 (Horace takes Katherine, seats her gently in the 
 easy chair, and stands at her left, holding her hand.) 
 
 [ Kath. (tearfxdly) . I was toying with it, and dropped 
 it. It must have rolled a little bit, for I couldn't see it. — 
 I didn't want you — and Paul — to know. I — I — oh, 
 Horace, what shall we do? 
 
 Paul {stirring himself valiantly). Til go out and 
 hale him into court, Sis. I thought there was something 
 crooked looking about that fellow the first time I saw 
 him. [Exit, c, in haste. 
 
 (Barbara, not knowing what else to do, looks about 
 on the floor.) 
 
 Kath. (pleading). Be angry with me, Horace. No 
 matter what happened, I had no right to lose our — our 
 ring. 
 
 Horace (gently), I could never be angry with you, 
 my own. Did it mean so much, then ? 
 
 Kath. (looking at her hand in his). It is so awful to 
 be without it, Horace ! And to have lost it so childishly, 
 so uselessly 
 
 Horace (stealing the ring back on the third finger of 
 the hand he holds). Yours again, Sweetheart. 
 
WHO KISSED BARBARA ? 25 
 
 Kath. Horace! The ring? Why — how — where 
 
 Look, Bob! James hasn't it after all! (With a deep 
 sigh.) Oh, Horace dear, I'm so glad! 
 
 Horace. You were right, dearie. It did bounce and 
 roll. I found it here by the table-leg. (Teasingly.) 
 But, of course, not knowing what you had lost. 
 
 Paul (enters hastily, heavily under the influence of 
 excitement, his hat and coat half on). He's not in the 
 house ! The fellow's gone ! Said he'd stepped out to get 
 some opera sticks. — C'mon, Harry, stir yourself. — Bar- 
 bara, you 'phone the station. We'll go down the street. 
 He can't have gone far ! 
 
 Barb, (takes Paul gently by the arm, as though to 
 soothe him, and leads him to the davenport and pushes 
 him into it, where he sits foolishly). No, not far, Paul. 
 And he'll be back in a moment. You wait for him there. 
 
 (She stands behind him.) 
 
 Paul (looks about dazedly, sees the tranquillity over 
 in the easy chair, and notes the diamond flashing on 
 Katherine's hand. He collapses). Oh Lord! This 
 place is haunted. 
 
 Barb. Especially when the lights are out. 
 
 (Paul glances quickly at her.) 
 
 Kath. (suddenly, taking Horace's hand in both of 
 hers). But it wasn't you, was it, Horace? 
 
 Horace. What wasn't me, dear? Let's have the 
 mystery. 
 
 Kath. Well, it is a mystery, Horace, and we've been 
 Sherlock Holmsing to — to 
 
 Barb, (slowly, pointedly, looking straight at Horace). 
 — to find what kind of a villain it is that cheats, that 
 
 resorts to the infamous ways of darkness We were 
 
 searching for a criminal that I loathe ! 
 
 (Stamps her foot.) 
 
 Paul. I'm glad you're not looking at me now! 
 Barb. Silly ! I might have been looking at you, but 
 
26 WHO KISSED BARBARA ? 
 
 (sweetly) you were too late. (Then haughtily, to 
 Horace.) However, I shall insist on paying my forfeit, 
 and I shall insist that you invite my — your best man for 
 me. 
 
 Horace. But Barbara 
 
 Paul (eagerly, to Barbara). Invite me I don't know 
 what to, but 1*11 risk it. Do you mean it ? 
 
 Barb. Here's my hand on it. (Paul takes her ex- 
 tended hand, then, with his left hand on his breast, and a 
 mock-heroic bow, leans over and kisses it, much longer 
 than was at all necessary. — Suddenly the coquettish smile 
 leaves Barbara's face. She is puzzled; tries to remem- 
 ber. She pulls her hand away, and Paul straightens up. 
 Barbara'^ face suddenly lightens.) Oh, Katherine, it 
 wasn't Horace! It wasn't James! (Turns accusingly 
 on Paul, pointing at him.) It was you! 
 
