RICHARD (who has darted to window, and stood looking out for the s.p.a.ce of a second before he turns to them).

A thousand pardons! (Bows ironically.) Go! The play is ended! (With growing fervor.) Through the black night I've caught my prompter's signal. I've seen a light--a light that swings in the darkness--a light that swings three times----

PENROSE (querulously, leaning on Marsh's arm as they go towards door).

What does he mean? A signal?

RICHARD (turning on them with pa.s.sionate triumph).

A signal that a blow is struck for freedom! A signal that your tea is overboard! A signal that the time will come when liberty will be the watchword of our nation!

MARSH.

Come! Come! He dreams!

[They go out.

RICHARD (with face upraised in the waning fire-glow).

May all such dreams come true!

CURTAIN.

COSTUMES

RICHARD STOCKTON. Coat and knee-breeches of dull-blue cloth. Loose white shirt. Soft white collar turned down on his coat. Black stockings. Low black shoes. Unpowdered hair.

JOHN COREY. Suit of the same fashion as Stockton's, made of black cloth. All the lads, unless otherwise indicated, wear low black shoes, black stockings, and have unpowdered hair. But if the wigs of longish natural hair which they should wear are too expensive, then they may have powdered wigs made of white cotton batting st.i.tched to tight- fitting white skull-caps.

NED PEABODY. Suit of same style in dark-brown.

PHIL AMESBURY. Suit of same style in somewhat shabby black velvet, with black braiding. It is evident that the suit has been "handed down" to him.

JEFFERSON WINWOOD. Suit of same style in slate-gray, with b.u.t.tons and pockets of cobalt blue.

FRANK WHARTON. Suit of very dark green. Green b.u.t.tons. Has a black cloak, and a black three-cornered hat.

THOMAS RIGBY. Well-worn suit of dark plum-color. Plum-colored waistcoat. Gold b.u.t.tons on it. White shirt with full soft sleeves. A white stock. Black stockings. Low black shoes.

PENROSE. Scarlet jacket with gold b.u.t.tons and epaulets. White broadcloth breeches tucked into high topboots. White vest. Lace stock.

Lace wrist ruffles. Scarlet cloak with gold braiding. Carries a sword.

MARSH. The same as Penrose. Carries no sword when he comes in a second time.

If "The Younger Sons of Freedom" cannot obtain suits of the colors described, let them wear the usual boys' coats with Colonial pockets basted on, and let them have full knee-breeches, such as those of gymnasium suits. For older boys who play the parts, black evening suits, the coats shaped and basted back to resemble Colonial coats.

White lace stocks and cravats, and lace wrist ruffles, and jabots.

DRAMATIC SILHOUETTE: THE SPIRIT OF '76

Thrown into shadow silhouette by a strong light placed behind a white curtain, the figures of the young patriots appear. Music of fife and drum in orchestra, clear, high, blood-stirring. First a small drummer- boy pa.s.ses, with a c.o.c.ked hat, and poised drum-sticks. Then a boy of the same age carrying a musket that is much too large for him. Then two taller patriot lads, very soldier-like. Then a country boy with a hoe over his shoulder. Then two figures, one playing a fife, the other a drum. Then a lone patriot lad with a c.o.c.ked hat and musket. Then another drummer-boy. Then a boy with a flag, and a half dozen patriots following him. The music grows fainter and fainter, as if with the tread of marching feet.

ABRAHAM LINCOLN: RAIL SPLITTER

CHARACTERS

ABRAHAM LINCOLN NANCY LINCOLN TOM BUSH AMY ROBY POLLY PRENTICE JASON BROWN LUCY BROWN FRANCOIS DURAND LITTLE JOHN LINCOLN NOCTAH, an Indian

SCENE: The Lincoln kitchen and living-room. Place: Little Pigeon Creek, Indiana. Time, 1823.

The room is bright and clean, showing both thrift and poverty. There are two windows in background, with well-mended, faded curtains of the cheapest cotton. Between these two windows a stout door, which gives on the outside road. On the door is tacked a racc.o.o.n skin.

By the window at right a plain pine table and chair. The end of the table is set with a plate, knife, fork, drinking-cup, etc., for one person, and there are corndodgers in generous quant.i.ties, and a jug of mola.s.ses.

In the middle of the right wall there is a wide-mouthed fireplace, with black andirons, several iron pots, and a skillet. Above the hearth strips of leather nailed to the wall serve as holders for empty powder- horns, knives, etc. There is a pine bench by the hearth, placed so that those sitting on it face the audience. Also a three-legged pine stool.

Beyond the hearth, towards the background, a dresser with a few dishes.

Fastened to the wall, left foreground, is a pine shelf on which stand Abraham Lincoln's books, well-worn copies of "Robinson Crusoe" "Aesop's Fables," "Pilgrim's Progress," etc., etc. Above this shelf a clock, battered yet adequate. A bearskin rug on the floor. The whole scene is homely, peaceful, intimate.

The embers on the hearth give out a dull glow which leaves the room in semi-darkness, yet lights up several objects by the hearthstone-- namely, a heap of pine cones, some dried spice-wood bushes, a rude corn-popper, a snow-shovel, and a neatly-mended tongs.

In the frosty out-of-doors the wind blows gustily from time to time.

Otherwise the room is quite still, save for the ticking of the clock, which points to half-past seven. For a moment after the curtain's rise the stage is deserted. Then come two brisk knocks at the door, and it is opened from without by Polly Prentice, who first thrusts in her head, looks about, and then crosses the threshold, speaking back over her shoulder to Amy Roby and Tom Bush. Polly wears a scarlet cloak, and her cheeks are as red as apples. All carry lanterns.

POLLY.

There's no one home. Wherever can Nancy be? She said if she wasn't here we were to wait for her. Come in, Amy, and you, too, Tom Bush, and be careful to close the door. (All enter.) The fire is nearly spent. B- rrrrrr! It's a cold night for this time of year. My fingers are tingling. That's right, Tom, put on some spice bushes for a blaze. I'll put my lantern over here by yours, Amy. What time is it?

AMY.

Half-past seven. I wish that Nancy would hurry. The corn-husking begins at eight, and we are to call for Jason Brown and Lucy before we start.

TOM (warming his hands).

Yes, and come back here to have Abe go with us. He's been out in the woods all day, swinging that ax of his. I could hear him down by the spring.

POLLY.

There's his supper set out for him--corn-dodgers and mola.s.ses.

AMY (primly).

Polly, it isn't nice to look at things in other people's houses!

POLLY (saucily).

You looked at the clock only a minute ago, and I'm sure Abe's supper is as easily seen as the clock is! Easier, too, if you happen to be glancing that way. I wish that Nancy would hurry!

TOM (as they seat themselves about fire).

And I wish that Abe would hurry. He must be trying for luck.

POLLY.

Luck?