This short epilogue addresses several questions for further research. Could stage prologues continue to appear during the transition to sound cinema? Moreover, who would be producing them after Plunkett, Hyman, Cambria, and Harriman took higher positions within the American film industry? Were stage prologues a phenomenon in countries other than the United States? The trade press mentions a few for big features in Great Britain and Australia, but did they appear elsewhere? Finally, how did exhibitors link their prologues with “tie-ins” to lobby decors and local store window displays in order to lure audiences? And who comprised those audiences, and what can one discover about their response to stage prologues, especially if moviegoers differed across the country and across time?