 Kath. Why, Bob, how could it be 
 
 Barb, (almost dancing). I don't care whether it could 
 or not, or how it could. There were cyclones of pepper- 
 mint, and torrents of " damns," but there was only one — 
 mustache ! Paul Blake, it was you ! 
 
 Paul (meekly). Yes; I was it. (Looking dozmt.) I 
 can explain. (He walks over in front of the fireplace.) 
 
 Horace (to Paul). So it was you, eh? Still a mys- 
 tery. Now if somebody will kindly explain these occult 
 consignments of peppermint and calamity, the day will 
 be won. 
 
 Horace. One at a time, please. 
 
 (Paul stands watching Barbara, waiting to know his 
 fate.) 
 
 Barb. It's all on account of our wager, Horace. I 
 thought you did it so I'd have to pay for the dinner. 
 
 Horace. The wager? What Oh, our wager. 
 
 Well ? 
 
 Barb, (looks down). Well, you see — I've lost it. 
 
 Horace. You lost — (He grows more and more boister- 
 ous in his amusement as the light breaks) the wager? 
 
WHO KISSED BARBARA ? 27 
 
 And Paul here — ho ! ho ! ho ! — did he ? And inside 
 
 of twenty-four hours! Ha! ha! ha! That's too good 
 to keep. 
 
 Kath. She insisted that it was you, Horace; but I 
 couldn't believe you'd do such a thing. Would you? I 
 thought it was James. 
 
 Horace. James ? Ye gods ! That's worse yet. 
 
 (Goes into a paroxysm of delight.) 
 
 Paul (puzzled). Wager? What's the wager? 
 
 Horace (eagerly). Why, Barbara here has — I mean 
 had never been 
 
 Barb, (tartly). Never you mind, smarty. I can tell 
 it. And under the circumstances I'll pay the forfeit 
 gladly. (Paul is elated, though he doesn't know ex- 
 actly why.) Anybody but James! 
 
 (Paul is crestfallen. Barbara watches him slyly.) 
 
 Paul (seriously, looking up). But let me explain, 
 Miss — (At a look from her) Barbara. As you know, I 
 cut the theatre party and got here on the first train out, 
 which explains my getting here so much earlier than you 
 and Katherine thought I would. I came in quietly, 
 merely telling James that I was going to surprise every- 
 body. When I got in the hall I heard voices, and so 
 looked in here. I saw a girlish figure which I mistook 
 for Katherine. I didn't know it wasn't she until — until 
 you shrieked in my ear. That flabbergasted me so com- 
 pletely that I vanished just as fast as I could, to sort of 
 compose myself. Then I had James announce me, just 
 to establish my innocence. — (Mischievously.) It was a 
 most thrilling experience. And I hope I'm forgiven, a 
 little bit? (Holds out his hand.) 
 
 Barb, (putting her hand in his). Yes, a little bit; 
 because if it was you, it couldn't be James. I would 
 rather it were anybody than James. 
 
 (Horace and Katherine hold a whispered consulta- 
 tion during this speech.) 
 
28 WHO KISSED BARBARA ? 
 
 Paul (retaining the hand). You can't burn me up, 
 little bridesmaid ; so don't waste time trying it. 
 
 James (comes to the c. entrance. He has a small 
 white bandage on his injured finger). Beg pardon, 
 Miss Katherine, but I have gotten some more opera 
 sticks, if Miss Barbara would care for any now. 
 
 Barb, (in a tone of voice that indicates willingness to 
 fall on his neck). Oh, that was so kind of you, James. 
 Thank you, awfully. 
 
 Kath. (infinitely gracious). But we're just stepping 
 out for a stroll in the garden, James. Might we have 
 some hot chocolate in the library in half an hour, and 
 (smiling) your opera sticks? 
 
 James (with his usual slight bozv). Yes, Miss Kath- 
 erifle. (Turns to leave.) 
 
 Barb, (uncertainly). Oh, — James. 
 
 James. Yes, Miss Barbara? 
 
 Barb. I just wanted to say that — that — you have just 
 helped us run to earth a very wicked villain. 
 
 James (slight bow). I am glad to have been of the 
 least service to you, Miss Barbara. 
 
 (Again turns to leave.) 
 
 Kath. And James 
 
 James (turns back patiently). Yes, Miss Katherine? 
 
 Kath. I feel that I should tell you that the article for 
 which we were hunting a few minutes ago has been 
 found. I thought it might — relieve you — to know. 
 
 James (slight bow). Thank you, Miss Katherine. I 
 knew it would be safe. I saw Mr. Gregory pick it up. 
 
 [Exit, with the victory 
 
 Paul (after a pause). Well, I guess nobody around 
 here is much of a hero ! 
 
 Horace (laughingly, as he rises). Except you. 
 (Barbara silently seconds him.) But let's go out for a 
 look at our patron saint, the old moon. He's waiting 
 for us. 
 
 Paul. You'll see, though, there'll be peppermint on 
 his breath; and if he says a word, it'll be 
 
 (Barbara claps her hand over his mouth.) 
 
WHO KISSED BARBARA ? 29 
 
 Barb, (in mock severity). No more villains, please! 
 
 Horace (as he and Katherine walk, arm-in-arm, 
 toward the c. entrance). No odds, let him say it. Some 
 villains are lucky. [Exeunt. 
 
 Paul (suddenly stopping). But Barbara, what was 
 the question? 
 
 Barb, (puzzled). The question? What question? 
 
 Paul (sternly). As we sat on that davenport those 
 ages ago, and I persuaded you that first names were best, 
 you said you wanted to ask me a question. 
 
 Barb, (remembering). Oh, yes! (Laughs.) But I 
 really wouldn't need to ask it now. 
 
 Paul (disappointed). Not? 
 
 Barb. No. (Seriously.) I'll tell you. I was going 
 to ask you why you wore a mustache — like that. (Deep 
 sigh of extreme relief. ) But I'm glad now you had it ! 
 
 Paul. Yes. (Feels his mustache tenderly with the 
 fingers of his left hand.) Fm very proud of it. (Bar- 
 bara has gone toward the floor-lamp, and reaches for the 
 switch.) And I wore it, if for no other reason, that it 
 might be known (the light goes out) who kissed Barbara. 
 
 (The room is in the same semi-light as at first. Paul 
 takes Barbara's hand and draws her arm through 
 his, and together they walk toward the c. entrance, 
 very much absorbed in each other, and certainly 
 happy.) 
 
 SLOW CURTAIN 
 
OLD DAYS IN DIXIE 
 
 A Comedy-Drama in Three Acts 
 
 By Walter Ben Hare 
 
 Five males, eight females. Scene, a single interior. Costumes of the 
 period. Plays two hours and a quarter. Beverly Bonfoey, a high type 
 of Southern gentleman, loves Azalea, his mother's ward, but Raoul 
 Chaudet, a Canadian adventurer, to whom he has given the hospitality of 
 Bonfoey, steals her love. Forced to leave suddenly because of crooked 
 money transactions, he persuades her to elope, but this is prevented by a 
 wonderfully dramatic device. Beverly then challenges Raoul, who shows 
 the white feather and runs away, and Beverly, to save the family honor, 
 assumes the consequences of his swindling transactions. The untying of 
 this knot is the plot of a strong play with a genuine Southern atmosphere 
 written wholly from the Southern point of view. Royalty, $ I o.oo for the 
 first and $5.00 for subsequent performances by the same cast. 
 
 Price, 33 cents 
 
 CHARACTERS 
 The Prologue, the Goddess of the South. 
 Madame Bonfoey, mistress of the plantation. 
 Azalea, her ward. 
 Nancy, Azalea s sister. 
 
 Cousin Sallie Sellers, from a neighboring estate. 
 Phoebe, a little coquette. 
 Mary Rose, Phoebe s sister. 
 Mam' Dicey, the house mammy. 
 Beverly Bonfoey, the young heir. 
 
 4udge Pennymint, his uncle. 
 Laoul Chaudet, a visitor from Quebec. 
 Cameo Cl.emm, from the city. 
 Unker Shad, a bit of old mahogany . 
 
 Beaux and Belles of Dixie. 
 
 SYNOPSIS OF SCENES 
 
 Act I. The drawing-room of the Bonfoey Plantation in 1849. 
 The letter. * 
 Act II. The dinner party. The duel. 
 Act III. An April morning, three years later. The return. 
 
 THE ORIGINAL TWO BITS 
 
 A Farce in Two Acts 
 
 By Hazel M. Robinson 
 
 iVrilten for and presented by The Invaders Club of the United 
 
 Baptist Church of Lewis ton, Maine 
 
 Seven females. Scene, an interior. Plays twenty minutes. The girls 
 in camp receive a visit from a neighbor and have to borrow the neighbor's 
 own dinner in order to feed them. They almost get away with it — not 
 quite. Irish comedy character, eccentric aunt, rest straight. 
 
 Price, 23 cents 
 
Hat ton Hall School. 
 
 CAMP FIDELITY GIRLS 
 
 A Comedy in Four Acts 
 
 By Edith Lowell 
 
 Dramatized by permission from the well-known story by 
 
 Annie Hamilton Don tie 11 
 
 One male, eleven females. Scenery, two interiors. Plays two hours. 
 A jolly party of girls occupy an old farmhouse for the summer and there 
 discover a secret that makes for the happiness and prosperity of a poor 
 little cripple. A very " human " piece full of brightness and cheer and 
 with a great variety of good parts. 
 
 Price, 33 cents 
 
 CHARACTERS 
 Barbara Wetherell ) 
 
 Judy Wetherell, her sister . , 4 . 
 
 JESSICA THAYEft vjt^L 
 
 Mary Shepherd, otherwise Plain Mary 
 Edna Hull 
 Mrs. Tucker, a next-door neighbor, 
 Johnnie Tucker, known as Johnnie-Son. 
 Barnaby Campbell, a big child. 
 Jennie Brett, a country girl. 
 Cousin Salome. 
 Aunt Elizabeth. 
 Uncle Jeff. 
 
 SYNOPSIS OF SCENES 
 
 Act I. Room at Hatton Hall School. 
 
 Act II. Scene I. Camp Fidelity. Afternoon. Scene II. The 
 next morning. 
 
 Act III. Scene L Same. Two weeks later. Scene II. Midnight. 
 
 Act IV. Scene I. Same. Six weens later. Scene II. A half 
 hour later. 
 
 MARRYING MONEY 
 
 A Play in One Act 
 
 By Alice L. Tildesley 
 
 Four females. Scene, an interior. Plays half an hour. The girls seek 
 
 a job with the millionaire's mother and one of them gets one for life with 
 
 the millionaire. One eccentric character and three straight. 
 
 Price, 25 cents 
 
 THE OVER-ALLS CLUB 
 A Farce in One Act 
 By Helen Sherman Griffith 
 Ten females. Scene, an interior. Plays half an hour. The " Over- 
 Alls Club" meets for the first time in its denim costume with enthusiasm 
 for economy that only lasts until young Dr. Ellery is announced. Finishes 
 in pretty gowns. 
 
 Price, 23 cents 
 
r t^t •«**■• tAk- -m^t tAt A A A 3*m Jfc •»»- ^b A aim ■»■ -d^ jrfW' -JOKJW fc LJt fl li ail caOm 
 
 Plays for Junior High Schools 
 
 Salty Luna 
 
 Mr. Bob 
 
 The Man from Brandos 
 
 A Box of Monkeys 
 
 A Rice Pudding 
 
 Class Day 
 
 Chums 
 
 An Easy Mark 
 
 Pa's New Housekeeper 
 
 Not On the Program 
 
 The Cool Collegians 
 
 The Elopement o! Ellen 
 
 Tommy's Wife 
 
 Johnny's New Suit 
 
 Thirty Minutes for Refreshment? 
 
 West of Omaha 
 
 The Flying Wedge 
 
 My Brother's Keeper 
 
 The Private Tutor 
 
 Me an' Otis 
 
 Up to Freddie 
 
 My Cousin Timmy 
 
 Aunt Abigail and the Uoyf 
 
 Caught Out 
 
 Constantine Pueblo Jotoca 
 
 The Cricket On the Hearth 
 
 The Deacon's Second Wife 
 
 Five Fe^t of Love 
 
 The Hurdy Gurdy Girl 
 
 Camp Fidelity Girls 
 
 Carroty Nell 
 
 A Case for Sherlock Holmes 
 
 The Clancey Kids 
 
 The Happy Day 
 
 I Grant You Three Wishes 
 
 Just a Little Mistake 
 
 The Land of Night 
 
 Local and Long Distance 
 
 The Original Two Bits 
 
 An Outsider 
 
 Oysters 
 
 A Pan of Fudge 
 
 A Peck of Trouble 
 
 A Precious Pickle 
 
 The First National Boot 
 
 His Father's Son 
 
 The Turn In the Road 
 
 A Half Back's Interference 
 
 The Revolving Wedge 
 
 Mose 
 
 BAKER, Hamilton Place, Boston, Mass* 
 
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 Females 
 
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frr^^^r^^r^^^*^^**^^^ A ■*- ■*■ ■*■ -*■ A Ar ^ ^*- ^ 
 
 s 
 
 j Plays and Novelties That Have Been 
 
 " Winners w 
 
 r 
 
 
 Unit* 
 
 7 tmaht Tine 
 
 PrfV# R*j<iltt 
 
 
 Camp Fidelity Girls 
 
 
 II 
 
 2^ hrs. 
 
 35 c None 
 
 
 S Anita's Trial 
 
 
 II 
 
 2 « 
 
 35 c 
 
 M 
 
 
 J The Farmerette 
 
 
 7 
 
 2 " 
 
 35 c ' 
 
 it 
 
 
 Behind the Scenes 
 
 
 12 
 
 i# " 
 
 35 c 
 
 it 
 
 
 5 The Camp Fire Girls 
 
 
 15 
 
 2 " 
 
 35 c 
 
 it 
 
 
 J A Case for Sherlock Holmes 
 
 
 10 
 
 iy 2 « 
 
 35 c 
 
 it 
 
 
 The House in Laurel Lane 
 
 
 6 
 
 iy 2 « 
 
 25 c 
 
 tt 
 
 
 1 Her First Assignment 
 
 
 10 
 
 1 " 
 
 25c 
 
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 J I Grant You Three Wishes 
 
 
 14 
 
 K " 
 
 25c 
 
 tt 
 
 
 Joint Owners in Spain 
 
 
 4 
 
 K - 
 
 35c $5.00 
 
 
 % Marrying Money 
 
 
 4 
 
 Yz u 
 
 25c None 
 
 
 4 The Original Two Bits 
 
 
 7 
 
 X " 
 
 25c 
 
 ft 
 
 
 The Over-Alls Club 
 
 
 10 
 
 H u 
 
 2$C 
 
 tt 
 
 
 1 Leave it to Polly 
 
 
 11 
 
 iyi " 
 
 35 c 
 
 tt 
 
 
 £ The Rev. Peter Brice, Bachelor 
 
 
 7 
 
 u * 
 
 25 c 
 
 tt 
 
 
 j Miss Fearless & Co. 
 
 
 10 
 
 2 « 
 
 35 c 
 
 it 
 
 
 S A Modern Cinderella 
 
 
 16 
 
 1% " 
 
 35 c * 
 
 tt 
 
 
 i Theodore, Jr. 
 
 
 7 
 
 £ " 
 
 25c 
 
 tt 
 
 
 Rebecca's Triumph 
 
 
 16 
 
 2 " 
 
 35c 
 
 
 
 1 Aboard a Slow Train in Mlzzoury 
 
 8 
 
 '4 
 
 2% " 
 
 35 c 
 
 
 
 i Twelve Old Maids 
 
 
 15 
 
 I " 
 
 25c 
 
 
 
 1 An Awkward Squad 
 
 8 
 
 
 % " 
 
 25c 
 
 
 
 1 The Blow Up of Algernon Blow 
 
 8 
 
 
 % " 
 
 25c 
 
 
 
 i The Doy Scouts 
 
 20 
 
 
 2 « 
 
 35 c 
 
 
 
 A Close Shave 
 
 6 
 
 
 l A " 
 
 25c 
 
 
 
 1 The First National Boot 
 
 7 
 
 2 
 
 1 « 
 
 25c 
 
 
 
 i A Half* Back's Interference 
 
 IO 
 
 
 % " 
 
 25c 
 
 
 
 2 His Father's Son 
 
 14 
 
 
 1% « 
 
 35 c 
 
 
 
 <J The Man With the Nose 
 
 8 
 
 
 % " 
 
 25c 
 
 
 
 4 On the Quiet 
 
 12 
 
 
 *}£ v 
 
 35 c 
 
 
 
 The People's Money 
 
 II 
 
 
 1% •• 
 
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 1 A Regular Rah ! Rah ! Boy 
 
 14 
 
 
 \% « 
 
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 i A Regular Scream 
 
 II 
 
 
 \% « 
 
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 Schmerccase in School 
 
 9 
 
 
 1 «« 
 
 25c 
 
 
 
 i The Scoutmaster 
 
 IO 
 
 
 2 « 
 
 35C 
 
 
 
 I The Tramps' Convention 
 
 *7 
 
 
 *& M 
 
 25c 
 
 
 
 The Turn in the Road 
 
 9 
 
 
 iy « 
 
 25c 
 
 
 
 5 Wanted— a Pitcher 
 
 ii 
 
 
 % " 
 
 25c 
 
 
 
 i What They Did for Jenkins 
 
 14 
 
 
 2 u 
 
 25c 
 25c 
 
 « 
 
 , 
 
 j Aunt Jerusha's Quilting Party 
 
 4 
 
 12 
 
 1% « 
 
 
 5 The District School at Blueberry 
 
 
 
 
 
 
 i Corners 
 
 12 
 
 17 
 
 1 " 
 
 25c 
 
 00 s^ 
 
 00 ^^^= 
 
 The Emigrants' Party 
 
 24 
 
 10 
 
 1 " 
 
 25c 
 
 
 i Miss Prim's Kindergarten 
 i A Pageant of History . 
 The Revel of the Year 
 
 10 
 
 Any n 
 
 11 
 umber 
 
 2 ** 
 
 25c 
 
 35c 
 25c 
 
 ^^^ 
 
 z ^=^= 
 
 t* 
 
 1 « 
 
 ^ 
 
 =— = 
 
 * Scenes in the Union Depot 
 
 tt 
 
 tt 
 
 25c 
 
 IX ^^^= 
 
 i Taking the Census in Bingville 
 
 14 
 
 8 
 
 iy 2 « 
 
 25c 
 
 =^^= 
 
 
 j The Village Post-Office 
 
 22 
 
 20 
 
 2 " 
 
 35 c 
 
 >■ hhhs 
 
 t O'Keefe's Circuit 
 
 12 
 
 8 
 
 iy 2 « 
 
 35 c 
 
 
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 ^ VVVVV w W - 
 
 Mass. 
 
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